Robin Welch

Robin welch 1936-,
1953 penzance school of art , worked at leach pottery ,St Ives , periodically.
59-61, Art and desaign london .
62-65 Melbourne Australia.
65-Stradbroke , eye Suffolk.
Also designed for Midwinter, Denby and Wedgwood.

















57cms tall sculptural variagated vase , various glazes Matt , lustre , porcelain , multi firings .

All pieces were made for St. Ives Ceramic exhibition at john bedding's Premises this year.

Robin welch slab vessel 11" high.

tenpot wrote:lnteresting that the glaze looks like paint

The "glazes" are mostly enamel paints and they are applies with a brush, palette knife as you would if you were composing an abstract painting. Robin is deep down a painter and sculptor, who got into making pots because one of his tutors at Penzance School of Art was Michael Leach, who got him a job at the Leach Pottery during the holidays. One of the best

Hand-built vase 49cm tall

studio-pots wrote:

tenpot wrote:lnteresting that the glaze looks like paint

The "glazes" are mostly enamel paints and they are applies with a brush, palette knife as you would if you were composing an abstract painting. Robin is deep down a painter and sculptor, who got into making pots because one of his tutors at Penzance School of Art was Michael Leach, who got him a job at the Leach Pottery during the holidays. One of the best

yes but a glaze changes colour after firing which is very different than painting with oil paint or acrylics the square pot above somehow looks like its not been fired it retains a painterly quality

tenpot wrote:

studio-pots wrote:

tenpot wrote:lnteresting that the glaze looks like paint

The "glazes" are mostly enamel paints and they are applies with a brush, palette knife as you would if you were composing an abstract painting. Robin is deep down a painter and sculptor, who got into making pots because one of his tutors at Penzance School of Art was Michael Leach, who got him a job at the Leach Pottery during the holidays. One of the best

yes but a glaze changes colour after firing which is very different than painting with oil paint or acrylics the square pot above somehow looks like its not been fired it retains a painterly quality

Glazes do change colour when fired but Robin uses very little glaze except maybe as an initial "underwash" if you get my meaning.

do you know what he used to create those bright colours? I love the yellow and red shown on Ed's latest pot

I for one certainly wouldn't know about the technical side of the making , but I like pieces for what they are , painterly / sculptural etc. they seem timeless , strange I supppose ,being modernist and acceptable ,yet primitive at the same time , these are pots that speak !, if you listen .

studio-pots wrote:

tenpot wrote:

studio-pots wrote:

tenpot wrote:lnteresting that the glaze looks like paint

The "glazes" are mostly enamel paints and they are applies with a brush, palette knife as you would if you were composing an abstract painting. Robin is deep down a painter and sculptor, who got into making pots because one of his tutors at Penzance School of Art was Michael Leach, who got him a job at the Leach Pottery during the holidays. One of the best

yes but a glaze changes colour after firing which is very different than painting with oil paint or acrylics the square pot above somehow looks like its not been fired it retains a painterly quality

Glazes do change colour when fired but Robin uses very little glaze except maybe as an initial "underwash" if you get my meaning.

so you mean he actually uses the pot as a support to paint on without a final firing, that must annoy the purists

found this on the net .

Robin Welch is one of the most highly respected contemporary British potters. The full range of his work includes large vessels with related paintings, fine drawings, and distinctive bowls and vases which explore colour, surface texture, form, detail of edge, and line.

As a student Robin experienced and absorbed wide ranging movements in ceramics, from the discipline of the Leach Pottery to the freedom of approach promoted by the Central School in London. His current work is committed to the making of one-off pots which are thrown with further thrown or hand built sections joined on. A white slip is applied prior to the biscuit firing, and followed by multiple firings for stoneware glazes (in reduction), earthenware glazes, enamels, raku, and lustres.

tenpot wrote:

so you mean he actually uses the pot as a support to paint on without a final firing, that must annoy the purists[/quote]

No, as Big Ed says that are fired after "painting" but amongst other things he does use enamel paints that are painted on and the pot is then fired. There are collectors who don't like his pots, as you would expect, but I have never heard anyone complaining about his method of decoration.