0 of 5
Setting up his studio in his small hometown of Bathurst 27 years ago means that prolific potter Richard Pullen is not only close to summer tourist clientele, but also to the kaolin reserves he needs to mould his masterpieces.
Pullen, 49, who was born in Makhanda, but grew up in Bathurst, chose to set up the Richard Pullen Studio in the historical village after studying ceramic design at the former Port Elizabeth Technikon because it made financial sense to a young artist.
“After my studies I decided to open my studio in Port Elizabeth [Gqeberha]. However, it was quite difficult to establish myself in PE after studying,” he said.
“I had a large student loan to pay back and the studio/shop space was prohibitively expensive for younger me.
“Someone from my home village told me about studio/shop space open to rent at a more reasonable amount.
“Bathurst is incredibly busy during the summer months and I am grateful for the constant support over the decades.
“Winters are used for creative projects, research and development and catching up on commissions.”
Pullen, who shares his home with wife Marcel and daughter Willow, vividly remembers the moment when he knew that ceramics would shape his future.
“I was 15 years old and first touched clay at the Johan Carinus Art Centre in Makhanda.
“I remember it clearly. We had a sculpting with clay lesson which was liberating. It was a strange realisation that crept over me within the first weeks of creating with clay.
The Daily Dispatch asked him:
Q: What are the pros and cons of small town life for you?
A: The pros of small town life are that you are surrounded by green, beautiful nature — you are able to focus on what is important to you rather than be distracted by city life.
Life in general is at a gentler pace, people generally are friendly and community-minded and just about everyone seems to know everyone.
In tough times villagers tend to help each other. It’s not unusual to stop and chat to a friend when passing by.
The cons of a small village include the rumour mill, which more often than not is a broken telephone! As a creative person it can be challenging to get noticed or to network with the broader creative community based in urban centres further away.
Seasonal support is also something one needs to navigate. The internet and an online shop helps with this. Find me on Instagram, Facebook or visit www.richardpullen.co.za!
Q: Is your studio attached to your home?
A: My studio is on the same property as my house. It’s very convenient when needing to cover drying vessels or check a firing kiln.
Q: Describe the clay you use to create your pieces and also where you source kaolin locally.
A: I use many different types of clay. Some are purchased commercial clays. Other clays I blend myself in my studio. They are blended from raw unprocessed kaolin from Makhanda 55km away and a sticky terracotta sourced from the ground beneath my studio.
Q: Besides beautiful mugs and bowls, you also make some unusual items like oil lamps, tea bowls and French butter dishes. Can you say how you develop these ideas and also say which are your best sellers?
A: The main focus of my studio is to make creative art pieces that reflect my experiences and journey through life. These head off to galleries in urban areas where they are better appreciated than my village studio.
My studio in Bathurst is well known locally for quality functional wares. Creating quality functional vessels requires a combination of carefully listening to our visitors’ needs over time and being passionate about making items that you have pride in.
Everything I make sells. It often seems to follow seasonal cycles. It’s hard to pinpoint one specific line or item.
Q: How many ranges do you have and can you describe how you decide on your colour choices?
A: I have four or five different colour ranges of functional work. I tend to work in certain styles for a few years which slowly change and develop as my knowledge of the materials in use deepens and I play with new ideas along the way.
Occasionally I will add or drop a particular range if it feels right.
I am hoping to do a whole lot of colour testing soon which will be exciting. Which are my favourite glazes? It’s hard to say; my preferences change over time and I don’t make anything I don’t enjoy or am not proud of.
Q: Please describe your firing process.
A: Most of my creations are fired in an electric kiln to plus-minus 1200°C. From time to time I also will smoke-fire decorative pieces in a large drum using sawdust, wood, seaweed, aloe leaves, salt and copper oxide.
Q: What is the most interesting commission you’ve had?
The commissions that interest me most are the ones which allow me to further explore my creative passions. Making vessels that come close to the heart.
In my mind birds symbolise freedom
Q: Bird motifs frequently appear on your vessels. What do they signify to you?
A: In my mind birds symbolise freedom. I started incorporating birds into my work after a friend’s pet crow was shot by a villager after escaping their care.
More recently I have started to add an image of a girl into the vessel’s narrative. This was after my daughter’s most recent open-heart surgery.
Q: You make your own glazes. Can you say why and explain the benefits?
A: I started making glazes as I was taught to in my studies. My studio is very rural. It is not easy to pop into a ceramic supply shop as urban ceramicists are able to.
It allows me to create colours and effects from the stock of raw materials I keep in my studio. If I run out of a glaze I just make some more; there is no wait time getting it from supplier to my studio.
Q: Would you say you are part of the “things-to-do” list for visitors to Bathurst?
A: After 27 years of creating ceramics in Bathurst I hope so!
Q: Can people pop into your studio at any time and does this not interfere with your creative process?
A: Yes, visitors are welcome to pop in whenever my studio is open. We are open seven days a week through the peak summer season and Tuesday to Sunday morning outside peak times.
I definitely enjoy meeting visitors. It is a huge compliment when someone decides what you created is worth owning, whether that creation is a humble mug or a beautiful vessel made for personal expression.
When I am involved in work that cannot be interrupted my lovely wife Marcel is ready to assist or answer questions. My wife is the superstar in this endeavour!
Q: How many pieces do you create every month?
A: It’s hard to say. I try to look at quality not volume. If I am preparing for an exhibition of personal creations, five to 10 vessels might be made, where painstaking time is invested into each piece.
If I am preparing for summer visitors, I might make hundreds of functional items in a month.
Q: Is there anything exciting in the pipeline?
A: I plan to invest some time into testing new glazes soon. You never know what might be discovered so it’s hard to comment yet!
I have not committed to exhibitions this year as my daughter’s health journey is first and foremost in my mind.
For more information visit www.richardpullen.co.za
DispatchLIVE
Would you like to comment on this article?
Sign up (it's quick and free) or sign in now.
Please read our Comment Policy before commenting.