Potters on pots: Hannah McAndrew

There is something very alluring about the humble palette the historic potters of Staffordshire used and it is the understated beauty and simplicity of their pots that appeals to me. The colours were created by readily available raw minerals and clays from the maker’s immediate location. The tones although contrasting, complement each other – it is as though they naturally belong together. They are enhanced and enriched by a coat of treacly lead glaze.

In the late 1990s, I was an undergraduate of 3D Design at Manchester Metropolitan University, where I was primarily working with metal as I had an interest in making jewellery. However, the noise and lights of the metal workshop caused migraine attacks and I sought solace in the peaceful surroundings of the ceramic studios, without any expectations. I never imagined that clay would be so completely seductive and that it would determine the direction of my life henceforth.

My new-found interest was encouraged and nurtured by Alex McErlain, a hugely influential tutor who to this day is one of my dearest friends. Alex is still contributing to my career as an informal knowledgeable advisor and a key member of the firing crew of my wood kiln. He is a fine potter who introduced me to historical British pots and aspects of traditional studio pottery with an emphasis on functionality. He taught me how to throw and with determination I was able to produce my first pots. I recall the satisfaction and thrill of being able to use these early pieces in my day-to-day life. I was addicted.