My Process
Worked as fine as possible, porcelain is press moulded onto an origami surface to create texture, crisp edges, surface movement, light and shadow.
Loose lines echo the folds and emphasise the surface movement.
Choosing a very limited palette much of the porcelain is left as pure white. Any colour is added at the beginning and worked into the porcelain so it is integral to the final piece.
Loose lines echo the folds and emphasise the surface movement.
Choosing a very limited palette much of the porcelain is left as pure white. Any colour is added at the beginning and worked into the porcelain so it is integral to the final piece.
Studio
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Firing
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Colour
I work glaze stain into the porcelain to achieve the depth and density of colour I'm after. As my work can be see from all sides it important to me that the colour in integral to the porcelain. The colour is folded as well as the porcelain.
Image 2 and 3 show the difference between the porcelain colour before and after firing.
Image 2 and 3 show the difference between the porcelain colour before and after firing.
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ADDING PURE COLOUR
Like an alchemist searching for gold, the glaze stain colour has to be added accurately, and in proportion to the quantity of porcelain, to get the required depth of colour. It takes time and patience to mix the colour into the porcelain until it's evenly blended through, ensuring no air is added. |
