I have worked with many different clays during my career, but in recent years have turned to Porcelain for the whiteness it gives to the decoration. It is a difficult and unforgiving medium, tending to move and deform in the firing, particularly with the hand built pieces. I have recently added molochite to both the clay and decoration to stabilise the form and resist warping. I use both handbuilding and throwing techniques depending upon the ideas and subjects being explored, making simple forms to emphasise the decoration.
One the piece has dried a little I apply a textured slip to the surface as a background, followed by drawing into the clay. Layers of coloured slip are then applied in a sequence, and sponged and wiped to complete the image. Once the form is completely dry a black glaze is poured inside to provide a contrast to the exterior decoration.
The landscape references vary from piece to piece, and the ides and responses are mostly remembered and intuitive from situations seen or felt. I like the element of surprise working in this way. No two pieces are the same, although I tend to have some general themes in a batch of work, ie: Valleys, Outcrops, Moors, etc. Once dry to work is fired in self built gas kiln to 1280 degrees centigrade over a period of 10 hours.
One the piece has dried a little I apply a textured slip to the surface as a background, followed by drawing into the clay. Layers of coloured slip are then applied in a sequence, and sponged and wiped to complete the image. Once the form is completely dry a black glaze is poured inside to provide a contrast to the exterior decoration.
The landscape references vary from piece to piece, and the ides and responses are mostly remembered and intuitive from situations seen or felt. I like the element of surprise working in this way. No two pieces are the same, although I tend to have some general themes in a batch of work, ie: Valleys, Outcrops, Moors, etc. Once dry to work is fired in self built gas kiln to 1280 degrees centigrade over a period of 10 hours.
There are increasingly close relationships between my ceramics and prints, not just in terms of subject, but also process. The plate for each image is built up using tile cement, carborundum and glue, resulting in a rich textured surface. This is then sanded and sealed. The plate is then inked in various ways by hand and roller and carefully wiped back in much the same way as the pots. The plate is printed on Somerset 300gsm paper through a heavy press.
Each print is unique, an Artists Proof – Original. I don’t produce editions. As with the porcelain I try to keep the whole creative process as open ended as possible, allowing intuition, imagination and experience to determine the final result. Increasingly there is crossover of ideas between the two mediums.
Each print is unique, an Artists Proof – Original. I don’t produce editions. As with the porcelain I try to keep the whole creative process as open ended as possible, allowing intuition, imagination and experience to determine the final result. Increasingly there is crossover of ideas between the two mediums.