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Material and surface
Material and surface make an active contribution to the form. Pieces are frequently cast using a white semi-porcelain slip, glazed using a bright white zircon glaze, or press moulded using a rough black stoneware, sealed with a wash of frit. The resulting whitewares have a finish analogous with the sterility of laboratory equipment and sanitary ware, contradicting the crafted element. The reflective nature of the glaze accentuates contours and undulations within the work. Clean, uncomplicated firing in an electric kiln leaves surfaces unaltered, not disguising the subtle marks of making. In contrast, the black stoneware has a dark matt, craggy finish, synonymous with the highly tactile ceramic pieces emanating from the ancient kilns of japan.
Further surface treatments may be applied that are reflective of industrial heritage rather than artistic method; the application of precious metal leaf or lustre may be used as a material treatment hinting at past ceramic reputations and the ritualistic role of ceramic vessels throughout history. The interior of the white pieces may be finished with a highly reflective bright gold lustre or precious metal leaf. On the exterior gold lustre is used to highlight the torn edges of seams resulting from the casting process. The black pieces may be are lined with small squares aluminium leaf. Often the edges of the squares don’t quite meet and corners break away when brushing away excess leaf to reveal the black clay beneath. This is purposely left exposed, allowing the gilding process to be understood.
Further surface treatments may be applied that are reflective of industrial heritage rather than artistic method; the application of precious metal leaf or lustre may be used as a material treatment hinting at past ceramic reputations and the ritualistic role of ceramic vessels throughout history. The interior of the white pieces may be finished with a highly reflective bright gold lustre or precious metal leaf. On the exterior gold lustre is used to highlight the torn edges of seams resulting from the casting process. The black pieces may be are lined with small squares aluminium leaf. Often the edges of the squares don’t quite meet and corners break away when brushing away excess leaf to reveal the black clay beneath. This is purposely left exposed, allowing the gilding process to be understood.
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