Simon Leach - the Genetics of Pottery

In 1956, a young child by the name of Simon Leach was born into a family of potters with an extensive history, one that literally changed the world. The patriarch of the family, Bernard Leach, built a studio in St. Ives, not too far from Cornwall in England. His son moved to Lowerdown not long after the birth of his son. It was no wonder that Simon Leach did not have the contact one would imagine he would have with the grandfather that shaped the very nature of the history of pottery along with his dear friend and fellow master potter Shoji Hamada. Bernard and Shoji were making history by working diligently to prevent the loss of one of the world's most prized works of art that began as a way of survival long before the Leach family or the Hamada's were born. The invention of pottery is partially responsible for bringing humankind into the area where we exist today. Pottery itself was not completely obsolete or something unknown in the early days because many early potters used the coiling form to create pots but the prize that would propel the history of man into a multitude of directions came around the time of the invention of the wheel. The wheel brought new abilities to the people of centuries ago; however, in the 1920s, it was almost lost to history. Bernard wanted to push the future of pottery forward whereas his friend and comrade Shoji hoped to bring back the earliest pottery-making skills of the Japanese. The history of Japanese pottery began with the forms referred to as Jamon. Shoji worked his way through creating this earliest form of pottery then moved forward through the ages as he recreated each additional form of pottery created by his people. His decedents as well as those of Bernard Leach picked up the art of creating pottery with the exception of Simon Leach. He had no interest in making pottery in the beginning despite his being the newest member of a family included in the history books on the subject of pottery itself.

Simon never had the opportunity to work with Bernard. His father moved the family to Lowerdown, away from St. Ives where Bernard and Shoji continued their work when not traveling around the world teaching others and giving seminars about the need to preserve this part of history of mankind. Simon had no memories of the man that was his grandfather as it related to pottery; however, some advice from the elder Leach shared one Christmas years later would stick with the young man becoming words he would later live by as an adult. The simplistic yet idealistic advice was short and simple, "look for beauty but also the usefulness in a pot." These words of wisdom derived from Bernard Leach and shared with his grandson. These stepping-stones one day led Simon back into the world of pottery as it did those of others in the Leach family. It rounded out his ideas about pottery itself showing in his work many decades later.

In March of 2008, the Leach family in conjunction with the Hamada family and other organizations made it possible to restore and re-open the Leach Museum, which continues to reside on the site of the initial studio where Bernard and Shoji worked out their ideas of what pottery was to them while experimenting with various techniques. It was a place where a variety of students, curious onlookers, and apprentices learned the trade skills necessary to become potters. The ribbon-cutting ceremony included many important people within the community and within the Leach and Hamada families. In fact, Tomoo Hamada and John Leach were present for the traditional ribbing cutting ceremony that officially opened the museum to the public. Inside the museum there are a variety of pottery pieces available to view including those created by Bernard Leach, Shoji Hamada, David Leach, John Leach, Seth Cardew, and even Simon Leach. Other works by the various students passing through over the years sits among the various displays that tell the story of the founders of the museum, their ideas, and the growth of the studio itself as well as the impact the Leach and Hamada family had within the pottery-making community. Tributes from various famous people line the walls in stories about the two men including their many honorary titles and commendations for the work they did to save pottery as an art form and a way of life.
Simon Leach, the youngest of the Leach family at the time had no true interest in pottery. It was not until he left home to travel about Europe and finally came to the island of Gavos, Greece did he find the true need for pottery. It was something of an epiphany to find himself without the financial resources to purchase dish and cookware. It finally came to him that with the assistance from nature itself, he could survive. He fashioned a pottery wheel and kiln from the items around him. In short order, he had dishware and baking ware that allowed him the items he required to become self-sufficient. Just because he never took an interest in the family business did not mean he was ignorant of the techical details of making pottery.

Simon spent severla years in Gavos before returning to Lowerdown to work as an apprentice under the education of his father for the next five years. His father not only taught him the trade of pottery, he also taught him the basic ideals behind it. Bernard's words so long ago about finding beauty within the pot but also functional usage played a major role in his education. One only needs to visit the website Youtube.com and seek out Simon's page with videos of his studio to find out just how prominent those words were and how far he took them. The shelves of his studio sit lined with various olive oil jars, tankards, plates, general-purpose bowls, platters, mixing bowls, and many other items that one could use within the home. Simon even drinks coffee from one of the coffee mugs he made himself. Suffice to sa, approximately 99.9% of Simon's work is functional pottery that one can use in everyday living.

After leaving the safety of home, Simon spent six years working as a pottery in Exeter. The studio was small but it is where he found himself as a pottery. He gained the knowledge and experience that gave him courage to set out on his own. The showroom in Silverton and its success gave him the confidence he needed to push forward in the world of pottery.

