DRAWING FOR POTTERS - KYRA CANE.

Sunday 22 February 2026 17:00
Friday 27 February 2026 14:00

Coombe Farm Studios (map)

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The capacity to comprehend the world we live in is a key aspect of all creative practice. Many people who work with clay are absorbed in ceramic related process and technique and their inclination to explore, investigate and establish a rich visual two dimensional language is neglected.

In a world where technology dominates our lives, the ability to focus is also hugely enhanced by drawing. This opportunity to concentrate and analyse objects, places and natural forms will increase hand – eye coordination, sensitivity to infinite detail and appreciation of form and structure.

This course will equip you with a wide range of drawing skills and techniques to support and help you develop your own ceramic practice. It will enable you to clarify your priorities and consequently identify a range of source material that will sustain progress and support longer term aims.

You might not have previously turned to a sketchbook, but during this course you will begin to use drawing as a tool which will expand and improve your ceramic work in the future. Through series of exercises, periods of personal study and intense drawing activities you will learn how it can become a mainstay of your routine, give you a more critical approach to making decisions and enrich your life.

This course is designed for ceramicists of all abilities, with some experience of working with clay required.
SUNDAY
5-7pm Residents Arrive
7.00pm Non residents arrive
7.00pm Welcome Drinks
8pm Dinner
MONDAY-THURSDAY
8.30am Breakfast
9.30am Tuition
1.00pm Lunch
2-5pm Tuition resumes
7.00pm Dinner
FRIDAY
8.30am Breakfast
9.30am Final tuition session
1.00pm Lunch
2.00pm Course ends
We have onsite accommodation. You can book in as a resident and stay with us, or a ‘non-resident’ if you wish to stay elsewhere or if you live nearby.
More information here
Residential
£903 + VAT includes tuition, accommodation and food from arrival on Sunday through to departure after lunch on Friday.
Non-residential
£650 + VAT include all tuition, welcome drinks on Sunday and lunch from Mon-Friday.

Please bring the following with you;
A piece of ceramics that you have made.
Sketchbooks – A3 or A4 size
Loose papers, tbc
Pencils – 2B 4B 8B
Feel free to also bring any of your own selection of watercolour paints, inks, brushes, crayons etc.
We are located in Devon between Totnes and Dartmouth.
Our postcode is TQ6 0JA
Driving
We have plenty of free onsite parking.
Trains
Totnes is nearest station then we can arrange lift shares or send taxi details. We are about 20 minutes from the station and costs approx £35 each way.
[What3words: What3words: fulfilled.exploring.branching]
Min 6 max 12 to allow the tutor to give everyone enough attention and time on the press.
ARTIST STATEMENT
The guises of clay are varied and extraordinary however my continuous interest in vessels means that pots are my great love. They link one to a history of making objects, from the china painted bowl I found and treasured as a child and the early Persian bowls with simple patterns that I admire, to the battered metal containers that hang on my studio wall. They are part of a consistent thread of influences which include paintings, and an appreciation of that which is made by hand.
I use a wheel because the immediacy of ones response to actions demands undivided attention, the speed at which decisions are made remains a constant challenge and the soft fluid process of turning a solid lump of clay into a voluminous fine walled structure never fails to excite me.
At every stage of making I try to capture something of the freedom I find in throwing.

I choose Limoges Porcelain for its colour when both raw and fired, and its strength in the heat of the kiln. Making for me is also about working with risk, surfaces react to the slightest touch, traces of hand and tool remain, bowls move and twist, materials melt and fuse.
I wrap bold, ostensibly black marks, around the porcelain forms, animating and defining spaces; brushmarks fade and blur, inky opaque bands change to pale fresh air blues with occasional flashes of yellow. There are remnants in these vessels of the vast landscapes which have always been my inspiration.