Celebrating all hand building techniques, I create my forms using a groggy white clay body.
Once formed the surface is refined and three coats are applied of a fine Terra Sigillata slip, finally hours of burnishing commences, polishing the clays surface, to create the shine.
The pieces are fired in my electric kiln to 1,000°C.
Wrapping each piece in a foil blanket, whilst being surrounded by various combustibles: seaweed, copper wire, Miracle Gro, copper and cobalt carbonate, banana skins and pink Himalayan rock salt.
The parcels are then placed in an oil drum. I wood fire the pieces to around 800°C, as the heat intensifies the combustibles smoulder marking the clays surface.
Whilst at university I explored lots with firing techniques, Raku has always been a favourite, the alchemy of smoke, the almost instant result,is truly magical.
The oil drum raku kiln rapid fires to 1000°C. Carefully the pieces are removed and decorated with horse tail hair, ostrich feathers and demerara sugar.
Glazes are not used yet . . .
After the firings, the forms glorious surfaces are revealed.
They are washed, dried and waxed, before finally being polished to bring back the sheen from the burnishing.