In the 90s, Simon left for Easttern Spain and continued to work in stoneware, porcelain, and Raku. In 2003, he moved a short distance down the road from his current home to the place he calls home today complete with pottery studio and showroom. Between workshops, entertaining tourists that drop by, and creating his own work to fill the showroom and other various galleries and such, he spends a great deal of time experimenting with varys clays and glazes from natural local materials. He says often there is a great satisfaction in holding a piece of pottery with the knowledge that the glaze created from carob or almond wood ash were your ideas, even if the glaze comes from the soil in one's garden. It is a living thing of beauty. The pieces are always, as Bernard explained so many years ago, functional wares.

Simon recently shared the reasons he loves pottery in the form of a videos at Youtube.com. The videos include Simon's philosophy of pottery in addition to how it fits so neatly into human life. The elements to creating pottery include the clay beneath our feet, the water from which life originates and must have to survive, the hands of the person to form the shape and form of pottery, the fire that hardens the pottery, and the air that cools the pottery before and after firing the pieces in the kilns.

Simon discusses the fact that pottery is ever lasting. The excavations at many archeological digs brings forth shards of clay at often complete pieces that gives us a window into the world of a civilization long gone from this earth yet their way of life, the pottery used to sustain these people remain behind as markers shouting out at us to let us know that, "we were here." The substances that bring clay from dirt beneath our feet then transform it into the beautiful and functional items used within our homes and lives have humble beginnings but once manipulated by man, they become a daily part of our lives.

For those of us fortunate enough to speak with Simon Leach personally learn a few things about pottery; we learn how it relates to life. As humans, we came from humble beginnings. The technology of today did not take place overnight. It took years of evolution to bring us to where we are now. However, even if the world were to change suddenly tomorrow and all the technological advances were to disappear, we could once again return to the use of the substances around us to survive. We have all the elements to bring clay to functional items we can use to start again.

Often, one can associate pottery to life itself. If while creating a piece of pottery, something goes wrong, all one has to do is to bring the material back to the most basic of forms and start again. If we hit rock bottom as a person, all we must remember is to take the basic of elements of our life and begin to build on that until we find that one day we managed to pick ourselves up and start over again. Pottery itself and the evolution of people as a whole are more alike than most realize.
As a fledgling potter with only memories from three decades ago as a beloved grandmother and great-grandfather spent time teaching me to work on a manual wheel much like the one Simon uses most frequently in his studio, I was able to come back to the tradition of my family with the assistance of many people. The instruction in specifics with hands on applications became available through the college program within the fine art department. The mindset and never-give-up ideals are straight from the emails and other correspondence with Simon Leach. He is more than a friend, more than an acquaintance. He is a mentor and one that loves to learn.

I hold no illusion about those responsible for helping me bring the tradition of pottery into my life again. My mentors have possibly forgotten more about the craft than I will learn even if I live to be a hundred years old; however, I am thankful for the assistance and the ability to take a personal direction as it relates to experimenting with various ideas and techniques. Some of these worked while others did not. It is all a learning process.

The never-give-up attitude I try to hold onto and often hear in my mind when I become frustrated with something I am attempting on the wheel are the words Simon leaves each video with at the end and he constantly reminds me of when we have time to correspond with each other through email. The words are simple yet powerful - "Keep Practicing." These words have become something of a mantra in my life as it relates to pottery. It has also begun to seep into other areas of my life as well.

If I had to give reasons as to why Simon Leach means so much to me as a potter, it would take a long time to list them all but in summary I can name a few pivotal reasons. Despite Simon Leach being a master potter, he has no qualms about admitting his mistakes. This brings out he fact that he is merely human and not some pottery god. This man is constantly pushing those who watch his videos or send him comments or emails to take risks as it relates to pottery. There are many ways to change the outcome of the pot for the better and any number of potters could be the one that discover something new. He believes in working on pottery and doing one's best at it whether one hopes to make a career of the process or simply remain within hobby mode. The important thing is to put your best into each piece. If it turns out badly, practice until it is right. Finally, Simon makes others feel equal to him. He has never once had problems with the so-called term of "god complex." He is more of a teacher, a friend, a kind man with a heart of gold, and most importantly he has become a mentor to those of us who follow his work and then try to recreate it until we find out own personal style. Instead of becoming angry for mimicking his style, he commends it. It is all in the line of learning, in his way of thinking. One has to begin somewhere and once the techniques establish themselves, we all go off into our different directions with a style that is uniquely our own.

If someone were to give me two wishes as it relates to pottery, my first would be to visit Valencia, Spain to train with Mr. Simon Leach in the studio where created a virtual classroom environment. It is almost sad when realizing that learning from a master potter with such an extensive history within the trade is beyond my financial reach. My second wish is that Simon Leach will teach another generation of the Leach family, just as Bernard and David Leach did before him, so there will always be someone within the Leach family with the knowledge and experience to keep this tremendous talent alive and well.

I doubt Simon will ever stop tinkering around with various clay types, firing options, or glaze creations. He will be a potter for the rest of his life; however, it will be a sad day when Simon is no longer with us. The only consolation the world of pottery can hold onto is the lessons he will leave behind and the kindness those who knew him can share with others starting out in the field of pottery making. Then it will be our turn to tell our students and family members following the pottery tradition that the secret to becoming better at making pottery is, in the words of Simon Leach, "to keep practicing."