Graham Taylor

And I went in search of that in order to bring it into sort of contemporary practice.

So I was making teapots, cups, saucers, jugs, all the things.

I'm talking to American noise, pitchers, pitchers.

And in that, that developed into a hunt for ancient technology, right?

When I graduated, my wife and I both worked in the pottery at that stage, Sarah's mom.

And we ended up at a pottery in Scotland where we worked for three years and then got offered a job out in Lesotho in Southern Africa, where I found myself among people who were still making pots in the way people would have done here in the Neolithic.

They were digging their own clays, hand forming the pots, firing them in open fires.

And it was just wonderful to see that that technology was still alive and still being used.

And it sort of grew out of that.

And eventually, when I came back to the UK in the end, we set up a pottery workshop.

And yeah, that became the sort of thrust of the workshop.

As for Sarah joining in, well, yeah, I mean, she'll no doubt tell you, as a kid, they enjoyed the pottery workshop as somewhere to play and run around and jump into the piles of shredded paper that we had to pack the pots in and stuff like that.

But yeah.

And Sarah will tell you herself, she went off on a completely different route and came back to the pottery.

Basically, what happened was we had a Christmas dinner one year when I'd been ridiculously busy running all over the country doing demos and workshops and things like that.

And the kids said to me, Dad, you need an apprentice.

And I said, well, who'd want to work with me?

And Sarah very foolishly said she would.

So, yeah.

There's no such thing.