A low storage jar, covered with a green crackle glaze and taken up to come ten in a firing that spans almost twelve hours—which is relatively short in terms of those done at Maze Hill Pottery. Unlike my narrow store jars these are thrown on wooden batts, much like my bowls, as lifting them off normally would likely distort them too much.
The lids are thrown upside down before being let dry and then trimmed while sat in the gallery of the form below, it acts as a chuck as long as you throw them very accurately. It also allows you to turn both the lid and body perfectly straight, as you're working them as if a single form. I turn a slight concave hollow into the top, to act as a pool in which the glaze can gather in, thickening and creating extraordinary repeating patterns of fractured glass.
The iron dot towards the base is a remnant of iron from within the clay body itself. During the reduction process, where the kiln is throttled of air, the lump of iron is pulled out until it breaks on the surface of the glaze, settling and melting as the glaze fluxes into a molten glass. In this case, like many others I've featured, it gives the pot a face, a direction and an obvious point at which the piece should be displayed and photographed.