Attempts to include brickclay within the make are proving challenging. Artist Luke Fuller pierced his raw clay with fired slithers of clay, tests were mixed for me when using reclaimed clay and fired Askam Grog. Keeping the integrity of the form proved difficult with the test pieces falling apart (picture 2). Unable to use thin layers of fired brickclay due to the inclusion of grog. Once glazed the elements did stay together. Could possibly include this method in my make but further tests needed to improve the finish.
Different clay bodies explored, see pictures below, paperclay ES300 (picture 2) and Vulcan extra coarse black clay (picture 1). I tried using very thin slabs of paperclay which made the make difficult, needed the slabs to be more firm before assembling. Liked the coarseness of the Vulcan but changes and dulls the glaze finish (picture 4 & 5). Adding inclusions into the clay becoming more appealing. Incorporating molocite onto the surface sparingly added different layers to the texture which is worth further exploration (picture 3).
Textures are important to me. Inspired by photos of Furness Abbey I am wanting to incorporate layers of texture into my work to create interest. Symbols of propellers, brickclay rolled into the clay and marks inspired by steam turbines have been included in further tests. Not quite right yet but making progress. The texture is causing the glaze to cling to the body better (pictures 4 & 5) and making interesting breaks in the finish.
I have enjoyed the shortness of the clay body after adding fired brickclay into the mixture. The creation of holes, breaks and tears in the clay have been created naturally as the clay responds to being formed into shape, something difficult to create deliberately. Adds texture of course which hasn't been lost once glazed. Best outcome so far.
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