We could walk a mug of tea to Ian McIntyre's studio without it getting cold. We crossed the canal to ask him some questions one morning ahead of his show at Unit.d.
There's not much Ian doesn't know about clay and craft, but we encouraged short answers nonetheless. Here's what he had to say.
They say that Isaac Button could turn a ton of clay in a day. What does a successful working day look like to you?
Minimal. I used a tonne of clay for a project called A Tonne of Clay, and it took me about three months to make the objects. These country potters were operating in a pre-industrial era, making things with absolute expediency and speed. But it takes a massive toll. I think that's kind of probably reflected in the fact that he retired around 65 and died two years after...
The physicality of it is phenomenal. We’re in different times.
Where do you start?
I come up with ideas in response to material quality. From existent typologies to my own aspirations, visual language, and interests, I see where that might sit with a brand, even if they have a different aesthetic to me.
What do you value?
Anonymous objects. A workhorse that’s really hard wearing and might last a really long time.
What’s your favourite material to work with?
Clay is a basic, simple material dug directly from the ground and can be used in that instant. It gives things a sense of place. It takes a lot of craft skill to wield it, but is available in industrial volumes.
You found your material home.
It gives me energy. I can work with clay in the studio all day and not get tired. If I sit at a computer, quite soon I glaze over.
Soundtrack or silence? If soundtrack, what?
Podcasts. If I’m on a doom loop, listening to a lot of news, I’ll listen to Novara Media.
What is one everyday object that you could not live without?
A teapot.
Do we need new things?
Everyone's trying to find meaning in what they make. I don't have a problem with new things being made at all, but I have a problem with new things being launched and then discontinued.
As a designer, you don't want to be part of an inbuilt obsolescence. With these three objects in the show, I am working with typologies. There's a consistency to them; they are still relevant today, they still address the ethics of production, and the way the material is extracted is done so with respect to the landscape.
What are we getting right?
Things are maybe more stretched than ever for makers and designers. People’s time is more precious, but in my vicinity at least, I see a generosity of spirit. People making the time.
Who are your heroes?
Michael Marriott, Carl Clerkin, Tim Parsons. They gave me grounding in the fuzzy areas between design, making and craft.
How do you know when something is finished?
I always overwork things. So I have to make a lot of bad things and then reduce it back again. Go too far and then pull back.
Thanks to Ian for his time, we hope you enjoy his show.