(Updated Dec 2015)
2015 a good year for clay! Hatfield Art in Clay was a new event for me and I was made very welcome by organisers Andy and Di McInnes, by the 'Hatfield helpers', fellow potters and visitors alike. Lots of complimentary comments, "wow"s and sales to boot. At Potfest in the Park I unveiled my bespoke plinths which are an ideal size to display a 'ceramicano' raku assembly - my competition piece 'Prayer for the gladiator' impressed quite a few visitors enough to vote for it and to seek out my stand (so it's true what they say "one day my plinths will come" into their own as a marketing aid! ;-) )
See the 'exhibitions' page for my first show set for 2016 already, Priory Arts.
My portable photographic studio set up - bought to take 'press quality' snaps of my own work - has seen some use since I advertised for other artists needing professional images of their artwork and this is something I will continue to develop. I've just begun offering ceramics workshops and early take up is encouraging :-)
Currently I'm making new forms, 'mussels' and 'nuts' which, like my 'waveforms' are scale independent and lend themselves to compositions of multiples in various arrangements, sizes and naked raku finishes. In 2016 I hope to make larger, stoneware fired versions suited to all-year-round outdoor display.
In November I made about 20 moulds for a tiny version of 'big boats' assemblies and discovered a new assembly variation to investigate - on which eill translat into the larger versions too.
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 "waveforms". This form lends itself to manufacture at many scales and in many materials including ceramic. Its edge describes a sinusoidal waveform when seen at a particular angle and the form's two sides offer wide possibility for contrasts in finish, pattern and texture.