I’d forgotten that playing with tape can be fun.
Sibelco WM clay body, E. Cooper’s #256 satin black, chrome-tin red.

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The instructor in a porcelain workshop asked us to make a mug and a bowl, neither of which I’ve ever managed to produce decently. Gluing was the inept’s way out…

Audrey Blackman porcelain; E. Cooper’s glaze No. 250.

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A little playtime in the studio.

I’ve been nudged into trying forms and ideas I might never have wandered toward on my own, and it’s been a fun kind of stretching.

Which one are you drawn to?

#HandmadeCeramics #Pottery #GlazingTrails #StudioCeramics #CeramicArt #Handmade #Ceramics

A little playtime in the studio.

I’ve been nudged into trying forms and ideas I might never have wandered toward on my own, and it’s been a fun kind of stretching.

Which one are you drawn to?

#HandmadeCeramics #Pottery #GlazingTrails #StudioCeramics #CeramicArt #Handmade #Ceramics

Kilnload of disappointments, first instalment:
AB porcelain body, base of Turner’s White with Zircopax, sponged copper- and red iron-oxide wash, painted manganese-copper-iron wash along rim

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Goerg & Schneider 376 clay body, Turner’s White glaze in 3/2/1-coats from top, dripping copper-oxide wash along the rim.

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Goerg & Schneider 376 clay body, painted china- and ball-clay slip, single-fired.

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Access to the kiln after a while!
With gratitude and apologies to Lucie Rie and Hans Coper: Goerg & Schneider 376 clay body, slapdash copper-oxide wash under Turner’s White glaze.

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[Last firing in the old city.] Sibelco R2505 clay body; painted Mayco Tuxedo glaze and painted dolomite/tin glaze on the rim. Unexpectedly—and fortunately—, the iron in the clay body produced pink tones. Kindly and expertly fired by @klemen

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Witgert white body; three sponged layers of Mayco Light Magma interspersed with three sponged layers of Amaco Jet black velvet underglaze. Those two react violently to each other, and required many sheets of 60-grit sandpaper to pop the large blisters. Kindly and expertly fired by @klemen
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