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I have thrown it with thick walls to allow for deep carving.
I wait until a certain degree of drying has occurred and then I carve and manipulate the smooth white stoneware clay by hand.
I do not add any additional clay, I only subtract.
The piece is bisque fired in my electric kiln and then glazed on the interior of the vessel and the recessed bottom of the foot with delicate touches on the raised edges.
The piece was fired again in a wood kiln(noborigama) at the Baltimore Clayworks in Baltimore, Md.
The process involves stoking the kiln repeatedly and is shared with a wonderful group of other ceramic artists/potters.
The temperature reaches over cone 10((2400 degrees). It takes over 24 hours and the kiln is not opened and unloaded(it is still hot) for several days.
The color and added texture on the exterior is achieved by the flames and ash flowing through the 3 chambers of the kiln.
The glistening color an iridescence is a phenomenal result of the firing.
The interior has delicious carbon trapping and the exterior varies from a more intense are of connection with ash and flame and a less exposed area...
It is an incredible process.
The piece is completely water-tight and the clay is fully vitrified at this point(no longer porous).
The vessel is 4 3/4" tall x 8 1/4" wide.
This piece is inspired by texture in nature and folds of textiles.
The organic yet modern appearance entices the eye.
I do not attempt to recreate but rather, to reinterpret my inspirations.
I most enjoy the process of carving these pieces and I believe my enjoyment is evident in the final visual result.
As with all of my work, there is no slip-casting or molds involved.
Each piece is handmade and therefore "one of a kind".
Even if similar items are made, they are never EXACTLY alike,
as that would be impossible!