Stacked bowls and cylindrical vases, freshly turned and left now to go bone dry. I’ve changed my normal bowl form, it’s now shallower and slightly wider but they have a far more pleasing curve to them. Having spent two years barely turning any pots to turning almost everything I make has been a shock, it isn’t trimming to remove weight, but to refine shapes, remove wiring off marks and adding beveled edges to the bases, only a few pieces of the Maze Hill Pottery functional standard ware have these done but everything I make does. There isn’t the added pressure of monitoring the raw glazing too, waiting and checking to see if the pots have returned to a leather hard state before another layer of liner glaze can be applied. Once the pot is finished, it can simply be left ready to be biscuit fired, it’s a completely different way of making.
The vases are thrown with roughly measured weights, I’m not interested in them all being identical as I intend to group them afterwards into sets of threes and fives, to appear almost like they do here once finished.
The bowls, even though they’re thrown very similarly always change so much once fired, I turn them thin and slight warping and undulations of the rim are a common occurrence and a quality I really like as long as the pot still sits flat. The kilns atmosphere plays a large role too in determining their final appearance, they aren’t all guaranteed to fire to the same colour even when they have the same glazes applied. The kiln is small, and the pots closer to the burners are very different from those on the cooler side, the whites range from being glassy and somewhat grey to a very opaque white that’s matte. The variety and imperfections are key, even though they’re never very dramatic, the subtleties make all the difference.
Shared by floriangadsby (Florian Gadsby) and selected for Art.