As highlighted in previous posts, I’m starting to see a line of continuity in my work: still obsessing over ways to combine visual and tactile, still looking for ways to bring together my illustrative side with my ceramic part.
Though I am still greatly intrigued by the prospect of form having its own voice, through working on bowls of irregular shape – which have a sense of movement to them despite being frozen in time via firing – I have come to see that highlighting the physical shape of the vessel through surface decoration only allows for limited visual expression, if the synthesis is to be harmonious.
By exploring celadons, more specifically my coming into contact with Quing-bai ware, I have found that the glaze picks out the depth of raised or indented surface decoration incredibly well. It is a subtle effect but absolutely gorgeous. I am researching how I can best recreated this glaze in an incarnation which best suits my needs, and am doing this through my technical project.