Stoke on Trent’s vanishing kilns, craft and economy

Gladstone pottery museun

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Top: The grade II* listed Gladstone Pottery Museum where visitors can learn about city’s pottery history and manufacturing processes; Bottom 2 rows: The city is full of abandoned pottery factories, kilns and chimneys

 

Last year, I visited The Asia Triennial in Manchester, and I was pleasantly surprised by the how the city has evolved since my last visit back in the early 90s. The city has also been named the most liveable place in the UK according to the Global Liveability Survey – beating London for the second time.

This year, after my 2 day visit in Stoke on Trent, I left the city feeling rather depressed, appalled and agitated. Unlike Manchester, Stoke on Trent exposes the uneven distribution of wealth in this country; and how the government has neglected many parts of the country that urgently require regeneration and economic support.

 

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Top row: Hanley park; Bottom left: The grade II* listed train station; Bottom right: The city’s typical terraced houses

 

In its heyday, about 4,000 bottle kilns dominated the city’s skyline, now only 47 (listed) are left standing. Walking around the city, one can’t fail to notice the abandoned factories, kilns and chimneys that once played a vital role in city’s development and economy.

In the 1980s and 90s, Stoke-on-Trent was hit hard by the decline in the British manufacturing sector; and as a result, many factories closed down or moved overseas, leaving a sharp rise in unemployment in the ‘high-skilled but low-paid’ sector. Although in recent years, there has been a revival in the city’s pottery industry, with ceramic exports have rising by 36 percent between 2009 and 2014, the road to recovery may still take some time.

 

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 The city’s mishmash architectural styles

 

Last year, the city made headline news when Stoke-on-Trent City Council put 33 derelict properties on the market for a pound each in a desperate attempt to clean up the area. The ‘Clusters of Empty Homes Programme (£1 home scheme)’ was a bold and unconventional idea, and it seemed to have paid off when thousands applied for them. Yet despite all the positive press coverage of the city’s ‘renaissance’, I was not entirely convinced when I was walking around the city on a weekday afternoon.

 

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The city’s Art Deco, Brutalist and contemporary architecture

 

Lack of urban planning is only one of the issues in this city. The mishmash architectural styles – not in a positive eclectic way – reveal the incoherency of city planning, hence you can find architectural styles from all eras in one street. I find it bewildering that unnecessary regeneration (and social cleansing) is constantly taking place in parts of London that erase its local identity; whereas cities like Stoke on Trent would probably benefit more from it than a wealthy and over-developed city like London.

 

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The ‘Cultural district’ is the least cultural place I have ever visited

 

On paper, the cultural quarter sounds exciting, but in reality, I saw nothing related to ‘culture’ except for a street art piece and hand-written tourist information on a disused shop window panels. Many of the shops in this quarter are derelict, while the ones that remain open are chained stores like Waterstones and TK Maxx.

There were teenage ‘hoodies’ hanging out in the streets, and older guys drinking outside of the pubs looking as if they have been there for days! Even the sun couldn’t lighten up the grim and dismal atmosphere in the city centre, and I was desperate to get out.

 

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‘Emptiness’ in Stoke on Trent’s city centre

 

I did some research on the city when I got back to London, and I discovered a Regeneration masterplan report proposed by the local Council in 2011. This plan suggests that followng: “the redevelopment of Stoke Town has the potential to create 500 jobs over the next 5 years and attract £25m in investment. The Council is providing £1m for remediation works and a further £2m for the wider town centre.”

Four years after this publication, I am not sure how many of its grand plans have been realised. As far as I could see, the former Spode works and its surrounding area still look dilapidated, and the same goes for the city centre or cultural district. So what happened to this master plan? Was it lack of funding that obstructed the regeneration?

I have never been to Detroit before, but I have a feeling that Stoke on Trent is the smaller and less drastic UK equalvalent of the US industrial capital that fell from grace. If Detroit is able to slowly bounce back from bankrupcy, then there is still hope for Stoke on Trent to thrive again as UK’s pottery capital.

The trip has been an eye-opening experience for me, and like most Londoners, I probably take things for granted and I tend to forget that London does not represent the rest of the country. It is a real shame that most of the foreign and government’s investments focus mostly on already wealthy cities like London, Bristol and Manchester etc. Shockingly, regional inequality in the UK is said to be the worst in Western Europe according to Eurostat, the data agency of the European Union. Many parts of UK are at least 20% poorer than the EU average, and the Shropshire and Staffordshire region (including Stoke on Trent) was named the 6th poorest in the UK in 2014. The gap between the richest and the poorest is growing at an alarmingly rate since this Government took office in 2011.

Now, I really want to ask David Cameron one question, “What happened to your grand vision of the BIG society?

 

Middleport – The last working Victorian pottery factory

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Trent & Mersey canal

 

I had pre-booked a guided factory tour at the last working Victorian pottery factory – Middleport pottery factory the morning after my visit to the British Ceramics Biennial. I decided to take a scenic route (also recommended by the B & B owner) along the Trent & Mersey canal as the factory is located next to it.

