Graham Taylor

They're often steatite or something like that.

So they're carving them rather than forming them from clay.

Yes, I do.

And I mean, what we often do is a lot of the time we are making pots that are going to be used for handling collections and for displays in museums or just for collectors around the world who want to put them on their shelves.

And we need to be certain of how they're going to behave.

So what we generally do in those cases is we are taking commercially prepared clays and messing them up.

The people who went to all the effort of getting these clays nice and clean would be horrified by what we do to the clays sometimes.

But I like working with quite gritty clays because I tend to make big clays.

sort of amphora and sort of larger pots and things.

But Sarah, of course, does very fine modelling and very fine sculpting.

So she does a lot of the figurines and stuff like that.

So she obviously works with a lot finer clay.

So I think we would debate what was the best clay.

Definitely it was...

This is a piece that the original of which is in what's called the Willits Collection in Brighton Museum.

There was just this wonderful, wonderful horse, which Sarah managed to make in our quite small workshop and fire in our single kiln without me knowing, which is a remarkable achievement.

I mean, it really was.

I mean, the idea of putting paper in clay might sound really weird.

But when you go back to Neolithic Bronze Age, Anglo-Saxon Viking pottery, they're using clays from the surface, from muddy puddles, etc.

That already has a lot of organic material in.