PROCESS
A finished piece reflects a tremendous amount of labor & testing, drawing on both past experience and foresight. Attention to detail combines over ten years of experience in art/craftsmanship, ceramic chemistry, & kiln design. Although experienced with many types of glaze, the focus currently lies within the realm of “Zinc-Silicate Macro Crystallines”. For more specific information, visit the How-to links at the bottom of this page.
THE FORM:
The pottery of Asia reminds me that it is not at all easy to create an uncomplicated aesthetic. A selected form must co-exist with the glaze, and within the realm of crystallines, this typically translates into smooth, ovoid, and/or tapered shapes. But in my attempt to explore further, levels of intricacy are incorporated to accent the simple form they share space with. These motivations stem from Islamic architecture, as well as the Art Nouveau and Art Deco styles.
Porcelain, in all it’s grandeur, is still just a creative medium that innately carries limitations. In my experience, I have employed many techniques to break free of those barriers. These methods are part of a larger process; for as they rarely make things easier -they do make things possible.
The finials on my work employ such methods, as they are produced by lathing at speeds of 200-600 RPM, using both metal & ceramic cutting tools. A proprietary clay (developed and made in-studio) maintains the necessary level of integrity during this process. This same porcelain possesses a high degree of refractory strength during the firing, when normal clays would soften at structurally weaker points in the design.
THE GLAZE:
Preparing all glazes from basic components offers more control toward unique results. Glaze is mixed up in small batches and usually applied by HVLP spray units to a determined thickness before loading into the kiln.
Though there have been disagreements on the true scientific classification, glass is not typically categorized as a true solid. It is instead referred to as a super-cooled liquid, with many acknowledging that glass at room temperature is still moving.
The term describing the formation of a crystal is known as a “lattice structure”. If glass is cooled rapidly (”super-cooled”), it doesn’t have a chance to revert from the molten state to a crystalline one, and appears clear or translucent. If cooled slowly and within the right environment, crystalline structures form.
Growing crystals is therefore quite easy… It is how, when, and where they are grown that holds the key to a successful visual.
THE FIRING:
Custom designed kilns, guided by computers and platinum thermocouples, melt the glaze to well above the molten state at 2300-2400°F. Computer controllers, modified to my own specifications, are used to carry out a programmed firing. As I learned to fire by color and cone however, a complete 15+ hour manual firing will be performed if the task benefits from it.
After heating the glaze to a full melt, the kiln is dropped quickly to temperatures within the range of 1825-2185°F. At these intervals, a “heat-soak” (hold) is maintained, to initiate and form the crystals. The temperature and duration create different sizes, patterns, & colors within the crystal and the corresponding background. So although chance still plays a fairly dominant role, I can take aim through a marriage of art & science: Paying attention to the crystal/ background ratio of numerous prior tests compared to charts from several hundred firings, the peaks and soaks are manipulated toward achieving a balanced aesthetic.
THE COLORS:
Colors are derived by mixing different metallic oxides into the glaze before firing, or fuming the glaze with metal vapors during the firing.
Crystalline glazes are atmosphere sensitive, normally requiring a kiln environment containing a high level of oxygen (oxidation).
During the past 2 years, however, I have practiced several methods of altering the colors in a reduced oxygen (reduction) atmosphere. With copper and silver oxides especially, lustrous surfaces can result, producing colors unavailable any other way.*
THE FINISH:
In the final stages, a piece may be accented with metallic luster, foil or leaf (e.g., 23k gold, sterling silver, platinum, cobalt…), and/or low-temperature glass. Decorated pedestals are often available with a purchased piece.
No part of my process is easy, and despite all best efforts the loss rate typically holds at 20-40 percent… But when that one gem makes it through the final firing, the reward for all the preceding trials are clear.
“How To” Links: