The Kiln Room · FICTIONAL CARE HOME

Evelyn Price, 74

Evelyn Price grew up in Bath and worked in office administration before discovering pottery in an evening class. She trained further and eventually became a community pottery tutor, enjoying adult beginners who arrived convinced they had no artistic ability.

AI-created Evelyn Price, aged 74, in The Kiln Room, a fictional residential-care room in Bath. — AI-generated image of a fictional character.
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Evelyn’s story

Residential care

Evelyn Price74 years · The Kiln RoomLinden Kiln House · Bath

A life of their own: Pottery tutor · Bath, Somerset
Life here: Evelyn is curious, outspoken and pleased when a practical experiment produces a surprising result.
People in their life: Her daughter Rosie lives in Bristol. Her former husband Colin remains an occasional friendly correspondent.
A little comfort: pottery, gardens, museum visits, bad puns

EvelynLinden Kiln House · Bath, United Kingdom

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Life story

Fictional character · Evelyn Price

The useful job

Evelyn began working in an office in Bath because it was a sensible opportunity and she was good at organising things. She enjoyed some colleagues, disliked several filing systems and assumed that making art belonged to people who had chosen it early. Her notebooks nevertheless acquired drawings in the margins, particularly during meetings that outlasted their purpose.

A friend invited her to an evening pottery class. Evelyn nearly refused because she did not want to be conspicuously bad at something. She went, discovered that nearly everyone felt the same and returned the following week. Looking back, she is irritated less by the years spent in office work than by the certainty that another interest needed permission to count.

The collapsing pot

Her first attempt at a tall pot collapsed just as the tutor approached. Evelyn tried to support it with both hands, making the situation worse. The result resembled an exhausted hat. Instead of disposing of it discreetly, the tutor asked what might still be useful about the shape. Evelyn thought this was excessive kindness until another student suggested a spoon rest.

She made many unremarkable objects before producing anything she wanted to keep. The repetition suited her more than she expected. Clay did not respond to an impressive explanation; it responded to what her hands actually did. She liked that directness. It also gave her a collection of mistakes she would later use when teaching beginners who believed everyone else had natural talent.

Changing direction

Evelyn continued classes, saved money and gradually reduced her office hours. The transition was neither sudden nor romantic. There were fees, practical arrangements and periods when she worried she had become inconveniently ambitious. Colin supported parts of the change, but their lives were moving in different directions for other reasons as well. They eventually separated without turning their shared years into a failure.

Rosie was old enough to have opinions about the whole process and young enough to express them without diplomatic packaging. Evelyn values the relationship they built afterwards, including the disagreements. She began teaching community sessions and discovered that keeping a room of adults comfortable required some of the organisational skills she had acquired in the supposedly unrelated office job.

The affordable class

Evelyn helped establish evening sessions with modest fees and shared materials. She wanted beginners to be able to try pottery without buying an identity as an artist along with the equipment. The class included shift workers, retirees and people who simply wanted two hours away from a screen. Not everyone stayed, and she did not consider that a defeat.

Her favourite students were often those who arrived declaring themselves hopeless. She avoided promising hidden genius. Instead, she showed them how to make a small object that could survive drying and firing. A usable mug could be enough. Over time, the shelves filled with work that looked individual rather than professionally identical, which was exactly the kind of room she wanted.

The accidental blue

A glazing mix-up produced a bowl in a blue Evelyn had not intended. She spent several minutes being annoyed before admitting that she liked it. The bowl became a teaching example, though she resisted presenting every mistake as a fortunate discovery. Some mistakes produced ugly cracks or nothing worth keeping. This particular one happened to be good.

Rosie later used one of Evelyn’s carefully considered vases to hold wooden spoons. Evelyn initially objected, then noticed how well it suited the kitchen. She has become less possessive about what happens to an object once someone lives with it. The blue bowl remains hers, partly because she enjoys its colour and partly because nobody has offered a sufficiently interesting exchange.

Something still to make

At Linden Kiln House, Evelyn has brought a selection of ceramics rather than every object she ever fired. Rosie helped pack, firmly questioning pieces her mother had forgotten existed. The room has space for small hand-building projects, sketching and a few plants. Evelyn joins supported outings when she wants to and reserves the right to spend an afternoon doing very little.

Visitors may encounter a bowl, a sketch or an argument about whether a museum label explains anything. She likes hearing what people make, repair, grow or cook, especially if the result went slightly wrong. There is no test of artistic knowledge. Evelyn is perfectly happy to discuss the practical merits of a mug that holds enough tea and does not wobble.