Native clay reflections

Native clay reflections

I had ideas about stamps etc but these didn’t really work out in the end since I chose to fire at home. This makes a carbon rich firing which doesn’t highlight shallow stamps effectively. This would be more appropriate with the use of underglazes to highlight this. What did work was the brick imprint as seen on the pinch pot. This was deep enough to be clearly visible, and since it was a relief it had a 3D quality too.

The ash made no effect on the clay, I was interested to find that it didn’t crack the pot, I wonder if a high firing would change this. The red clay paint seemed to make a richer more intense colour on the pot, but it is hard to tell because of the carbon.

There is definitely some experimenting with a proper kiln to be done!

We returned the pots to their homes. The brick vase was taken to the Site of the brickworks (I did keep this though). But the pinch pots we put back into the stream, along with the rest of the landfill. Marking the end of the strict Lockdown.

The work on the this clay defined a period in time, whether it will have a lasting impression on my family, we will know in time.

 Brick found in the Riverbed

Very Hard to see stamps, but the colouring is a more intense orange.

 

Sunil Pawar Collaboration Stolen Form

Adam Buick, Unfired clay, returning to it’s natural state by the affect of the elements.

Vase by Yukiharu Kumagai