Annette Bugansky, Ceramics

Naomi Jones discovers how Annette Bugansky’s ceramics are inspired by her fashion background.

Were you creative as a child?
I grew up in Soho, central London, and from a young age I was introduced to many crafts: my father was a master tailor, my mother a tailoress. My sisters and I were encouraged to learn knitting, crochet, macramé, tapestry and embroidery – and these hobbies continued into adulthood.

It sounds like you have quite a history in textiles...
Yes, I studied at the London College of Fashion and was lucky enough to work for the late Jean Muir – one of the greatest British fashion designers in history – and various costumiers before joining the costume department at the BBC. I eventually left to set up on my own, making wedding dresses, evening wear and costumes.

So, how and why did you make the move to ceramics?
Ten years ago, when my children were still young, I decided to return to education: I missed the crafts and wanted to explore new pathways. During my foundation course I was introduced to ceramics; I loved learning the technical aspects and I especially liked the way I could use fabrics with clay using impressing and casting techniques. I graduated from Central St Martins College of Art and Design in 2005 with a BA and an MA in ceramic design, and set up my studio at Cockpit Arts in Holborn in the same year.

What’s the atmosphere like in your workshop?
Fantastic. I share it with three other ceramic designers who also work in white; although our work is different, we have the same desire: to produce beautiful handcrafted objects.

What drives you to create on a day to day basis?
Years ago, mothers taught crafts to their children; these days, new technologies tend to fill our time. What I want to do is preserve these traditional crafts in the creation of new products.

Which piece are you most proud of?
My most challenging idea: dipped seamed felt bowls. I drafted paper patterns of a simple bowl shape that was then divided into a variety of sections. Using this template, the sections were then cut from milliner’s felt and hand sewn to produce the bowl shape, which I supported with a wire frame for the next stage. The felt vessels were dipped into liquid clay and hung to dry before being fired to stoneware temperatures; I later took casts from them and slip-cast them in porcelain.

What advice would you give others new to crafts?
Focus on the smaller details of life: nature, architecture, music; sometimes we look and listen but we don’t see or hear.

Annette’s work can be seen at Flow Gallery in London (flowgallery.co.uk). To contact her, visit cockpitarts.com or call 0794 037 5401.

WORDS NAOMI JONES
Featured in the November 2009 issue of Period Living