My Processes

Making Processes:

I am a hand builder by preference but these days refer to my work as being hand formed as it implies more organic process.  I spent some time learning from Shozo Michikawa how to use the energy of the potter’s wheel to produce the textures I’m so interested in. Then whilst recuperating from a shoulder injury, and unable to throw, I started to develop my own techniques which I continue to use. Beginning with a solid lump of clay the pieces are formed by texturing and stretching. I start with an idea of the shape I want but allow the clay to dictate much of the process. It varies according the type of clay and how soft or firm it is. Coils are added to finish rims or form galleries for lids. I particularly like making pieces without foot rings, so that the natural desire of the clay to swell into a curved base results in a pot which moves gently as you walk by enticing you to put out a hand to steady it and feel its texture.
To see more of my working processes take a look at this short stop frame video

Firing Processes:

Raku:
As I use it, raku is an earthenware technique involving a very rapid glaze firing cycle and handling of the work at high temperature. It is a fast and immediate process of transforming clay into ceramic. The work is fired to 1000ºC, removed from the kiln at that temperature, with long tongs, and then submerged into a container of sawdust or other combustibles. A lid is put on the container which prevents oxygen from getting in. The combustion process tries to draw oxygen from the hot ceramic (chemical reduction of the oxides) and this alters is colour. The weather plays a part in the progress of the firing and the subsequent smoking.

Wood Firing:
Wood firing is a time intensive and hands-on method of kiln firing requiring continual stoking over many hours. Because of the very changeable weather on Skye, I have a fast firing kiln taking on average 16 – 18 hours of stoking to reach cone 10 (approximately 1270ºC)

Saggar:
Saggar firing takes place most often within the wood kiln, but also in the gas kiln. It is a technique I have been developing to achieve the dark colours and stone like qualities of the rocks around me. It works in principle very much like the post firing reduction in Western raku, but at much higher temperatures.

Click on one of the links below to find out more about each of my processes: