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first, using commercially available porcelain, I tested for whiteness,
translucency and warping in high temperatures. None of these clay bodies
was to my satisfaction either in whiteness or in translucency. Therefore,
I began to experiment with bone china recipes and ultimately developed one
which met my expectations. I also experimented with mixing a paper pulp
into the bone china casting slip to introduce texture. This process led to
testing thickness and firing temperatures to achieve translucency. In
addition to natural translucency I decided to explore artificial light
through bone china. I took my design inspiration from the Datura flower or
"Angels Trumpet'. I then made metal templates of this form which I used to
turn on the plaster lathe in order to form the model. Subsequently, I made
plaster moulds which enabled me to cast the forms thinly.Photography
has played a major part in my designs. My photographs of shadows of leaves
and vines became the design which I later transferred on to the bone china
and also a small teabowl designed specifically for this pattern. This
pattern was created by the use of shellac painted on the fired piece and
the background sponged back so the design appeared in relief. This process
accentuated the varying depths of translucency. I learnt this method by
studying works by Les Blakebrough and Arne Ase, the Norwegian potter, but
using it in a different way, producing an all-over pattern with clear
lines.I
also designed a small teabowl but found its round shape warped at high
temperatures; this led me to make setters to control the warping. I felt
that these small bowls could be presented in a box, Japanese in style, and
I collaborated with a student from the furniture studio. Two boxes, one
for two cups, and one for five cups were made, using black Japanese paper
and cardboard; these open up for display purposes. The glass beads
attached to the tie fastening ring like a bell when the box is opened.I
then felt the need to extend the range to vessel forms which could stand
as a group, and I designed forms and made moulds. I found that these
shapes could be joined together to create sculptural freestanding forms
using the idea of wave bases for some of the pieces. Experiments in
pate de verre glass in moulds made from the clay model produced a
compatible material to be used in conjunction with bone china. |
Above: Sea Bowl. Bone China with nitrates. 1997. Photo: Victor France. |
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I made a photocopy of the photograph (usually of textures or patterns I
have observed in nature). I then select an area and enlarge or reduce it
to suit the object. Then I paint the design on the dry clay with shellac,
freehand. When dry, the background is sponged back. The piece is allowed
to dry and then the process is repeated again. Care must be taken not to
wet the object too much or it may crack at the rim. A band of shellac on
the rim will help prevent this from happening. Bone China Recipe. Cone 8-9. (from O. S. Rye) Eckalite No. 1 Kaolin 30 Bone ash natural 45 Potash feldspar 22.8 Silica 2.2 + 2 gm dispex/kilo dry wt + 1 gm sodium silicate 600 ml water/kilo dry wt. |
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