‘Venus’ figurine workshop, October 2018 at the fantastic Old Abbey Taphouse

I am fortunate to know some very talented people. This is a review by my friend,  artist and photographer, Pete Yankowski, of a the above workshop organised by Nacho, Paul and myself. Nacho and Paul are skilled and knowledgeable potters, and Pete’s photographs really capture very well the atmosphere of the afternoon. I hope you enjoy his review, many thanks to Pete.

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I went to this workshop on Saturday, and I want to say that it was great. ‘Venus’ figurines from between 20-30.000 BCE were found in Europe and are very intriguing.

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This figurine is small and a beautiful shape that fitted snugly in the palm of my hand. To hold the original many thousands of years ago must have felt sacred and meaningful. Why such figurines were made, and by whom, is a mystery that can perhaps only partly be revealed using scientific methods and archaeological evidence. 

 

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In the workshop we learned about the archaeological background, make up of the clay fabric, the date it may have been created, and the climate and the location where it was found. This provided some ideas with the aim of us later formulating our own perspective. 

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We started the making process by first of all drawing from photographs of the original clay figure. This enabled us to become familiar with the dimensions and detail of the ‘Venus’. 

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We then mixed clay with burnt and ground animal bone, as the original had traces mammoth bone within it.

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It is documented that many exploded figurines were found in the area where the ‘Venus’ was found. So we can logically conclude that whoever made these clay figures were experimenting with methods for successful figures to emerge. To me this indicated intelligence and ingenuity from the creators.

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There is evidence this ‘Venus’ figurine from Dolni Vestonice was made from one piece of clay and shaped without adding any more material. Possibly because in firing such a piece of solid clay it can come apart where the joints are made. Making it in this way was interesting and gave me a feeling of connection to the shape moulded by hand into the clay. 

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When making the figurine, I realised how sophisticated the design was, from my own perspective as an artist. I then started imagining the environment and community around the original crafts person. 

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There were people from many backgrounds within the workshop and this stimulated discussion between us whilst we were each creating our own version of the Dolni Vestonice ‘Venus’.

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At the end of the session we all got together and talked of the experience of making our own version of the figurine and ideas around the ancient individual and perhaps their reasons for creating the original. 

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It was good as people were experiencing the act of making the figure from a personal perspective. One person commented that her sister had a baby the day before and she spoke of the closer connection she felt when making the figure.

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Within the group we discussed the perspective the maker may have had in observing their own body to create the original, indicating that it may well have been a woman doing the making. Also in the making, we realised how sophisticated and beautiful this figure is and that it would have seemed like a precious item. 

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The discussion was great as many ignored the preconceptions of some archaeologists from 50 to 100 years ago who, from the literature they produced, presumed our ancient ancestors were not very intelligent. We felt that some archaeologists may well have been influenced by the attitudes of their own lives and times. Archaeology provides some valuable methods for understanding more about ancient objects. In addition, the historical context of archaeological interpretation allows us to think critically about how we can formulate our own ideas about our ancient ancestors. However, making these figurines provided a creative perspective that in turn added more ways of thinking about what these figurines may have meant in the prehistoric past. 

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This was a great workshop, well resourced and the creative process was fun. I met so many interesting new people, and it made me think!

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This is a link to Pete’s website: https://evolution-by-design.com/about/

 

 

 

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Thinking about materials differently: workshop at the National Permaculture Convergence in Manchester, September 2018

This is a short review of my workshop for the people at the National Permaculture Convergence last weekend. What follows is the abstract from the event, some feedback from participants, and my own acknowledgements.

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We live in a material world that is structured around the consumption of resources. Being brought up in a modern and western society means it can be difficult to see how this could ever have been different. However, there were, and still are, many different and more sustainable world views and ways of life on offer. Choosing to view the world differently inevitably leads to experiencing the commonplace differently. Things, their meanings and value can then change before our very eyes. It is possible to find excitement, creativity and meaning within the previously mundane.

 

 

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Australian aboriginal Kimberley points are glass spearheads and knives produced from the mid 1800s to the 1980s from old glass and ceramic bottles. They are the direct result of an interaction between western homestead building and sheep farming colonisers and the mobile and indigenous population. The aboriginals adapted coloniser rubbish to develop their own material culture in occult and incredible ways. One example of this is the Kimberley point. In turn the colonisers began to desire these aboriginal artefacts as new and exotic commodities. Consequently, most large British museums have collections of Kimberley points within their stores.

 

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These glass points are more than commodities, and the skilled practice of making them is part of a transformatory process, not just of the glass bottle, but of the individual doing the producing. The making of them opens us up to a new understanding of the potentialities of our material worlds. Commoditisation of the end product literally misses the point. This workshop is designed to lead you through ethnographically recorded processes used by aboriginals to make Kimberley points. Making a glass point like these is a highly skilled practice and four hours is a short amount of time. However, four hours is enough time to grasp how the application of a skilled practice can open up a new world of excitement, creativity and meanings through the repurposing of what could be seen as rubbish. As I am not Australian, aboriginal or from the Kimberley region the points we will be making should be termed Manchester points. We do however have the Kimberley folk to thanks for providing us with a way of exploring and understanding our own world differently.

