My work is fundamentally concerned with the treatment of its surface
and that is to combine two contrasting techniques of carving into clay
and the burnishing of its surface, into one coherent theme.
Carving into clay creates a three dimensional texture using a series of different levels and depths. It disturbs the surface of the clay body, encouraging the eye to move in, rather than bounce away. With burnishing and then smoke firing the state of the clay body is changed by first sealing it, and then introducing different facets of light and shade by carbonising randomly selected areas. The gold, silver and copper leaf detail applied at the final stage adds another dimension to the final piece of work.
I find the ideas of Henry Moore and Ewen Henderson inspirational in their belief that you should let the material take the lead pushing each one beyond its limit. The curvaceous and uncomplicated structures of Anish Kapoor and Barbara Hepworth, and Gabriele Koch's gourd-like burnished pots, all appear to have mastered the skill of uniting form with surface which is what I hope to achieve within my work.
Work generally available from:
Direct from my website and studio, plus open houses and shows as listed.
60 Florence Road : Juliet Walters: ceramics at Brighton Festival
May 07, 2016 to May 29, 2016
Blenheim Palace : Country File Live
August 04, 2016 to August 07, 2016
The carved shells are thickly coiled from coarse crank clay and the design is then carved out. They are bisque fired to 1000°C and it is at this stage they are used as press moulds for the inner burnished form. Oxides and glaze are rubbed into the texture of the carved shells which are then fired to 1260°C. The burnished forms, using white stoneware, are assembled, coloured slip applied and then burnished repeatedly. They are
bisque fired to 1000°C and smoke fired, in an open container, using a
mixture of different types of wood shavings to achieve different
effects. Beeswax is applied when the pots are still warm giving it a soft, silky and tactile finish. Gold, silver or copper leaf detail is applied to the interior of the double skinned form. The finished forms can then be displayed in various combinations.
I have been involved in Ceramics for about 12 years and have been
developing my work since graduating from South Thames College in 1999.
Since then I have exhibited at several major London venues including:- The Air Gallery in Dover Street, gallery@oxo on the South Bank and The Mall Galleries as part of their ‘Art for Youth' Exhibition. This, as well as numerous ceramic fairs and galleries.