Marianne de Trey
The inspiration of Marianne de Trey: necessity and decoration from cloth to clay by Sophie Heath
Marianne de Trey has been potting on the Dartington Estate in Devon since 1948 and ran a successful production pottery for three decades before she retired to make more personal work. She has participated in many of the watershed movements and debates of British 20th century studio craft - attending the International Conference for Craftsmen in Pottery and Textiles in 1952 and being a founding member of the Devon Guild. In 2005 de Trey gave a selection of pots to the Centre from throughout her career, along with some early student work from her studies in printed textiles at the Royal College of Art in the 1930's. This body of work has been used as primary evidence for the following essay, funded by the Headley Trust, which looks at the continuity of de Trey's inspiration from her early training in textiles through to her most recent work in porcelain.
- On ceramics and bravery
- Standardwares at Shinners Bridge - the appeal of decorated pottery
- Sustainable workshop production and the disciplined potter
- The wood kiln: serendipity and unique work
- Early textiles: the organisation and seduction of pattern
- Post-workshop and the limits of function and freedom
- The radical decorator
