Picture via @floriangadsby
Although a rather strange angle to photograph a pot from, I feel it shows the flowing curve of the handle and the base of the pot surprisingly well. This is a rather unusual mug, fired in a particularly hot spot what was a blue nuka glaze has changed into something that resembles more closely my crackle glazes. The glaze is so thin that it feels like a transparent varnish over the clay, especially towards the sharp rim, upper walls and the edges of the handle, which is dissimilar to my normal recipes as they tend to be very glassy and opaque all over. The only thickness lies towards the base both inside and out, where the nuka has rolled into a delicate band of extraordinarily bright blue.
It isn’t what I expected to happen but in a way it has shown me something I’ve been struggling with in my work for while. During the throwing and turning stages I’m almost obsessed with making pots that are incredibly delicate, I love when a pot is picked up and it defies your perceived expectations of weight, yet this is lost on a number of my pots as the glazes I use typically look best when applied thickly. It’s a balance really, but after handling a number of these mad specimens I’m reminded of why I adore delicate and thinly made pottery.
It’s a cliche thing to write about, one that’s churned over and over in pottery speak, the idea of turning essentially dirt and rocks into vessels that hold the opposite qualities, porcelain as white gold, for instance. Rather it’s turning materials of practically zero value into that objects that are held in high esteem. Although the journey to the final piece is rather marvelous, thinking back about the matter used itself, soft clay scooped out of the bag, powdery raw glaze materials that mixed into a solution, what’s achievable is remarkable, and to think mankind has been at it for tens of thousands of years.
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