Philippa de Burlet

I began to make pots at school. The art room, and the art teacher, provided a quiet calm space, which became an oasis of contrast to the noise and chaos of boarding school life. 

I went to Harrow Art School in the early 1980s, chosen mostly because it had a crèche, and found a course that was intensely practical as well as having wonderful tutors. 

I use porcelain to make all my work; it can be thrown very thinly but is a strong durable material, which will last forever. Mostly my work is functional, bowls, cups, dishes, vases, candlesticks and jugs; everything is made to be used. Occasionally I branch out and make an installation. 

I make things in small batches, a dozen mugs at a time, three or four large bowls, a group of vases. I love throwing but can’t do it in public for some reason. Although it has become a process where my hands work almost automatically, I still have to concentrate and sometimes find that I’m holding my breath. It’s a fraction of the entire process, followed by turning then painting – sometimes done in three stages, - then the first firing, followed by glazing (my least favourite process) and then the glaze firing. I would guess that from wedging up the clay to taking a finished, glazed pot from the kiln, that each piece is handled for a separate process, at least a dozen times. 

For a long time I didn’t use much of own work at home but now I do. I have cups, bowls and dishes in use every day so I can confidently say that that everything goes in the dishwasher.