Out of the kiln came these "steps" made of porcelain paper-clay - a bit lighter, and perhaps more fragile, than actual porcelain, due to the paper in the clay burning away during firing -
Here's a closeup - good enough to eat! - and each one individual ... an individuality that will be lost in the larger installation - but that's a metaphor in itself -
Before making another trayful, I decided to glaze the unfinished objects, including most of these - each one involving several decisions - and it's the decision-making that eats up the time -
Here's some of what went onto the shelves for stoneware firing during the week - tin glaze, clear shiny, clear matte ... they all look the same at this stage.
So it was after 3 before I got to the paperclay and the steps - but by 5 pm, a trayful was ready, including rungs for a ladder, with the edges painted with grey underglaze (not that any of these will be glazed) -
In fact I'm happier not glazing - it's shape and structure and volume and the qualities of the clay that interest me. There just doesn't seem time to take in colour and chemistry and all the rest as well - though in other people's work, the glazes and colours and painted effects are wonderful, and I love to see them and think "oh I might do that one day" - !
Here's a closeup - good enough to eat! - and each one individual ... an individuality that will be lost in the larger installation - but that's a metaphor in itself -
Before making another trayful, I decided to glaze the unfinished objects, including most of these - each one involving several decisions - and it's the decision-making that eats up the time -
Here's some of what went onto the shelves for stoneware firing during the week - tin glaze, clear shiny, clear matte ... they all look the same at this stage.
So it was after 3 before I got to the paperclay and the steps - but by 5 pm, a trayful was ready, including rungs for a ladder, with the edges painted with grey underglaze (not that any of these will be glazed) -
In fact I'm happier not glazing - it's shape and structure and volume and the qualities of the clay that interest me. There just doesn't seem time to take in colour and chemistry and all the rest as well - though in other people's work, the glazes and colours and painted effects are wonderful, and I love to see them and think "oh I might do that one day" - !
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