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When I first started working with ceramics I thought glazes were not interesting, being way too bold and fat, hiding the purity of form and the pulsating quality of the wet clay.
For many years I turned to sculpture and thought ceramics too limiting as I felt the glazes stifled the form.
Then seeing the ancient Raku bowls, the Sung and the Chosun Pots, I realised how mistaken I was!
I then tirelssly tryed to make glazes that could generate an emotional response.
Ceramic surfaces, like fabric are limitless in their appeal..
I believe their very nature is somewhat 'mysterious' and can trigger wonder, and emotion.
I believe pots can hold an 'essence' .
glaze is like skin- the interface- the point of contact drawing the viewer in, inviting us to touch..
In this case a sensual milkyness, something soft that seems palpable, fluid, tender yet firm.
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The other day I sent a bowl to Taiwan for Stephane from the blog Teamasters.
The glaze was a duck egg white that has hints of blue to it,
based on my reseach into the ancient White chinese glazes.
based on my reseach into the ancient White chinese glazes.
I have been working on this glaze for five years.
I have now made this glaze even softer by calcinating the China clay I use in the glaze.
I don't think I will change much to it now. Probably my finest glaze!
I don't think I will change much to it now. Probably my finest glaze!