After a shockingly long hiatus, we’re about to send some new work to CAA. We have concentrated on the new unglazed coloured clay pieces. This work started a year ago with our British Ceramics Biennial entry then we showcased it earlier this year at CAL. I think it is some of our most successful work in combining function with abstract graphics. Our design process is always one of gradual, successive fine tuning over a long period. We’ve been honing the colour palette and developing our favourite motifs.
We are busy making stock for CAL (Ceramic Art London). These are some decorated teapots drying before their first firing – looking promising but a long way off being “in the bag”. The functional demands on a teapot are obviously great which means they’re difficult to do well.
They should pour well, feel nice to hold; the lid fit well, be light and balanced – and of course look good. They only have to fall short in one respect to be proclaimed a “second”.
However, if all goes well they could be one of our best products – James’ perfectionist attention to detail in the making and my surface design – that’s collaboration. Now we just wait with fingers crossed.
In my spare time I’ve been making ceramic beads. These are some of the latest – un fired as yet so the colours will be brighter when finished. I make them by rolling soft coloured clay around a paintbrush handle. My inspiration came from a necklace I saw at Oriel Myrddin made by Lovehate.
I’m particularly excited about the composite ones. (But also nervous that they will fall apart in the kiln). It’s really hard to cut at ninety degrees (a bit like slicing a loaf of bread neatly but more so) which is why some of them have wiggles – I decided to go with it and consider it a positive quality!
This teapot feels like a fantastic example of our collaboration and a huge accomplishment. (I do feel a bit guilty that James has the hardest job in actually making it and I get to do the fun, easy part.)
It is fairly small at 700 ml and unglazed, like the “naked” set we made last year for the BCB. It is made from pigmented stoneware and the motif is inlaid. We are hoping to have a small range of unglazed porcelain ware available at Ceramic Art London in April.
More of our teapots here.
This is the next attempt at developing a half-glazed/half unglazed design of mug. It follows on from the espresso mug I did a post about on Dec. 4th of last year. When we talk about the design between ourselves we refer to this sort of mug as being “donkeyfied” as in a “donkey jacket”. It is an idea I borrowed from a range of bags that Ally Capellino produces (I gave one to Tilla as a tenth wedding anniversary present).
What’s different this time? It is dipped in a paler, lower contrast slip; dipped less deep; black foot.
Tilla still isn’t convinced by this mug. I quite like it. Not enough though – something else needs to happen.
James 3rd February 2014