Ceramics

Sculpting

Pinch Pots

This process was to just to get me used to working with clay, and was a nice starter task. I first took a small piece of clay and molded it into a ball. I then pushed into the center with my thumbs and started to stretch out the sides with my fingers. I made three little pots, which turned into little dishes, around the size of little trinket trays. I tried to vary the size and shape of the pots by changing the amount of clay I started with, and molding the clay differently to create different shapes. Although I like the freedom of this process, I didn't really like how rough and imperfect the final results were as I didn't find them that aesthetically pleasing. If I was to do this again I would take more care to mold them slower so that I could take more care and not try and correct an already 'ruined' pot.

Flower

For this one I wanted to include the theme of fabricated nature into my ceramics practice, I thought the easiest way to do this would be to make flowers.

I had to try a couple of different methods to make a flower before I settled on this method. First I tried to roll out some clay and cut petals directly into the sheet. This didn't work however because the end result was a very flat, boring flower and I just didn't like it.

I made the petals by cutting out a basic petal shape out of a flat piece of clay, and rolled the sides by placing on a large sponge, wetting my finger and rubbing down the center until the edges curled up, then set to dry out slightly. As the petals were drying, I used a ball of clay to make a small dome, then created some texture by using a blunt knife and making tiny little lines all over the surface. To attach everything together, I first arranged a single layer of petals in a circle, pressing the tips of them together in the center, I repeated this to add multiple layers of petals until I had used all the petals. I then roughed up the center (where the petals were connected) as well as the underside of the dome. I then coated both sections with slip (watered down clay) generously before placing the dome onto into the center and pressing the two together firmly. I had to re-texture the center dome as I had lost some detail but this was easy. 

Glazing

After drying for a couple of days, It was placed into the kiln to bisque fire. This turned the clay orange, and made it porous, perfect for glazing.

Pinch Pots

For the pots, I chose to use different glazes on them so I could try as many as possible and see the different finishes and textures. For the first, 'Glossy Brown' glaze (the darkest, oval shaped pot) which was a pale burnt orange before firing. The second I used 'Burgundy' glaze (smaller round pot) which was a pale pink before firing. For the third and last pot, I originally wanted to use 'Mango Gold' glaze which, once fired, turns black and shimmers gold. I was advised against this by the technician as its the most toxic and overpowering glaze available in the workshop and should only be used when adding detail to pieces. I then decided to use 'Tenmoku' glaze which was a dull brown before firing. 

Flower

To glaze the flower, I first coated the center with liquid latex to prevent the first glaze from toughing it, as I wanted two different colours.

     

Once the latex had dried, I fully submerged the flower into 'Iron Speck White' (plain white before firing) glaze then let dry. After it had dried I rubbed the bottom of the flower onto a piece of wet carpet which removed any glaze from the bottom, this it to prevent the piece from sticking to the bottom of the kiln when being fired. I then removed the latex from the center using a toothpick so it could be glazed. I used a large brush to apply ''Iron Red Runny' (dull red before firing) glaze to the center trying to prevent the glaze from overlapping the first. Nothing bad would of happened if it did, except the colour and finish could of changed which I didn't want.

Final firing

The final firing does two things. It sets the glaze, often turning a different colour than before firing, and because of the glaze, makes the piece waterproof and less fragile.

Pinch Pots

The 'Glossy Brown' glaze (oval) turned from a pale burnt orange to a dark, shiny brown once fired. I really like the outcome as the glaze would look show the texture in the clay. Some parts were lighter than others, and where the glaze gathered in dips in the clay it would be darker. 

The 'Burgundy' glaze (small round) turned from pale pink to a rich dark burgundy that I loved. along the rim of the pot it was lighter as gravity had pulled the glaze towards the base, but I liked this look.

The 'Tenmoku' glaze (larger round) turned from dark muddy brown into a rich chocolaty brown. It was the only glaze that wasn't glossy, instead had a slight gritty texture which I liked. It caught the light really uniquely and would look very different in different lights. 

If I was to make pinch pots again, I would like to make more varieties, experimenting with shape, size and finishes. Id like to try out some oxides (powdered colour that is mixed with water) to put under the glaze and see how they come out. I'd also try and make them look 'neater' and also more like a traditional pot (taller sides).

Flower

The 'Iron Speck White' glaze I put on the petals came up a beautiful warm toned white with red speckled throughout, concentrating on the edges of the petal. I loved this as it gave it more dimensions, accentuating the lines and folds in the petals. 

The 'Iron Red Runny' glaze on the center turned a dark reddish brown with red speckled through. I loved this as the highlights in the glaze bought out the texture I put into the clay beautifully.

I think the two glazes I used worked very well together, both being warm-toned and having red accents with. I'm glad I used the two glazes as it adds a lot of dimensions and makes it look more realistic.

Anna Collette Hunt

Source: Anna Collette Hunt

Collette Hunt first started at Nottingham College (where I am) before setting up a ceramics studio in 2010 after receiving a grant from the Craft Pottery Charitable Trust. Her most well know work 'The Swarm' has been shown nationally and internationally and continues to grow over time.

I love her work, especially how much detail she is able to portray. She adds detail into every process of making, when molding the clay, oxides and glazes, and finishing touches including the final placement. I love how she makes hundreds of each piece, mixing up the colours and designs, and collating them all together into one final piece, which I would like to experiment with in the future.