Category Archives: Bark

The Rideau vase.

Collaborative piece, with Dominique Gaie.

A chance meeting, along the Rideau river; something clicks. We talk trees, bark, about what we do. I pot; she paints. Feel like decorating my vase? I ask. She looks at me, perplexed. I tell her about the vase I’d been making. You could sgrafitto your design. But, c’est quoi ça, sgrafitto? You’ll figure it out, I reply. And she did. But Oh no! She knew nothing about handling raw clay. As she worked, the rim broke. I carved away the broken rim. I asked: Still want to decorate this piece? Wabi-sabi? Take on board the mishaps along the way? She nods.

I had built the vase somedays earlier, using black stoneware clay, coating it with a patch of white porcelaneous slip, and another patch of ochre-coloured glaze. Using my tools, Dominique started creating trails through the slip, and through the glaze, down to the dark clay beneath.

Once bisque fired, I poured a satin white glaze on the inside, and used a spray gun to apply a very fine layer of transparent glaze over the outside surface.

My first collaborative piece; Dominique’s first time working with clay.

Slab-built; fired in oxidation, to cone 6.

Dominique at work

Moss on Black

Height: 30 cm, 30 cm; diameter at base: 9 cm

Here, I was trying to find colour combinations that worked, that complemented one another, against the dark clay. With these two cylinders, I first darkened the black clay (which once fired turns into a dark tan shade) by sponging black underglaze all over, and, in places, with two coats.

Once bisque fired to cone 06, I used a glaze which is sensitive to the thickness of the coat, and to the surface beneath it. I knew the mossy green glaze would give me a variety of tones, and then all I had to do was add another squirt with a slip trailer, and a few splatters with a glaze-loaded toothbrush. Finally, I used the atomiser for a light spray of transparent over the remaining blackened surface.

The result was Moss on Black.

Stoneware. Black clay, underglaze and glazes, poured and splattered. Fired in oxidation to cone 6

Liana

Pair: Height: 30 cm; diameter at base: 9 cm

Creepers, reaching to the light.

Stoneware; black clay, fired in oxidation to cone 6

The black clay, which once fired, turns brown. Here the raw clay is coated with sponged on black underglaze to achieve a darker colour. Yellow slip is then squirted with a thick swoosh onto the still raw surface. Once bisque fired, other glazes are applied using either a slip trailer or a brush.

Ironwood bark

Slab-built, with white stoneware clay; textured, cut away at rim.

Twice fired to cone 6. For the first firing, I poured a shino glaze to cover the entire piece. For the second firing, I first made adjustments to the amount of glaze on the ridges, then added a matte, dark glaze into the crevasses, enhancing the contrast between the thicknesses of the bark).

Stoneware, fired to cone 6, in oxidation. Height: 30 cm; width at base: 10 cm

Sign of Spring

Slab-built, using white stoneware clay, then coated with a porcelaneous slip, turning the surface into a white canvas for my design.

A tree emerges from the long, dark winter, to bloom with the first hints of spring. I throw, blow, squirt and drip glaze and oxides onto the lightly-damp surface. A small amount of transparent glaze, blown onto the bright yellow heaps of of yellow stain held it solidly in place during the firing.

Fired to cone 6, in oxidation.

Paired cylinders: Bark

So many possibilities, as I plan my cylinders. Shall I use porcelain, or black clay? Shall I create a highly-textured surface? Shall I forcefully distort the surface? Shall I use slips? Squirt the slips, adding grit, frit, sand, rust? Shall I throw the slip on, pour it on, blow it on? Make it so thick that it cracks in the firing? When, while the slip is still damp? Or wait till tomorrow? Slab built, then finished on the wheel.

For the pieces shown below, I shaped them using slabs of white clay, keeping the neck wide enough for my hand to reach down inside, allowing me to finish them off on the wheel. Did I use porcelain? No. But to enhance its whiteness, I coated the leather-hard piece in a porcelaneous slip (Frost). Did I create a highly-textured surface? No. But using a hard-bristle, broad paint brush, I roughed the surface by adding heavy grit to the dark glaze. Once bisque fired, I applied a few quick free-hand squirts of a yellow/orange slip. Finally, using an atomiser, I applied a fine layer of a glossy, transparent glaze over the remaining white surfaces.

Stoneware, fired to cone 6, in oxidation. Height: 31 cm; Dia. at base: 8.5 cm.

Bark vase: shino and crawl

Some of us at ClayWorks have been experimenting with Falls Creek Shino, which works quite nicely in oxidation to cone 6 (depending of course on application thickness, specific gravity, clay used, and all the other parameters that come into play). Initial tests were promising, so I used it on this piece. The result was good, but I hadn’t really thought about this shino actually giving quite a glossy finish, something I didn’t want for these pieces. I hid it away for a while, and wondered.

What about pouring another, more matte glaze over the entire piece, and hope the cylinder survives a second glaze firing? Given the ruggedness of the vessel, I wondered whether a crawl would do the trick.

Whether it still looks like bark, I don’t know. But the satin white glaze has broken up beautifully as it slipped into the crevasses of this shino-glazed cylinder.

Hand-built, stoneware slab, moulded against bark.

Fired to Cone 6, in oxidation.

Ht: 31 cm; dia. at base: 8 cm

Grit. A tree trunk

You may think it surprising to see this tree trunk here; after all, it is a hand-thrown cylinder, like the Ghost Gums I made last year. More recently I have been making my barks from my hand-pressed moulds (see Tree trunk, black).

I really liked the grit that I’d pressed into the clay here and there, and I’d thought light touches of colour might complement it nicely. But it needed more work. I left the cylinder to wait for a more inspired moment. It waited quite some time.

The other day I decided enough was enough. I took a matte, black glaze that I knew well. and thought I’d add some local grit. Knowing from previous tests that the grit from around our studio fired nicely, I took a handful and added it to my pot of glaze. Then took my paintbrush and applied it to the base of my old cyclinder.

Being a second firing, this glaze’s colour fired to a very different colour from its usual matte black, giving me much lighter greyish tones. The parking lot grit adhered nicely.

Stoneware, fired in oxidation to cone 6. Height 12″; dia at base 3.7″