From my client I will need to know what size the work should be, and what kind of colours are required, and as many other details as possible. Ideally I would prefer to meet the client but if not practical then to have conversations and to exchange drawings/ photographs etc. in order to be sure that we are aiming in the same direction.
The time taken to complete will vary depending on the amount of research I need to do, whether moulds have to be made, etc. Normally 6 to 8 weeks would be an average lead time.
All work begins as a decorated slab of clay, which is formed when still soft, either by pressing into a plaster mould, wrapping around a former, or by freely constructing in sections. Batches of white clay are stained using oxides and/or commercially prepared stains, and sometimes paper is added. The clays are manipulated in various ways.
During forming, the clay is subjected to forces of an almost geological nature, to provide an infinite variety of pattern, colour and texture. Often, the result is an uneven slab of clay with a fragile surface and it might sometimes even be unusable. Results are frequently unexpected and hardly ever repeatable, the balance of colour can never truly be predicted and no two pieces are ever the same. Clay slabs are then shaped to make a variety of vessel forms.
After biscuit firing to 1000°C, the insides of the vessels are glazed and the work fired again to 1250°C. The wide range of colours is muted but strong and the surface remains subtle and matt.
An alternative range of work employs a dry glaze and is fired to 1150°. This works well with copper which gives vivid blue and turquoise, as well as bronze.
I am willing to travel reasonable distances nationally and internationally and will charge expenses accordingly.
Visitors are welcome at the studio and showroom by appointment.
Every piece produced is a “one-off” and as such is not repeatable. The pieces illustrated show what kind of work is available to commission and these are priced, but each enquiry has to be looked at individually.
Where driftwood is involved, shape and size of work depends very much on this “found” material and individual requirements can be discussed. Towers can be fixed up as lamp bases, and work is in progress to make them as self contained lighting units.
Pebble stacks: larger or smaller ones can be made. Smaller items such as the tubes can be commissioned in groups of 4 or more.
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