The one-hour walk offered a glimpse into the past of the city. Engineered by James Brindley and completed in 1777, the canal played a crucial role in the thriving pottery industry at the time. The pottery manufacturer Josiah Wedgewood was one of the major backers of the canal, as he saw the canal as an economic option for transporting huge amounts of china clay and other raw materials such as coal between the ports and his factories.

Unfortunately, with the demise of the potteries industry, now there are only derelict factories and kilns along the canal. In 2011, Middleport was at serious risk of closure, and the Victorian factory was in a state of disrepair until Prince Charles and The Prince’s Regeneration Trust stepped in and rescued it from being turned into a car park by the pottery giant Steelite interational next door (informed by our guide at the tour)!

 

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The facade of the Victorian factory

 

The Grade II* listed site was constructed in 1888 for a well-known local ceramics company, Burgess & Leigh Limited. The company was founded by Frederick Rathbone Burgess and William Leigh in 1862, and it was Leigh who had the idea of constructing a new pottery factory next to the canal. An architect was hired to design the factory (which was unheard of at the time), and it became widely recognised as the “Model Pottery” in the Staffordshire pottery industry. With its 3 biscuit and 4 glost bottle ovens, the factory was known locally as the “Seven Oven Works”.

Sadly, only one biscuit oven is left standing today; all the glost ovens were demolished in 1949, whilst the other 2 biscuit ovens were removed in 1965. The last biscuit oven survived solely because it is attached to the building, hence it escaped the fate of demolition.

 

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middleport pottery factory middleport pottery factory

Top left: Original factory signage; Top right: The Victorian steam engine; 2nd row right: The entrance to the last kiln at the factory; Bottom row left: Old factory machinery; Bottom row right: A vintage poster of the factory

 

After a three-year, £9 million regeneration of the site, the restored Pottery opened to the public in July 2014. It has resulted in the safeguarding of 50 local jobs and the creation of 66 more. Aside from a visitor centre – featuring the original Victorian offices – the site also has an open kiln with a small museum, an art gallery, a room with a Victorian steam engine, Prince of Wales Studios for young designers and craftsmen, a factory shop and a cozy cafe serving wholesome local specialities.

 

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middleport pottery factory

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middleport pottery factory

 

Before the factory visit, I had no idea that this is the last of its kind in Britain, and I was glad that had pre-booked the guided factory tour. The tour was not only informative, it also enabled us to understand the processes of the pottery manufacturing. We were led into different parts of the working factory and chatted to workers who are not only locals, but the 2nd or 3rd generation workers of the same factory!

 

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middleport pottery factory

The underglaze tissue printing room (except for the lady working on the Fortnum & Mason pottery in 2nd row right)

 

Burleigh is renowned for its traditional printing technique – the underglaze tissue ceramic transfer printing which first developed circa 1850. I was surprised to learn that Burleigh is now the only company in Britain (or the world) to employ this time-consuming but skillful technique. Other companies now use either screen printing or digital printing to save time and costs. Although Burleigh also employs these printing techniques, the underglaze tissue printing is what makes the company special.

Seeing the workers happily applying their skills and enjoying their tasks really made my day. I wish that more British companies would continue to support local manufacturing as it is part of their heritage. These skills and craftsmanship would be lost forever if these companies continue to set up factories overseas to cut costs.

 

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Top left: The art gallery; Top right: The studios for young local designers/artists; 4th & bottom rows: The factory shop

 

After the tour, I spent some time browsing in the factory shop and I ended up buying an English ceramic tea set for my brother as part of his wedding present. Having just met the workers at the factory, it felt good to know that each piece of the set was made with care, skill and passion.

If you are going to spend one or 1/2 day in Stoke on Trent, then I highly recommend this guided factory tour. It is not only about ceramics, but fundamentally it is about the British history and heritage.

 

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middleport pottery factory cafe

Top left: The display of pottery in the visitor’s centre; Top right: The Burleigh pottery board game; Bottom: The popular cafe by the canal decorated with murals painted by local artist

 

A short film about the Middleport pottery factory

British Ceramics Biennial 2015

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The former Spode pottery factory was used as the main hub of the event

 

I found out about the British Ceramics Biennial (26th September to 8th November) on the news, and it got me intrigued as I have never visited Stoke on Trent, the pottery home of England before this trip. Since the 17th century, the area (now a city composed of six towns) has been associated with industrial-scale pottery manufacturing, and it earned its nickname as “The Potteries”.

In the 1970s there were 200 potteries factories operating in the area; today there are around 20. The demise of British manufacturing saw the shut down of many well-known pottery factories like Wedgwood, which went into administration in 2009. Many renowned British ceramics brands now produce their potteries in Asia to cut costs, and this has had a profound effect on the industry. And as a result of the closing of the pottery factory, British Ceramics Biennial was set up in 2009 to promote the declining industry.

Luckily, the revival and appreciation of British craftsmanship in the last few years has brought new light to the industry and British manufacturing. Younger potters and ceramic manufacturers have been setting up small studios and factories in the city, which is helping the economy and restoring the reputation of this once-thriving pottery city.