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Amazing, best workshop I have done in ages and I have done a lot. Great pace and knowledge. Thanks so much“.

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Loved your attention to each of us, your positive encouragement and practical support

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Brilliant workshop, well explained and really enjoyable. Thank you“.

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My thanks to everyone who took part in this four hour workshop. I really enjoyed it and I think everyone else did as well. Thanks as well to Dan who organised the convergence for giving me the space to run the workshop.

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And a special thanks to my friend Keith Reynolds. He selflessly helped me set up, took all the photographs, garnered the feedback, and then helped me pack it all away again. Much appreciated mate.

 

 

 

Solutrean points from bathroom ceramic

It has been a while and that lack of knapping has taken me back a few stages, or so it feels. For unknown reasons, probably related to tidying up the back yard, I have started playing with the plenty of bathroom ceramic I have now neatly stacked on top of my wood store. I have said elsewhere how my soft hammer work is possibly my weakest area at the moment.

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Working with this material is therefore interesting. Using a hard hammer I have had lots of problems, but primarily endshock. I noticed on a Youtube video someone using antler to thin some of this material successfully, and so I have been playing with the same.

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I used a heavy and light antler hammer to bifacially work this piece. I was surprised at how well the material responded and worked with the heavy antler. Ultimately that was almost all I used. I have developed a new variation of the Metin Erin resting arm on knee method. I hold the piece of material being knapped out now, rather than resting it on my leg. This works better.

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You can see on the floor the two antler hammers used. I did a little hard hammer at the beginning before abandoning it. This is my second attempt and the heavy antler hammer has opened up new possibilities. I was sticking with the light hammer, partly because I like it, and partly because I was worried about endshock with a heavier hammer. However, the antler seems to work well with the ceramic and the heavy hammer is obviously the right tool. I should say that the ceramic is quite thick, over 12mm.

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I think I know about Solutrean points, but I am going to familiarise myself with them before I write the next post on these artefacts. Above are the reference books I keep on my shelf. There is also an excellent paper by Anthony Sinclair at Liverpool called Constellations of Knowledge (downloadable here) about the social implications of these points. I now have a new theme!

The crunch of crushing platforms

Overnight I have gained some insight. As I said in the last post I have now mastered the production of leaf shaped arrowheads on flint flakes and can make them relatively quickly. I have also gone on in previous posts about the function of platforms for avoiding crushing and shock absorption, which compromise the blow or pressure. The crunching sound associated with that is what the title of this post refers to. These particular insights have come from working predominantly bottle bases, where systematic thinning is necessary throughout, and a crushed platform leads to thick edges that resist flaking. In the ‘bottle bottom world’ crushed platforms are a pain.

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When I visited John Lord he made a leaf shaped point from a flake of rock crystal. The flake he struck had quite a large bulb and didn’t look ideal for much to my amateur eye. The main thing to emphasise is that the flake had a largish bulb and was overall relatively thin.

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As you can see from the photograph above, from where I was sitting you couldn’t see much. What I heard was two things: some good pressure flaked removals; but also a lot of crunching. This is the sound I associate with crushed platforms, and consequently I didn’t hold out much hope for the end result.

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I was however proved entirely wrong. As I said at the beginning, and if I were to review the order of my posts, my focus and progress on leaf shaped points has been good since sitting down with John. I also semi-observed myself making that same crunching sound when working flakes yesterday. Flakes are formally different to bottle bases in that much of the flake is thin and I now understand needs ‘crunching’ into shape. The crunching sound relates to the crushing of thin sections of flint, but with a flake this can be a useful strategy for rapid shaping when the flake is already thin enough. The really interesting thing is that I learnt that in Norfolk some weeks ago, and applied it yesterday in Manchester. However, this process occurred unconsciously. I was provided with the audio data by John and it was duly logged and interpreted (incorrectly). However, through a process of making on flakes that same data was marshalled unconsciously into an experiment I didn’t even know I was doing. The results were incorporated into my new method, and then overnight I gained an insight into the process that had been going on all along below the surface.

There is a whole field of philosophy that rejects the mind body dualism, one that I definitely subscribe to. However, it is easy to ‘think’ about what needs doing (my piles of paper and jobs that still need doing!) and in the process override the more subtle processes that are going on under the surface. I suppose what I am drawing out here is that whilst I intellectually agree with the idea that we should reject the idea of a separate intellect, putting that idea into practice involves creating space to let ourselves process what is happening. Perhaps the term or concept of idea is unhelpful? In a social world which values ‘efficiency’ a process of allowing things to percolate, and giving time to play with things can sometimes be difficult. It can run counter to what our family, friends and colleagues expect from us. Anyway, it is now 9.40am and I need to be getting on 🙂

Bronze Age arrowhead workshop: the sequel

Rachel at The Old Abbey Taphouse has been kind enough to give me the space to run a second workshop with them. Drawing upon my Pop Up Business School experience, videos attract more attention than posts with just photos, or text only. Consequently, here is my promotional video.

