This idea popped into my head a couple days ago. And I couldn’t shake it so I had to make it. 🌞 Don’t you love those ideas? The ones that so badly want to be manifested into reality that they keep you awake at night..🤪 #workinprogress
I was thinking back to last winter and it occurred to me that this skull and snowflake combo didn’t even exist then?! So then I started Insta stalking myself and was amazed at how much my work has changed. It may be more apparent to you guys but for me it’s been a gradual process of creating, critiquing, and evolving that I hardly notice until I take time to stop and look. Generally after each kiln is unloaded I like to really look at each piece and think about what I love and don’t love. Mostly it’s a mental note but the notes sink in and have transformed my pots into an evolving body of work. I’m so thankful that you all continue to follow along through all the changes. Your support through likes, comments, and purchases allow us to live this exploratory life. I love this platform and to paraphrase Mark Twain... If you don’t like the pots, wait five minutes!😂❄️#staytuned #youguysrock
Matchy, matchy. It’s good to have a friend.
3 hours ago
Crackle glazed bowls, rims bright where the iron laden clay underneath begins to show as the glaze pulls away from the crisp edges.
I’ve been a thrower when it comes to working with clay. I’ve hand-built a little here and there, slab building and coiling too aren’t something I’ve properly done for years now. They tend to be slower ways of working but are by no means any less skilful, during my apprenticeship with Lisa Hammond there was an exchange where one of Ken Matsuzaki’s past apprentices, Masaki Dejima, came over for six weeks to make pots to fill the soda kiln. This was the first time I’ve seen someone hand-build in a manner that just completely blew me away—it was fast, physical, complex shapes grew almost as fast as you could throw them, forms fastened together with newspaper to stop them collapsing as he went. I saw the same techniques again when I went to Japan three years later when I worked for Ken-san for six months.
Throwing is enticing in many ways, it’s what initially caught my interest when I saw my first tutor in school throw a vase, but it is limiting in regard to shape, inevitably most pots end up round, circular and any changes, any altering of form is done after they’re thrown. Altering thrown ware to any degree takes a whole set of skills and it isn’t something I’ve explored much, as I wrote in a recent post, potters tend to find a path they like and they sort of stick with that, meandering off on tangents here and there but generally returning to a type of form, firing or glaze that they’re known for.
Throwing has speed, it’s fast, there’s risk, pots can collapse with one wrong movement of hand or tool and it also mesmerising—watching it as an outsider is almost spellbinding, I still occasionally find myself in a wormhole of watching endless throwing or turning videos online. I don’t feel as if there’s a part of the craft I’m missing out by not hand-building, it’s such a vast profession that mastering every methodology would require decades and decades of trial and error and practice and it might be something I come across further down the line when the wheel becomes limiting.