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(Updated May 2013) I work principally in raku where clay takes a spectacular elemental journey through fire, air and water to become ceramic. Random crackle glazes dress tightly controlled, thrown forms evoking aeronautical/spacecraft engines, seedpods, nuts and flowers. Decoration, where applied, is simple and geometric using tape or pre-cut paper shape "resists" counterpointing the crackle, which is the "signature" of raku.
I also use the "naked raku" process where the bisqued pots have a layer of raw slip and sacrificial glaze applied, which is removed after the "smoking phase" of cooling the red hot pots to reveal the carbon patterning which has impregnated the pot body.
I press mould larger sculptural 'big boats', have new colours for the thrown work of seed, squid and tube vases, and have gone 'freeform' into narrative patterning on vase forms as well as deforming them into oval variations. Working on intriguing new, hand-built hollow forms called "knives". This form lends itself to manufacture at many scales and in many materials including ceramic.
2013: currently making a smaller version of 'big boats' assemblies to offer a scale between the 'big and the small' versions - canted connections of the components provide a new dynamic direction ( working title 'sharks') and heavy reduction after raku firing promotes metallic finishes from the copper glaze. The knife form, with variations in shape, angle, material, finish and 'family' composition will be a major diversion this year as I settle into my newly built studio space. 'Prayer engines' (NJNZ) are disposable votive vessels usually only made to commission (carrying a secreted wish only accessed by destroying the pot) - a small sample batch is in production.
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Member of the
northern potters
Association
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