Gallery visitors ranged from professional and amateur potters to those who have strayed into the gallery while on their way to feed the ducks on Rufford’s lake. So what was it about Frith’s work that drew such universal acclaim?
Primarily, here was pottery people could relate to. A collection of more that 300 platters, dishes, jugs, mugs, jars, boxes, bottles and teapots glowed in rich jewel colours, to be highly valued certainly, but also begging to be used.
Frith’s craftsmanship is impressive. From the plump curves of bowls and ginger jars, to the beautifully proportioned jugs and pitchers there is a strength and confidence in the thrown shapes that must be the envy of every amateur potter, and some professionals too. Handles display the same sure touch, a spiral of scrolling here, a simple twist of clay there, but nothing over-elaborate to distract from the clean line.
The price list includes a glossary with details of glazes, ash, tenmoku, kaki, shino, celadons, but Frith doesn’t give away too many secrets. Overglazes and wax resist decoration are the key notes of the work, with a verve and vigour in the brushwork and trailing. The layers of glaze soften incised lines and impressed decoration, but these are re-emphasised with trailed pigment, trellising and spots of colour.
Familiar Frith trademarks and motifs still have their place on the pots. Some of the platters are petal-edged with a curved cut and rejoin technique, a favourite with buyers since the seventies. A flowing vine design finds its roots in the celadon glazed stoneware bottle from 1985, also on display at the exhibition. Peacock feathers and leaping fish are the inspiration behind other designs.
But much of the attraction of Frith’s work is in the constant evolution and individuality of the pieces. Alongside that which will be familiar to Frith-watchers, there are also surprises, for instance the oval and rectangular murals. In contrast to the rich dark tones of many of the pots, there were forms in cool coffee and cream shades with a delicate three dot design. A series of lidded boxes and square platters at the end of the exhibition displayed a more abstract approach to decoration, with combed effect in areas of dark blue, rich russet red, creams and light blue, intermingling to give a striking and refreshingly different effect. These however, were not yet sold, while vine design mugs were conspicuous by their red paper dots.
The section at the beginning of the exhibition was testament to Frith training and experience. Here college work, exam projects from Wimbledon and Stoke, earthenware, slip, press-moulded pieces and an oxidised stoneware coffee set from 1968 spoke of great things to come.
David Frith has fulfilled his promise and continues to impress – just one result of his constant experiment and research into glazes. His work succeeds at two key levels. It look great, and it works. While student potters plead ‘give us your glaze recipes’, a passer by lifted a lid and commented ‘I could make a pie in that…’ Isn’t that what pots are all about?
Judy Adams
Ceramic Review, August September 1997, No. 166