Morgen Hall

Morgen Hall – In Memory

The Lovely Morgen Hall 1960 – Died 17th February 2016

In the world of exquisite ceramics, Morgen Hall’s hand-crafted decorative tableware stood as a testament to artistic brilliance. This award-winning potter, renowned for her unique style, captured the essence of everyday beauty. It is with heavy hearts that we announce the passing of this cherished creator. Leaving behind a legacy that resonates with anyone who appreciates the art of pottery.

We had the privilege of meeting Morgen on a few occasions. The most memorable being at a Southern Ceramic Group event. Despite travelling by train without her creations. Morgen brought with her a warm heart and a large cake, symbolising her generous spirit. We also had the opportunity to visit her studio in Cardiff. This was during our holiday in Tenby, where we became proud owners of another piece of her work. A Jelly bean jar with a scoop and a Jug.

Morgen’s pieces were more than just ceramics; they were reflections of her passion and dedication. Crafted from high-firing, smooth red earthenware, her creations boasted fine details and finishes on bold, sturdy forms. The rich cinnamon hues of her pieces were as striking as they were durable, designed to enhance any afternoon tea.

Her absence leaves a void in the world of studio ceramics, but we are fortunate to possess her magnificent creations. Morgen’s legacy lives on through the Craft Potters’ Association, where she was honoured as a Fellow. As we cherish the pieces she crafted with such care, we celebrate a truly original maker whose artistry continues to inspire.

Join us in remembering Morgen Hall—a visionary potter whose work will forever grace the tables of those who appreciate the beauty of fine craftsmanship.

Text from Morgen Hall’s Website

Morgen Hall 3 Year Research Post in Ceramic Practice, Centre for Ceramic Studies, School of Art & Design, University of Wales Institute, Cardiff March 1998 to March 2001 (Report date: November 2000)

Introduction

For the last 15 years I have relied on the following technology: a kick wheel, kiln, pair of scissors and a roulette wheel when making tableware as a self-employed potter. The work is thrown but with an emphasis on turning and fine rouletted detail with slip pattern work. 

Throwing and Turning Morgen Hall

I use a wheel as a versatile means of producing forms, where each individual piece has the potential to be developed in response to the previous piece made.

Rouletting Morgen Hall

A roulette, resembling a ravioli cutter but distinguished by its unique patterns along the wheel’s outer edge, is a small wheel with an engraved or embossed outer rim. Typically attached to a handle, it is rolled over leather-hard clay to impress intricate designs. Examining 18th-century British tableware provides a significant example of how turning and rouletting a thrown piece can accentuate its form and create ample space for surface patterning.

My dissatisfaction with homemade roulette wheels crafted from plaster, bisque-fired clay, and wood led me on a quest for better tools. This search led me to the realm of bookbinders, who employ exquisitely crafted brass tools known as “decorative farthing wheels.” After acquiring one from an existing catalogue of roulette patterns and commissioning another to be made specifically for me, I refined my technique.

When working on the base of a pot, I intentionally leave a raised bevelled edge for the rouletted pattern. This deliberate choice enhances the pattern’s three-dimensional quality, ensuring it stands out on the surface. Through this meticulous process, the art of rouletting transforms a simple wheel into a tool of artistic precision, allowing intricate designs to grace the surfaces of my creations.

Scissors

I use scissors to create crisp-edged paper resist pattern work. Newspaper shapes are cut and applied wet to the leather hard pot prior to being sponged over with slip.

Research Post Morgen Hall

In March 1998 I took up a three-year research post at the Centre for Ceramic Studies. at the Cardiff School of Art & Design, where I had previously attended the MA Ceramics course in 1983/84. For this research study, have chosen to look for an industrial technology. For tableware production that has the potential for handmade interventions. thereby allowing an exploration of the crossover between the industrial and the handmade.

I have been interested in finding ways other than throwing or hand-building to make tableware. The main criteria I chose for directing this search. This included the ability to explore non-circular forms. Then to investigate more immediate ways of applying colour and pattern to the tableware. I also hoped to enable the production of these pieces in less time than my current very slow throwing, turning and decoration. This new range of tableware could then be mixed with the hand-thrown pieces. which I will continue to make, thereby expanding the range of forms, surface treatments and selling prices.

Training Morgen Hall

• 1983 – 1984 University of Wales Institute Cardiff – MA (ceramics)
• 1979 – 1983 Grays School of Art, Aberdeen, Scotland – Dip AD (ceramics & jewellery)
• 1978 – 1979 Assistant at Portsoy Pottery, Scotland
• Summer 1980/81 Assistant Crathes Pottery, Scotland
• Summer 1983 Assistant Appin Pottery, Scotland

Memberships

• Index of Selected Makers, Crafts Council of Britain
• Craft Potters Association (fellow) South Wales Potters

Appointments Morgen Hall

• 1998 – 2001 Senior Research Fellow for Ceramic Practice,
• University of Wales Institute Cardiff
• 1989 – 1998 Part-time, Ceramics Dept., Bath Spa Univ. Faculty of Art & Design
• 1988 – 1989 Part-time, 3D course, Carmarthen Arts College

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