Notes – Becky Nolan Ceramics

ISOLATION POTS: INTRODUCING BECKY NOLAN CERAMICS

As one of the co-founders of London-based shop, The Peanut Vendor, Becky Nolan has spent the past 15 years selling beautiful 20th-century furniture, art and collectible objects. When the shop had to temporarily close during lockdown, and with no buying trips on the horizon, she turned her attention to making her own pottery…

INTERVIEW GAVIN LUCAS

How did your Isolation Pots adventure began?

Early in lockdown, my loaf didn’t rise after nursing my sourdough starter for a week and that nearly sent me over the edge. I had done a hand-building ceramics course last year at Turning Earth in Leyton, so when things got really quiet in lockdown (and after the bread incident) I ordered a load of clay and set about making all
day. It was a great distraction from what was a pretty weird time. So I started spending more and more time making. First it was just in the kitchen, then in the living
room on the dining room table. Spending all day (and sometimes all night) building pieces and testing techniques. Then, eventually, we sold our spare bed and turned the spare room into a studio. I bought a kiln so I can fire pots in our garden. Insatiable is the word to describe what has been going on – I just can’t stop.

Who inspires you?

I’m a huge fan of the 20th century heroes of ceramics like Peter Voulkos and Hans Coper. Also Roger Herman is just the best. Sculpturally, I love the organic forms of Isamu Noguchi, André- Aleth Masson and Jean Arp. At The Peanut Vendor, our style is eclectic 20th century, so I’ve
seen it all and I love it all, but especially the studio pieces and the one-offs. There’s just nothing like a unique handcrafted piece.

Tell us about how you approach making

There is always a loose plan, but it tends to evolve in the making. I am a hand builder and I use the coiling method, which is one of the oldest forms of pottery-making. I do love thrown pots but there is something so perfect about the imperfection of hand-building. You’re more likely to have an asymmetric shape and an artist’s signature style is that much clearer sometimes on a hand-built pot. I tend to have a few pots on the go at the same time; you need to when hand-building. You can build too fast and things can collapse. I am always trying to make the kind of pot that would look good in my home, that can slip right in, and that means an eclectic collection of shapes. I sometimes paint – and I like to apply this approach to some of my pots. I like to see big drips and brushstrokes on the ceramics. I try to use the surface as a canvas rather than going with the traditional route of dip glazing – it’s partly because by the limitations of my home studio.

Have there been any ‘bread moments’?

The number of times I’ve opened the kiln only to discover I’ve ruined a pot with glaze or it’s cracked the disappointment that follows is intense. There is so much that can go wrong. I load the kiln and then that night I will dream about the pots in it melting. I dream about pottery or glazing most nights.

How vital has this project been for you during what has presumably been a very tough time?

I’m just so pleased that I managed to use the time productively. To be working on pots is to be in a bit of a flow state. And that's definitely a good thing for my mental health
helping ease the pandemic anxiety, even if paradoxically it’s highly addictive. I'd like to learn so much more so I'll be making time to do that and keep finding my own way with it.

Becky Nolan is co-founder of The Peanut Vendor (thepeanutvendor.co.uk). Follow her ceramics adventure on Instagram @beckynolanceramics