I’ve felt for a while now I’d like to introduce another element in my work—or rather, reduce and simplify surfaces to reveal the bare clay work beneath. I spent vast amounts of time making sure my pots are turned cleanly with good forms and are impeccably finished, yet the glazes I use often hide these qualities. It isn’t so much the bowl and plates forms, rather the storage jars, mugs and teapots. Delicacy I’ve spent so long achieving is lost underneath layers of thick glassy glaze. My glazes look best applied thick—so simply thinning it out isn’t really an option as it changes entirely.
The struggle lies in tying together both clay work and glaze. Often the combination of each make a pot recognisable as being made as a specific potter. Although, the more memorable ceramicists are those whose forms alone are instantly distinguishable, regardless of what veneer covers them. While sort of my forms might meet this criteria they certainly all don’t, but I’m not the best to judge this, the collector and user of the pot know best. My sense of aesthetic has always favoured simple, more straightforward ceramics rather than whimsically inclined and brazenly colourful work. Even if it means working harder to make your voice obvious as you’re limited in colour and shape, which in someways I prefer, as you have to use the limited materials and ways of achieving glazes to their fullest, rather than piling on decorative markings, glazes and lustres.
This nuka glaze shows the clay work beneath in the way I was describing. It’s more visible, the lines left by my fingers and the actual shape is hidden under a blanket of glaze. It doesn’t share the same qualities as my crackle glazes but is good to the touch and lets my work show the delicacy they’re made with.