 

british ceramics biennial 15british ceramics biennial 15 Ingrid Murphy and Jon Pigott's 'The Campanoligist's Tea Cup'Rita Floyd's ceramic flowers british ceramics biennial 15british ceramics biennial 15british ceramics biennial 15 british ceramics biennial 15

Top right: Ingrid Murphy and Jon Pigott‘s ‘The Campanoligist’s Tea Cup’; 2nd left: Rita Floyd’s ceramic flowers

 

Although I followed official map to the main hub of the event, I was quite skeptical as I walked through the gates of the derelict looking former factory ground of Spode. (The factory is no longer in use, but there is a Spode Works Visitor Centre on site which opens in the weekends.)

It was a relief when I eventually found the entrance to the exhibition area. The vast (and rather cold) factory space had been transformed into a gallery showcasing the best of British ceramics including works by renowned and up-and-coming artists from different parts of the country.

 

‘Spode Trees and Dressed Silhouettes’ by Charlotte Hodes Steve brownbritish ceramics biennial 15british ceramics biennial 15 british ceramics biennial 15

Top left: ‘Spode Trees and Dressed Silhouettes’ by Charlotte Hodes; Top right: Steve Brown; Main: Shop selling ceramic pieces

 

Eleven ceramic artists were selected for the AWARD competition, and their installations were exhibited in the centre of China Hall. The winner, Sam Bakewell‘s Imagination Dead Imagine is fascinating clay structure housing 12 years of occasional object making.

I also love Caroline Tattersall‘s ‘Geysers/ Breaking Through‘, which was inspired by Patricio Guzmán‘s ‘Nostalgia for the light’ (one of my favourite documentaries). Several curved vessels containing clay reveal the material in different states including ones emitting bubbles and steam like the gurgling geyser. The primitive and ephemeral aspect of this work demonstrate fully the versatility and essence of clay.

 

 Mella Shaw paul scott's 'Guldagergård Tree'Amy Hughessam bakewellSam Bakewell, Imagination Dead Imagine'Crossing Boundaries' by Anne Gibbs Caroline Tattersall's breaking throughAneta RegalJames Rigler

Top: Mella Shaw; 2nd left: Paul Scott‘s ‘Guldagergård Tree’; 2nd middle: Amy Hughes; 2nd right & 3rd: ‘Imagination Dead Imagine’ installation by Sam Bakewell, the winner of the 2015 British Ceramics Biennial AWARD; 4th left: ‘Crossing Boundaries’ by Anne Gibbs; 4th right: ‘Breaking Through’ by Caroline Tattersall; 5th row: Aneta Regal; Bottom row: James Rigler

 

Another showcase installation at the site was ‘Resonate: Remembering the lost soldiers of North Staffordshire’ by Stephen Dixon & Johnny Magee, which was placed in a separate room. Dominated by a monumental clay head by artist Stephen Dixon, made using a ton of clay sourced from the WWI battlefield sites of Passchendaele, the sculpture is based on the Victory Medal of 1919. The structure was accompanied by a sound sculpture by Johnny Magee, which orchestrated the familiar and incidental sounds, poignant songs and popular music of the period.

 

british ceramics biennial 15angie thirkellkate haywoodbritish ceramics biennial 15Standing on the Verge/Live Up by Nao MatsunagaZen Rogue by Vilas Silvertoncharlotte barker Standing on the Verge/Live Up by Nao Matsunagabritish ceramics biennial 15ragna mouritzen

2nd left: Angie Thirkell‘s Eastern inspired ceramic tableware; 2nd middle: Kate Haywood; 3rd & 4th right: Standing on the Verge/Live Up by Nao Matsunaga4th leftt: Zen Rogue by Vilas Silverton; 4th middle: Charlotte Barker; Bottom row: Ragna Mouritzen

 

I was very impressed by the standard and variety of works showcased at the site, though I would have lingered longer if the site hadn’t been so cold!

After visiting the main hub, I walked across town to The Potteries Museum & Art Gallery in city centre before it closed its doors at 5pm. Aside from its superb collection of over 5000 ceramic pieces, it also traces the history of British ceramic manufacturing and the importance of Stoke in this industry.

The temporary ceramic exhibition ‘Confected, Borrowed and Blue…an installation by Paul Scott’(7 February 2016)is a delight. Scott uses the traditional visual language of blue and white decoration on ceramic to explore contemporary social and political themes. There is irony and playfulness in his works, as demonstrated in ‘Scott’s Cumbrian Blue(s), Cow in a meadow (after Damien Hirst)’.

 

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Top left: The statue outside of The Potteries Museum & Art Gallery; Top right: The poster of ‘Confected, Borrowed and Blue…an installation by Paul Scott’;2nd row: The facade that depicts the manufacturing of potteries; 3rd row: Paul Scott’s ‘Scott’s Cumbrian Blue(s), Fukushima’; 4th row: Scott’s Cumbrian Blue(s), Cow in a meadow (after Damien Hirst)’; 5th right: Eric Ravilious’ design for Wedgewood

 

To be continued…