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View Image Gallery Jane Hamlyn(Full member)

Artists statement

My pots are made to celebrate the rituals of daily life : serving and offering, giving, receiving and sharing. I believe that functional pots have a unique role to play in the arena of the Applied Arts because they provoke audience participation. My pots are made to be touched and when holding a pot and considering how to use it the user continues its creative life and fulfils its real function. I like that idea.

Current Work

Raw-fired saltglazed stoneware pots, thrown and hand-built, for everyday use and for ornament.

Current work available from:
A wide number of galleries including:
Contemporary Ceramics, the Craft Potters Association Gallery and shop, Marshall Street, London
Paul Rice Gallery, Ealing, London
Scottish Gallery, Edinburgh

Technical Information - Salt Glaze Principles

Salt is sodium chloride - sodium is a flux; clay is mainly composed of alumina and silica - silica makes glass.

When salt is thrown into a hot kiln the sodium vapour comes into contact with the particles of silica on the surface of the clay pots and melts them, forming a glaze i.e. the skin of the pot itself becomes the glaze. This is different from other types of glazes, which are an added layer covering the surface of the pot.

Thus salt glazing has the potential to reveal the form rather than to mask it. Salt glazed surfaces can be infinitely varied by adjusting the alumina/silica ratios of both the clay body and the slips which are applied to it. More silica gives a higher shine, more alumina gives more matt surfaces, and often promotes golden or reddish brown colours.

A further factor to be taken into account is the particle size of the silica present in clay and slips. Heavier 'orange-peel' texture can be promoted by the addition of sand into the clay body. The larger silica particles do not melt completely, resulting in a "bumpy" or reticulated surface where melted silica, combined with any iron present runs down and collects in the 'valleys' between the un-melted silica 'mountains'.

It is also especially important to note how the iron content of the clay and the amount of reduction, affect the colour response on the fired surface. Obviously, the amount of salt used per firing is a crucial factor since it provides the sodium vapour which actually melts the silica. Insufficient salt results in dull matt surfaces, oversalting can bleach out colours and melt pots till they stick to the shelves!

Judging the right amount of salt is a matter of personal preference, related to the type of work and desired surface quality. Ultimately it is through a potter's own experiment and experience that the full potential of salt glaze may be discovered.

History

Background
1940 Born in London
- Married with two sons
1974 Harrow College of Art
1975 Set up own Studio
1986 John Ruskin Award
1988 Kekskemet Scolarship
1989 Fletcher Challenge Award
1993 Saltzbrand Prize
1999 Westerwald Saltglaze Prize.

Public Collections
Crafts Council
Hanley Museum, Stoke-on-Trent
Nottingham Castle Museum
Cleveland Ceramics collection
Keramion Museum, Germany.
Westerwald Museum
Princessehof Museum, Leeuwarden, Holland.
Victoria & Albert Museum, London

Profile Image

Ceramics by Jane Hamlyn at Studiopottery.co.uk - home

View Image Gallery Selected Images

Ceramics by Jane Hamlyn at Studiopottery.co.uk - Ceramics by Jane Hamlyn at Studiopottery.co.uk -
Ceramics by Jane Hamlyn at Studiopottery.co.uk - Ceramics by Jane Hamlyn at Studiopottery.co.uk -
Ceramics by Jane Hamlyn at Studiopottery.co.uk - Ceramics by Jane Hamlyn at Studiopottery.co.uk -

Contact Details

Studio Address: .


Availability: Information valid up to 2003. No longer being updated by potter. Please refer to potters@studiopottery.co.uk for more details.

Last Updated: 2007-09-19

Events featuring this potter

Craven Museum & Gallery : Contemporary Ceramics: A Personal Collection
January 19, 2012 to May 07, 2012

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