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 am 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 images below show a selection of samples and pieces made during this time, photographed in the studio setting.