My studio life: Edmund de Waal
By Harriet Baker
Published on 24 September 2015
We visited Edmund de Waal in his south London studio, where he told us about creating a space for both making and writing.
"I’m a potter and I make pots. Everyone gets very posh about what they’re called but I like the simplicity of just calling myself a potter. It’s a good Anglo-Saxon word," says Edmund de Waal.
De Waal has received international acclaim for his work. His elegant lichen-coloured porcelain vessels are arranged in groups, large-scale installations of which have been exhibited in intriguing spaces, such as Kettle's Yard in Cambridge, The Freud Museum in north London and Vienna's Theseus Temple.
But he is also a writer. His most recent book, The White Road: A Pilgrimage of Sorts, explores the history of porcelain from its origins in Jingdezhen in China to the early English potters of the eighteenth century. It traces his obsession with the beautiful and temperamental substance, and his own obsession with white. He has written widely on ceramics and is perhaps best known for his 2010 book, The Hare with Amber Eyes, which examined the extraordinary history of his family through a collection of Japanese netsuke (small carved figurines). Other titles include The Pot Book, a history of ceramics, and a monograph of the seminal British potter Bernard Leach.
This autumn, to coincide with the publication of The White Road, the RA Library and Print Room hosts his exploration of the colour white, a display of unusual objects including sculpture, ceramics, paintings and manuscripts. As he prepared for this project, we visited him in his studio in south London, where he talked about the simplicity of the pottery wheel, the perils of porcelain dust and why he listens to Bach on repeat.
white: a project by Edmund de Waal will be in the Library and Print Room of the Royal Academy from 26 September 2015 until 3 January 2016. Timed entry slots will operate. Booking is essential.
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