A year ago I was talking to a man who used to run a clay materials business in Scotland. The received wisdom seemed to be that there was no clay to be had in the Western Isles. This was not the land of marl and terracotta (like the West Midlands), or ball clays (like Devon and Dorset) or China clays (as with Cornwall)…….
But despite a bit of amateur sleuthing, I couldn’t find much to contradict this view. Until earlier this year. In my research into finding possible clay sources on the Island of Islay, with my interest in making connections with whiskey distilling and culture, I had first discovered the presence of a brick and tile works that existed at Foreland Estate between c. 1840 and 1860, and then, more recently I found references to ‘craggan ware’ in the reports of archaeological excavations across the island, including sites close to my explorations for clay on the Rhinns and Ardnave peninsulars.
The term craggan comes from the Scots Gaelic word crogan or crog, referring to small cups or jars – linked to the word crock in English. Craggan ware is simple, functional and often quite crude in its design and manufacture, fired in peat bonfires and therefore only just ceramic. Simple milk ‘glaze’ was applied when the craggan were hot, helping make them less porous. The same shapes and simple technology can be found dating back to the Neolithic, and Alan Lane has argued that there was a continuous “ceramic zone” identifiable across the outer Hebridean Islands, including Coll and Tiree, that existed up until the late nineteenth and even early twentieth centuries. On the island of Tiree, craggan jars were still made in the 1920s because of the belief that milk heated in these vessels would help stave off tuberculosis, but it is Barvas on Lewis that is the site most commonly associated with the last survival of Craggan ware.
In addition to this, on my last visit to the island in September, I visited the Museum of Islay Life in Port Charlotte and saw a Neolithic cup from the excavation of a nearby burial chamber. This site lies a few fields away from the site of my recent clay digging on Octomore Farm (with kind permission from the farmer James Brown and assistance from Danny Mather). All these threads have come together to inform my latest work, and I wish to explore the idea of making crogan linked to the local traditions of whisky distilling and drinking, and linked potentially to the other key aspects of pastoral economies and milk production and consumption on the islands. This will take both a very functional line, making whisky crogan / craggans for some of the distilleries focusing on their connection to the local land – or terroir as Bruichladdich (now owned by Remy-Martin) term it, but would ideally also lead to workshops with the communities on the island(s), to explore this aspect of a material culture that is now invisible to both local and visitor alike.
Brakspear Ceramics 