A narrow store jar and its lid. These pieces are fired together with minuscule waddings separating the two, ghostly marks left by these can still be seen on the bare clay of the body. The clay around them flashes a warm red hue as the flames wash around the forms. I fire them together to ensure they fit, occasionally they fire tightly, or a warp might develop, especially on the thinner bottom section. There’s an easy fix to make them fit with a glassy smooth finish. I use what is essentially a gel that contains very fine or coarsely powdered carborundum. I run it around the gallery in an even layer and carefully grind the two pieces together until they run smooth without grit or sand getting in the way to create a rough sound.
The underside of the lid is very simple in design, it has a locating gallery that goes both inside the pot and horizontally outward. They’re rather substantial, the lids, as the thick corners aren’t completely hollow. As I turn the lid in situ with the body I carefully trim the top surface to be concave, only just, but it’s enough to easily let the glaze pool, resulting it quite spectacular crackling and colour.
As pieces go, these take longer to make than you might imagine. I turn and smooth every inch of them when leather hard, save the interior which is left with its throwing rings traveling up inside. The base, outside walls, gallery, rim are trimmed and burnished, the same goes for the lid. As they’ve developed over numerous batches they’ve got taller and narrower, more elegant I hope. The lids have come a long way too compared to the first iteration of these. Repetition truly does yield better results.