Two larger one off pieces, bone dry and patiently, and anxiously, waiting to be glaze fired. I’m yet to fire any of these pots but I’m hoping to soon, I’ve made them in a number of sizes, the ones pictured are roughly ten inches tall.
Glaze changes pots a lot—these clean, highly finished surfaces and carefully detailed additions will look wildly different after they’ve been put through the kiln. If what I have in mind for these doesn’t quite work I’ll certainly try to create a slip that has a similar colour and texture that these have now. I really like these matte surfaces and the obvious marks left as I make them, so that’s another route I have with these pots, it’s all guess work at the moment.
Marks and decoration are something I’ve tried before but it’s never been a quality I’m chased before. I’ve always preferred the simple side of pottery, clean forms without brushwork, textures and embellishments, but now, after three years of making pots that have had practically done of this, save the hakeme brushwork done on the soda standard ware, I want to try it, albeit in a very subtle way. I’ve always been into graphic art, I studied Vorticism to great length in school and it has remained a favourite movement of mine. Although it doesn’t resemble anything like these pots, the ideas of graphic lines and simple, stark motifs appear heavily in it. A handful of portraits are done in only a few lines, with shapes making up features of the human figure. What can be conveyed by only a few marks is often quite unbelievable, it doesn’t take much to trick our minds into thinking that a line and shape resemble something far greater and complex. These pots might not yet completely channel what I feel, but in time, and if they work, I want to push the decorative aspect into more of my work and in perhaps more complex ways, ever adorning simple forms.