Smoke fired porcelain and Raku: After many years of making high fired decorative stoneware my current work is smoke fired, porcelain, thrown on a wheel, it is then burnished, layers of terra-sigillata are then applied, polishing in between each layer, giving the pot a high sheen. I fire in saggars, and a raku kiln leaving the smoke and flames to dance over the surface creating unique marks.
I find the combination of the smoke and clay fascinating it gives my pots a sophistication, whilst using a fundamental and primeval approach.
Continuing my love of colour I also make traditional glazed raku pieces, using a raku clay. I sometimes, incorporate precious metal clay and gem stones.
Work generally available from:
The pots are thrown porcelain, layered with terra gisillata polishing in between each layer, biscuit fired to 1050 degrees centigrade. Areas are masked out with graphic tape or wax resist and dipped into a resist slip, and left to dry for 24 hours before a thin coat of transparent raku glaze is applied. They are then fired in a raku kiln to 930 degrees centigrade, taken from the kiln whilst red hot and placed in galvanized bucket of sawdust. The lid is placed on and the pots left to smoke for a while. They are then taken from the dustbin and plunged into cold water, the slip and glaze then peals off leaving the naked clay and the traditional black and white crackled surface. It is then polished with beeswax.
As above until after the biscuit firing. The pots are then either wrapped in a cloth with various oxides which is attached with wire, rubber bands, string, cotton etc. Sometimes steel wool is used to wrap around the surface, the pots are placed in a container with sawdust, salt, seaweed, oxides, banana skin, orange peel etc., they are fired to 830 degrees centigrade the smoke and flames creating the marks. They are then polished with beeswax.
Traditional raku glazes are applied, the pots are fired in a raku kiln, taken out whilst red hot and placed in a dustbin onto a bed of sawdust. The lid is placed on and the pots are left to fume in the kiln. They are then taken from the kiln and plunged into cold water.
More recently I have been experimenting with precious metal clay and gem stones.
Mainly self taught prior to attending a post graduate course at
Goldsmith's College, University of London (1987-88). Since then I have
been a full time potter.
Professional Member of the Craft Potters Association.
Full member of The Surrey Guild of Craftsmen.