Striking contrast of mixed claywork, a vivid Cobalt blue oxide paired with the softer earthy silvery tones of Rutile flour. Part of my "Strata" range.
The ceramic technique of Handbuilding provides a much more versatile and complex way of achieving the right balance and flow in Edge Ceramics. I am never quite sure what a rolled out sheet of clay will become. Once rolled out I begin to visualise a particular form from memory and try to coax the form from the clay.
I use a heavily grogged Crank Stoneware body which lends itself perfectly to the free form and organic nature of the emerging object.
Crank clay is often coarse and strong and supports itself relatively quickly after being at room temperature for 24 hours. This gives the clay a bit of time to dry out and lose some of its moisture making it more maleable and workable.
Crank has lots of grog and particle added in its make up providing interesting edges and walls and an almost granular toasted biscuit look when fired.
Once this is achieved the clay can be "formed" into either one large object or several smaller ones depending on how I feel at this stage. I never use any man made tools to cut, sever or shape my ceramics which is a fundamental part of what they look like when they are finished.
My unique mark making and texture is created using my hands and fingers, bones, sticks and branches, driftwood, stones, pebbles and barks as the tools to build up the surface design. No two of my ceramics are ever the same making each one a unique object.
I use a heavily grogged Crank Stoneware body which lends itself perfectly to the free form and organic nature of the emerging object.
Crank clay is often coarse and strong and supports itself relatively quickly after being at room temperature for 24 hours. This gives the clay a bit of time to dry out and lose some of its moisture making it more maleable and workable.
Crank has lots of grog and particle added in its make up providing interesting edges and walls and an almost granular toasted biscuit look when fired.
Once this is achieved the clay can be "formed" into either one large object or several smaller ones depending on how I feel at this stage. I never use any man made tools to cut, sever or shape my ceramics which is a fundamental part of what they look like when they are finished.
My unique mark making and texture is created using my hands and fingers, bones, sticks and branches, driftwood, stones, pebbles and barks as the tools to build up the surface design. No two of my ceramics are ever the same making each one a unique object.