stoneware
How to define this part of my practice . . . a collapsed pot speaks volumes.
It’s more a meditation.
Definitely about the process . . . the end result is sometimes a bonus.
School of Clay and Art (SoCA) reclaims clay detritus from our projects. The clay body holds the community of practice within, an ever-changing amalgam. Many hands, much will.
Tim Ingold talks about making and intention. If we know, before we begin, what we are going to make does that constitute a creative process? There has to be some personal intent but the material will also exert its influence. Listen to the clay, it’s a collaboration between material and maker.
I use these practical bowls, cups and plates within my learning and teaching practice, to bring students together and start a conversation around relational and material thinking.
Point of collapse 2019. Reclaimed clay, celadon glaze, iron oxide
Straight-sided vessel 2017. Reclaimed clay, takeshi satin glaze, iron oxide and gosu oxide, reduction firing
Ramen bowl 2020. Reclaimed clay, Shino A8 glaze, reduction firing
Pasta bowl 2020. Reclaimed clay, Shino A8 glaze, reduction firing
Bowl 2022. Reclaimed clay, Honey glaze, reduction firing
Salad bowl 2022. Reclaimed clay, Fishscale glaze, reduction firing
Pasta bowl 2019. Reclaimed clay, Takeshi satin glaze, gosu oxide, reduction firing
Teapot 2021. PB103 clay, Green to Black, no copper, 1% red iron oxide glaze, oxidisation firing
Bowl 2018. Reclaimed clay, Woods celadon glaze, gosu oxide, reduction firing
Bowl 2018. Reclaimed clay, Celadon glaze, reduction firing
Bowl 2018. Reclaimed clay, harry glaze, reduction firing
Ramen bowls 2022. Reclaimed clay, tin tin glaze, reduction firing
Plates 2022. Reclaimed clay, tin tin and harry glazes, reduction firing
Plate 2022. Terracotta clay, harry glaze, reduction firing
Workbook: Flood vessels 2022. Digital print on photocopy paper
I make these portable books to bring the work together as a learning tool. Unfolded it becomes a poster to refer to when I’m making new pots. It’s also a way to play with image-making. Configuration can communicate a number of ideas, via the pots themselves and the paper form. I’m interested in the ‘grid’ overlay of the folds … the way the cracked surface of the printing leaves a trace of the fold as a poster … and what happens to the images when reproduced multiple times, digitally and in print.
