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Interview With Jim Turner of Rossmore Pottery

Jim Turner one of Ireland's leading ceramic artists. His work has been widely exhibited and is in many private collections, including the Crafts Council of Ireland. Jim lectures part-time in ceramics and sculpture. Jim established Rossmore Country Pottery with Etain Hickey in 1982.

Jim Turner was one of my favorite tutors when I attended Rossa College in Skibbereen. I was lucky enough to have Jim as my tutor for both Ceramics in the first year and Sculpture in the second year. He was an inspiration to all us students and inspired and encouraged us into creating the pieces which got us all through the course. Jim was one tutor who went beyond his role as a tutor and put in so much time with us that we grew to respect and admire the talents he has. It all seemed so effortless to him from the turning of pots on the wheel to creating extruded clay parts for us to use. Above all Jim was tireless in his interest in his students creating an atmosphere of creativity which was infectious. I personally still miss my days in Jim's classes and sometimes yearn for days just pottering with Jim.

Jim has been living, tutoring and working in West Cork since the beginning of the 1980's and over the time has become a most sort after ceramicist. His works can been seen in many locations exhibitions, galleries and Art + Craft shows. From his Pottery in Rossmore he and Etain Hickey create the most wonderful pieces. Today Jim has granted Virtu - Art an interview where we talk about the bigger picture. Not just his work and teaching to day but about his journey.

In the early 80's Jim and Etain were creating sculptural pieces and exhibiting in galleries. Everyone in ceramics were developing their own stuff and the pressure was on to create something different in the way of mugs and jugs etc at first that was all the kind of things we were doing. As time passed the business changed and matured. Then in 2000 we returned to creating more sculptural pieces. These have been sold through galleries and are moderately successful. It is a very up and down kind of way to make a living.

Apart from teaching for two days a week Jim will spend every waking hour in one form or an other making and developing new stuff. Jims works alone now as Etain is now running her craft shop Etain Hickey Collections in Clonakilty.

Jims says "there are a lot of people here now who call themselves Artists these are the Designer Makers. They design pieces only and get there work made up in China. Not many actually design and make there own pieces. It seems you are not regarded that well if you are a maker these folk it seems according to Jim are at the bottom of the pile now. This is one of the ways the industry has changed being a maker does not mean very much now. The people that supported the makers in the 1990's are still there but do not have as much money to spend on art or craftwork. There is a new generation of buyers, generally it has become a throw away society which wants to replace there stuff almost seasonally or annually to reflect the current trends in design. This new generation does not care where the stuff is made."

Getting back to Jim he says in the past the mid 1980's there were a lot of potteries which supplied the local communities with there wares. The throwers who came to work in the potteries were Portuguese. They would be in France during the summer and then would return to there own businesses during the winter. These throwers were expected to work very hard Jim gave us an example of a Scottish Journeyman thrower he would work one month in six during the mid 1970's he would through 100 big store jars in the morning. He would then make 500 mugs and then in an evening session he would make another 50 big jugs. Every day for his one month in six. These migrant throwers do not exist now (died of over work no doubt) and that level of output is now only achieved by a mass producing manufacturing processes.

"If you want to be a maker now today you have to find a voice and you have to find your own voice. You are always looking for some way to express yourself, that is what you strive for. Inspiration for you work is a funny concept a lot of people in this region get there inspiration from the landscape here in West Cork. But a lot of the inspiration actually comes from just working. Your working away and one thing leads to another in that way it evolves. Hopefully that's the way it works and then you have to market your work. That is the difficult thing "getting out there". There has been a big drive from the Arts Council, called the collectors market if you are making individual pieces then there are collectors who appreciate them and pay the money."

Jim Turners current work is focused on creating textured surfaces which are unique to the ceramic process. The Bottle and Trophy sculptural forms are constructed from altered extrusions. Surface treatment is built up of many layers of slips and glazes which are applied by brush. The vagaries of the firing process (some are fired more than twice) go to create pieces which encapsulate a primeval moody stance.

Jim also offers courses which are held in his very well equipped and long established working studio pottery. The aim of these courses is to give people a better understanding of design, the raw materials and the production technique of a ceramic piece. These are activity breaks to take a step outside yourself and get away from the everyday hustle and bustle of modern living. If you are interested in Pottering with Jim follow the links below.

Web links related to this interview with Jim Turner Rossmore Pottery

• Jim Turner Rossmore Pottery, Rossmore
• Etain Hickey Collections Clonakilty
• Hands On Creative Workshops in West Cork

The Encyclopedia of Pottery Techniques
This guide to all the major pottery techniques contains practical advice on how to put them into action. It provides guidance on selecting and using materials and equipment, step-by-step illustrations and examples of finished work.

Handbuilt Ceramics: Pinching, Coiling, Extruding, Molding, Slip Casting, Slab Work
The complete manual for shaping clay without a potter's wheel. Handbuilding with clay is wonderful place for beginners to start and a continuing fascination for experienced potters. Here you will learn all the basic handbuilding techniques, as well as how to decorate the surface and how to kiln fire. Basic Techniques; Coiling; Pinching; Extruding; Molding; Slip Casting; Working with Clay Slabs; Surface Decoration Techniques; Kiln Firing; Then, you will tackle a series of handsome projects, from a simple slab-built windowsill planter to an elegant extruded teapot. Full colour gallery of 272 inspirational pieces created by top international ceramic designers. 175 "how-to" full colour instructional photographs. Clearly presented step-by-step illustrated projects.

The Potter's Complete Book of Clays and Glazes: A Comprehensive Guide to Formulating, Mixing, Applying and Firing Clay Bodies and Glazes
This reference book is designed for professional and amateur potters as well as for pottery students. Approximately 1250 formulas are presented in a form which is free of lengthy descriptions or technical jargon. This book is a revised edition and includes new chapters on fritted glazes and vitrified pottery for lower-temperature firing. There are 250 new recipes and 500 recipes that have been recently revised. All of the recipes for glazing are nontoxic.

Clay: A Studio Handbook
Every day, ceramic artists encounter techniques, processes, materials, problems, and more, that leave them with questions such as: How? Why? Where? Clay: A Studio Handbook, by Vince Pitelka, answers those questions with authoritative, comprehensive coverage of topics ranging from materials, studio safety, making and improvising tools, equipment, firing processes and theory, and much more! Drawing on more than 30 years of experience in ceramics, Pitelka has created the most practical, all-inclusive studio handbook for students, studio artists, educators, and all those interested in the art of clay. Ten chapters, addressing the full range of ceramic processes, bring a lifetime of ceramic knowledge directly into the hands of the potters. Written with concern for safe and efficient studio operation, diligent attention is paid to safety practices. A thorough table of contents, glossary, and index, make finding answers quick and convenient. Numerous step-by-step illustrations guide readers through the many techniques. Whatever your involvement with clay and the clay arts, this book belongs in your library or studio. This is a book you will use over and over again!

Illustrated Dictionary of Practical Pottery
Fourth revised edition contains articles on new trends such as paperclay, the use of print and mixed media are included as well as a lot of material on decorative terminology not found elsewhere. New photographs and illustrations make this a handy reference book for all potters.

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