My friend Brian Madden edited this video for me, and pointed out how about half way through (1.09 seconds) one of my neighbours shouts out “I can’t find the chocolate“. Soon after (1.23 seconds) I can be seen eating some chocolate. Who said subliminal advertising doesn’t work.

Material worlds again

I have been a little obsessed by knapping both yesterday and today. I made another hard hammer handaxe, which then became a Middle Palaeolithic Leafpoint, before ending up as a non period specific spear point. Hard hammer and soft hammer with a little pressure flaking. What is good as well is that I can identify the technology that produced each removal, not because I remember, but because of the shape and form of the scar.

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Next up is a Neolithic leaf shaped arrowhead. The following example is from the museum at Whitby, and I have tried to reproduce it before with little success.

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It was obviously still on my mind as this is a much better attempt, although when I now view them together I can see the original is much more refined. The glass used here was amazing and I have to thank the guy in Oddbins last night who gave me four empty spirit bottles to play with. I may give this to him in return for more bottles. He seemed enthusiastic about the prospect, as I would be in his shoes.

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I then gravitated towards ‘Johnstone’ or bathroom ceramic, kindly collected for me by my friend David Thompson. His block of flats was having new bathrooms fitted and I now have all the old cisterns. These have been added to the ones I collected from Mansfield Cooper building when the toilets there were replaced.

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I forgot how nice this material is to work. I am pleased with all of them, and all of them indicate to me the way to proceed. The flint is great and I am concentrating on being as consistent with a soft hammer as I am now with a hard hammer. The glass worked beautifully, and making them thinner and more refined is the next step. The ceramic is really difficult to keep long. In other words it is very easy for it to break when in big pieces. Paradoxically it is really robust at arrowhead size. I can do a better job of the notching but I need a different tool. I used my soft iron nail pressure flaker with all these materials, and so they are not technically correct. I have ordered a long Red Deer antler tine today and when that arrives I am going to see how that works. My aim with the bathroom ceramic is a Solutrean point. That is uncharacteristically ambitious of me, but hey, I have about seventeen cisterns, plus lids, and I am only 56.

 

Kim Akerman makes a Kimberley point

I have mentioned a few times that Kim Akerman is the preeminent scholar when it comes to these points, and that he has been very helpful in my research. He has kept in touch and answered some of my questions on the production process that have been sticking points for me. This post is his response to a couple of my general questions, about the correct order of work, and invasive flaking without losing too much width. To illustrate he produced a point and recorded the process. This post will be lengthy, but informative if this is a subject of interest. This body text is my interpretation, the photos with text are his explanations.

 

 

This is the piece of water worn period glass that Kim started with. We had discussed the differing ways of establishing a platform and this was the issue he dealt with first of all.

 

 

He used the margin of the convex outer surface as a natural platform and a small hard hammer along one edge, and a pressure flaker along the second to begin invasive flaking. As can be seen both methods achieved similar results.

 

 

He then continued to take more invasive flakes and establish in his mind the shape of the point he was aiming for. All this flaking was aimed at flattening the inner concave surface of the glass.

 

 

Here we can see that whilst the inner concave face is now heavily worked and being flattened, the outer convex face is as yet un-flaked. Shaping in plan has also begun.

 

 

5c. Lateral edge showing unifacial pressure flaking on interior concave faceSame story in that the concave inner surface is now almost completely flaked apart from an intermittent central ridge of original surface. Kim has a problem with this later. The curved outer surface still remains un-flaked and you can see the edge of the original outer glass surface curving up at the forefront of the photo.

 

 

And at this point flaking of the easier convex outer surface begins. What follows is a process of flaking and shaping to achieve the approximate form required.

 

 

At the above stage the easier to flake curved outer surface is used only to create platforms so that invasive flakes can be removed from (what was) the curved inner surface. The aim here was to remove the intermittent central ridge of original surface that remained on the inner face.

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The aim was to get flakes to penetrate across the centre in order to remove the problematic ridge and it is at this stage that a flake overshoots and takes off too much material.

 

 

the central ridge has been removed and the task now is to bring the reduced piece back into shape, and this is done by working both faces.

11a. Final form. Concave face

11b. Final form Convex face.

This is the end result, what Kim calls a rose-leaf shaped point. I commented in the previous post how my points need to be called ‘Manchester’ points. I think this is not the case for Kim’s. He was trained by aboriginals, uses the same bodily methods, materials, tools and reduction sequences. When aboriginal tool making lapsed, Kim carried the process on, and I believe this is why he has gone to the trouble of sharing the process here. He cares about sharing this knowledge with other people who value it. Perhaps the process of sharing a valued knowledge was one part of what Kimberley points were about.