Uploaded June 2026 | Updated September 2026, 1 week ago
This weekend's YouTube video, (a link to which you can find in my biography), covers the creation of these much larger, angular bowls. Made from approximately 5 kg of clay, around 11 lbs, centred from two lumps, thrown, intensively trimmed, awkwardly glazed and finally reduction fired to cone ten, (1290ºC), in a manner that hopefully preservers the circularity of the foot-ring.
That has been my greatest challenge with these pots and it's what irritatingly has made producing them feel a bit like gambling lately, as part of me knows that the finished objects will have a flaw somewhere in them. The thing is, with all the weight pressing down on such a narrow, tall base, there's a lot that can potentially go wrong, causing it to warp. At the same time, with so much surface area, any defect in the glazing will be glaringly obvious in the finished product. This means that in order for these to be successful, SO much has to go right and ultimately, that's the hardest thing about creating work that is so minimal.
When you're creating pottery that is inherently a bit wobbly and is glazed in an internationally rough and naive manner, there's room for subtle irregularities to creep in and often they just match the aesthetic of the rest of the object, but with extremely minimal work that just isn't the case. These tiny errors come back to bite you and thus, as a maker, you have to work extremely diligently and carefully... All of that is discussed, and much more, together with a potential solution to the troublesome, warping feet.
Thanks so much for taking the time to watch. It really means a lot and it supports my small business more than you'd think.
#pottery #ceramics #handmade #clay #maker
This weekend's YouTube video, (a link to which you can find in my biography), covers the creation of these much larger, angular bowls. Made from approximately 5 kg of clay, around 11 lbs, centred from two lumps, thrown, intensively trimmed, awkwardly glazed and finally reduction fired to cone ten, (1290ºC), in a manner that hopefully preservers the circularity of the foot-ring.
That has been my greatest challenge with these pots and it's what irritatingly has made producing them feel a bit like gambling lately, as part of me knows that the finished objects will have a flaw somewhere in them. The thing is, with all the weight pressing down on such a narrow, tall base, there's a lot that can potentially go wrong, causing it to warp. At the same time, with so much surface area, any defect in the glazing will be glaringly obvious in the finished product. This means that in order for these to be successful, SO much has to go right and ultimately, that's the hardest thing about creating work that is so minimal.
When you're creating pottery that is inherently a bit wobbly and is glazed in an internationally rough and naive manner, there's room for subtle irregularities to creep in and often they just match the aesthetic of the rest of the object, but with extremely minimal work that just isn't the case. These tiny errors come back to bite you and thus, as a maker, you have to work extremely diligently and carefully... All of that is discussed, and much more, together with a potential solution to the troublesome, warping feet.
Thanks so much for taking the time to watch. It really means a lot and it supports my small business more than you'd think.
#pottery #ceramics #handmade #clay #maker
