Vessel no. 4 in a series of large sculptural stoneware works. This vessel is finished in layers of white slip over a dark blue-black base color. The surface has rivulets of green, white, and blue glaze, with drips of deep red glaze on top.
This piece has a textured, tactile surface reminiscent of weathered stone. The glaze flows over areas of exposed, granular texture, while smooth, glossy passages contrast with matte, rugged surfaces. Every surface is individually refined by hand, creating subtle variations that make each vessel unique.
Made from white stoneware and fired to cone 6 in an oxidation atmosphere.
Designed as a sculptural vessel; not intended to hold water.
Features carved signature on the base. Base has been polished to be smooth.
Dimensions: 17 in. H x 12 in. Dia.
About my artistic process:
I make all of my work by hand in my studio in Denver, where I focus on making large-scale stoneware vessels. The methods I use to build these pots are strongly influenced by the coiling and paddling techniques I learned while studying pottery in South Korea. Those methods are traditionally used to make onggi, large earthenware fermentation jars, and studying them changed how I work with clay in a fundamental way. I realized that coiling allowed me to create forms that would be impossible on the pottery wheel.
I begin by building the base of a vessel with coils. I dry the lower section of the form with a torch until it's stronger and less malleable. I can then sculpt the curve of the form by paddling the walls outward. I try to expand the belly of each vessel to be as wide as possible, so that it's just shy of collapsing.
Before glazing, I bisque fire each piece. Then, I create the final surface through many layers of iron oxide wash, porcelain slip, and glaze, and I fire again.
