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April 15th

This is nerve wracking. Tomorrow I start the residency and who knows what will come out of it. I have never before worked in a public space and I know not what I will see, nor how I will use the information. I will try to begin humbly, just trying to look closely and listen carefully.

April 16th

Having produced a number of drawings from the porcelain collection I am exhausted. I decided to spend the day considering the profile of a number of pieces of porcelain, and ignoring all detail. I coupled the simple, linear profiles with comments overheard from the visiting public, and sounds overheard. To return to looking at form and proportion was very refreshing, and exacting. Half of me was screaming, colour, collage, tone, pattern, but in a self disciplined fashion I stuck to the task of focusing on profile, outline. The results are simple, direct and covered in handwritten notations, they will make an interesting series of etchings.

April 17th

It was completely different to make a start on a draft of a children's book, "Storm in a Teacup". I mentioned the concept to Henry Sandon and he said he and his dog had featured in the film of the same name. I was then allowed behind the scenes to see the archives, for example the Prince Regent's Service pattern book, unbelievably extensive and moving. Twenty uears ago 1500 were employed at Royal Worcester, now 50, so sad. It feels such a privilege to handle the old leather bound pattern books, and leaf through the age browned pages with their intricate and delicate designs. The skill and mathematics in each design is awesome. I like the idea of taking the circles and playing around with the space within it. The archival boxes contain typewritten sheets with additional copperplate handwritten notes, very beautiful in themselves. I like the crossings out and mistakes. Everything is stamped and dated, ticked off in pencil etc. These are working drawings, ongoing documentation. A true record.


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I realise, as I consider this project, that I will come face to face with aspects of my past, and remnants from my heritage. My grandfather, Samuel Lea, worked very successfully in the Potteries, in Hanley, Stoke on Trent, for many years. Sadly, he was forced to find better paid work elswhere in order to support his family. However his portfolio, showing many wonderful designs, and the letters congratulating him on winning various art competitions, is currently in my safekeeping. It is humbling to realise that this was the area where he was most successful, and sad, very sad, that I never got to meet him.


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The space where I will be working, up on the second floor has now been identified, complete with blue walls and blue carpet. A table, chair, secure cabinet and better lighting will hopefully be installed prior to Monday April 16th when the project will really start. There will even be access to a kitchen closeby so that I can drink endless cups of tea, just like at home. I have a view through a window nearby and air conditioning for the summer months when it really starts to hot up. The project is now starting to feel very real and imminent. The ideas are also starting to take shape vis a vis subject matter, although they remain still very much in my head. It will be a luxury to focus on my work for a full two days a week, without interruptions. Here's hoping!


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Am poring over catalogues in anticipation of placing a large paper order. Have chosen Somerset White Velvet (250g) for my etching paper, a Japanese paper (Tenryu – 70g) for the relief block printing, and Snowdon cartidge (300g) for proofing. At a planning meeting on Monday we will decide whereabouts in the Museum I will be situated for ten months! And we will order the press. Need also to order a few etching sundries, stop out and straw hat varnish, ferric chloride crystals etc.


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