EKWC was a time of personal artistic recovery, a time to re-trace pathways and to have space to learn, in an environment brimming with expertise.
From early on in the residency, I concentrated on surface, feeling my way through the subtleties of clay bodies; their grains and tones. I was taken by the glaze room at EKWC. Decades of research at the centre offers residents an extraordinary laboratory of palettes and qualities. I began to sample: copper saturate, terrasigliatta, tenmoku, cadmium yellow, pink engobe, gold lustre and more. In part, I’m enchanted by their names alone, imagining how their elements combine and conspire to create their states and reflections. Making glazes once again, as I had done many years before when studying, re-ignited me. Enjoying the simple glaze test so much, I began to make large slabs of clay, ‘plains’ and canvases. The slabs were pressed into wooden frames; in the case of the larger slabs it was very physical work, slow and repetitive. These were processes and aesthetics in which I could really immerse myself — from preparing clay, to considering placement of tones in relation to the studio environment.
The photos below show a selection of samples and pieces made during this time, captured in the studio setting.