Surface Treatments

As well as perfecting my form I have spent time exploring various methods of how to connect the viewer to my story. As well as embedding local raw materials into the clay I also wanted to focus on the surface of the forms.

Pictures 1 - 4 (top l-r), Pictures 5 - 8 (bottom l-r)

Picture 1 -

Barrow's fortune was build on iron ore. After a number of material tests I decided to use the raw material as an oxide. At bisque temperatures the powder was not fused onto the body of the clay therefore the application had to be performed at the glazing stage so that it did not come off when you touched it. It complements the application of black iron oxide to give a rich deep finish to the raw unglazed clay.

Picture 2 -

I have been trying various methods of how to communicate hidden messages in my work. As morse code has been used historically between ships it felt to be the perfect vehicle to explore. One option was to use morse code as a texture which complemented the rest of my work. My first attempt was to carve into the clay to leave dents in the clay to represent the dash and dot symbols. The result was crisp and precise. After glazing the texture was still present.

Picture 3 & 4 -

My second attempt at incorporating morse code was through water etching. I used a latex application and once dried I wiped the clay away with a sponge. As my clay body incorporates grog in the mixture the result was less satisfactory. The finish was less crisp and precise which in some ways added to the piece however the texture was sometimes lost especially once glazed. Options to use this method were positive but needed to be used in a carefully selective way.

Picture 5 & 6 -

Decals sharing my family heritage were crucial in communicating a sense of belonging. Black and white photos were too prominent on the piece even when faded images were used. Size and application were important factors to consider. Written text was more successful and provided impact especially when written by family members.

Picture 7 -

Applying texture to my form to give a sense of rotting wood has been a challenging journey. Various tools have been tested on different levels of moisture in the greenware clay. Depending on the type of finish I am after determines when and which tool to apply. It is pleasing to hear that many people have confused my work for wood rather than ceramics.

Picture 8 -

The use of glaze, either the lava glaze or my cumbrian slate glaze is the final finishing touch to my work. Surface treatments are layered on the larger forms or are used individually as a palette to choose from for the smaller pieces.

Example of finished work.