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Cabby Luxford | Episode 684

Cabby Luxford inspired by nature and it’s own transformative power on manmade and natural materials. For Cabby erosion, patina, decay, rust all sources of endless inspiration! Cabby loves experimenting with unusual techniques to produce something unique. Cabby throws her ceramics, using Japanese carving processes and fire unconventionally including raku and Indian smoke firing. Being an avid mudlarker (searching the muddy banks of a river for artifacts) Cabby often incorporates river finds in my work.

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How much of your work is through galleries so they do the marketing as apposed to you?

Yes, I do sell some in galleries which is lovely. I really appreciate the kind of time and effort that the gallery owners take to promote and curate the work. I do love talking to people to try and explain about my work as well, so I do do exhibitions. Last weekend we were in the Lake District before the second lock-down and it was just amazing to be back out again talking to people, meeting other potters, and having a lovely display of work. So that’s really what I do. Going out to events so I can really connect with people. I have some lovely people that collect my work which again is such a huge, huge honor. I am absolutely rubbish at social media and always doing it not quite right. But also I am really naughty because I should try and do it but I would rather make a pot, you know what I mean? Oh yeah, I must sit down and sort my website out but actually I would rather make a pot. So yeah, it’s very difficult. Especially these days, you know, it was such a wonderful opportunity. It’s amazing to have that kind of exposure and it really has helped. But I think particularly in the light of these days you sort of do need to be at least a little bit social media savvy. So yeah, maybe, but I will just probably make a pot, Paul. (laughter)

How do you go about finding the galleries to represent  you?

Well again, I don’t approach them. Very often they will come to the shows that I am lucky enough to be involved with. That generates the introduction and the discussion really to then being able to take work to the gallery. Again, it’s how I like to do it because people are physically seeing your work and talking to you . They are getting an understanding of what you are trying to say as an artist. So it is really those shows that help promote in the way that I like to do it, face to face chatting.

How did you decide which shows to go into? What is the criteria for which shows you go into?

That’s a really good question because before I exhibited I was like, How do you do this? How do you get to be involved? So what I actually did was many years ago I was a volunteer. I absolutely love volunteering and helping at the shows. And there is one show where I still volunteer because making cups of teas for my heroes and looking after their stalls. It’s just a real honor. So that’s a really good first starting point and you get to understand how the shows happen, the behind the scenes, the kind of set ups of everybody, and you meet your heroes, like I say. It’s just the best way. So that’s how I started with exhibiting.

What were the next steps you took to actually get into the shows?

Then you get to know the shows, but you still have to apply formally. You end up getting to know the ethos of the show. Some are juried so you have to go through the judging process. And then hopefully you are chosen to get into the show.

How do you develop the collectors that are following you?

I just keep in touch, to be honest. I do email people that are on my email list of anything that is coming up. It also works by surprise though. One of my lovely collectors will just call me up and ask if I have this or that. So I will go to her home or she will come here and select the pieces that she wants for her home or her friends.

In Home is Where the Art is, that show is based up commission. How do you go about setting up what your price will be when it is based on commission.

That is one of the hardest things that faces a potter. The thing is that one person is looking for the expression of art and the next is looking for a mug for the functional perspective. So pricing is a really difficult thing, The only thing I would say is that I am consistent with my pricing. I don’t change my pricing for a show, or gallery, or commission.

So you don’t charge more when commissions come up because you have more time into it?

Yes, I would. I charge for that back and forth of communication so I have to charge for that time. I have to be sensitive that if I didn’t understand it, then I can’t charge for that. But I do come up with an hourly price and charge for that.

Why is handmade ceramics important for the world to have?

To me it is about connection. It is a connection to the very ground that we walk on. Pottery has been made forever. It has evolved to what we have now, but it’s still essentially the same material. It just enthuses me to find on the River Thames a piece of pottery that is hundreds of years old. You might see the fingerprints of the potter on that pottery and it is that kind of resonance that we still do it! It’s amazing. Pottery endures. That’s why it is important.

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cabbyluxford.com

Instagram: @cabbythepotter