John Hudson was at his pottery workshop when I arrived. To get there from John's house I had to pass through a garden-centre. John's pottery is on the edge of this local garden-centre which was once his Father's business. Both garden-centre and pottery are in Mirfield within the Calder Valley of West Yorkshire. The area has a rich history of pottery as it holds a type of clay which has been dubbed by the historical potters of the region as 'Toff' or 'Tough-Tom'. These complimentary nicknames are due to this clay's positive qualities in durability and it's pleasing red colour after firing.   

En-route a woman caught my eye and asked me where she was to pay for a bag of top-soil. I guess that made sense seeing as I was striding through this retail space with a sense of purpose that your typical store assistant might embody. Evading any more customer enquiries, I was safely across and could for the first time examine John's pottery. Bluntly put, the pottery is a humble shack of sorts, it's a building that I'd expect to find sheep inhabiting instead of an internationally recognised slipware potter.   

My first impressions of John are that he is utterly suited to being a potter and naturally John starts by telling me about his clay. He began using the clay after his Dad Willie had brought a lump for John to inspect. Dug from a neighbouring field the lump of 'Toff' was carried into the house and Willie asked John "Is this any good for thee?". Forty-eight years and counting of using the clay has been John's extensive and emphatic answer. John procures and processes his clay from ground-zero up. I had already seen his traditional methods represented by four bathtubs arranged at the entrance: One covered with tarp, the other three with varying consistencies of clay and water. In one tub the water’s brilliant green colour made me think it could be radioactive! 

Our conversation next turned towards historical English Country Potters. The two names John referenced were Thomas Toft and Isaac Button. Thomas Toft was a prominent potter working in Staffordshire in the 17th century. Isaac Button is more contemporary, retiring in 1965 he was one of the last English Country Potters. Prolific productivity and endurance of difficult conditions were the traits emphasized by John recounting what he knew about these two men. John concluded saying that for these men and himself "making pots isn't a job, it's a way of life".  

In the pottery a great variety of pots surrounded us on every side. The next most abundant thing in the space were stacks of reference books and papers. Predominantly a historical potter John requires a lot of literature. Ten years into his career John was approached by Clarke Hall of Wakefield. They had designs for a historical replication project and thought John might be the potter to recreate what they wanted. This work would prove to become central to the rest of John's career. In the forty years since that time in 1980 John has taken on hundreds of restorations and historical replica jobs. Astounded by the different works he has undertaken, the multiple techniques he's mastered, the innumerable clay things he has made I ask him rather dumbfoundedly "How have you done it?". John smiles, his answer is a simple shrug of the shoulders. To me that gesture meant that having the courage to 'have a go' is half the battle. So, when someone would come to John and ask him "Can you do this?" John said "yes". At one time that courageous yes meant making several hundred ridged roof-tiles in the appropriate medieval tradition for Barley Hall, located in York. "It's the challenge of it – rediscovering old techniques, finding out what it felt like to make something" John say’s. He's also not shy in telling me about his failures and the roof-tile project was the most spectacular. In fact, John thought the Yorkshire Archaeological Association would black-list him but quite the opposite happened. John knows better than most that failure is a potter's close friend.   

After chatting in John's pottery for almost two hours we relocate to his house. It's here that I get to see the work John is revered for - his slipware. On this occasion John's breath-taking Harvest Jugs took centre-stage. As I greedily drink in these pots John merely observes my reaction - he's seen it all before I think - potters and collectors gaily responding to his amazing work. Picking up a jug that has a Shakespearean poem inscribed all around it’s generous curves he proceeds to recite the poem aloud. I discover that John is a poet and a cook. He does demonstrations of medieval cooking methods at ceramic exhibitions. At one such event John was offered an all-expenses paid trip to Colorado with his wife Christine to repeat the performance. Christine now comes into the dining-room or as I jokingly dub it 'The Shrine room'. 

I'm then invited to coffee in the kitchen. More pots to savour including some puzzle jugs made by Isaac Button. Again it's impressed upon me how much John respects the English Country Potters of the past. Perhaps this reverence is what's inspired John, what's kept him going through a truly remarkable career. Something bigger than himself must have substantiated his sustained and ever-changing pottery career of 50 years.   

Nearing my departure John asks "Is it alright for you Adam?". Since I arrived John has been openly willing to share not only his pots but also his beliefs and reflections. Before leaving I'm told that there are an extreme few English Country Potters left. Traditions and making methods handed down from Thomas Toft of the 17th century are now in imminent danger of being irretrievably lost. The visit to John and his pottery was an extraordinary one. Witnessing his traditional methods, beholding the stunning harvest jugs and glimpsing the importance of not just remembering but wholeheartedly honouring the English Country Potter.   

Written by Adam Conway Cowdrill. With thanks to John for his time and to Nog for making it happen