Light and Lustre
I graduated from Duncan of Jordanstone College of Art and Design in 1999 with a B. Des. Hons in Ceramics.
In my final year I'd started to experiment with reduction lustre glazes, which had been the focus of my degree dissertation. The process combines precious metal compounds with the surface of a glaze and converts them by reduction to an iridescent film of metal. This technique was first practiced by Islamic ceramicists in early 9th century Iraq and produced some of the world's most beautiful iridescent ceramics.
Through my research I met some of the very few lustre makers in the UK and visited widely the museum collections of lustre ceramics.
After graduation I was invited to a symposium to celebrate 400 years of lustre making in Gubbio Italy. Using similar materials and methods of firing, I have continued to develop my own work and lustre glazes.
I make decorative plates, tiles, tall vessel- forms and lamp-bases, as well as Lustre bowls of all sizes.
Throwing a big bowl is technically challenging…but gives scope and space to use the glazes in an expressive way to exploit the subtle but dramatic colour range achieved with lustre glazes and silver pigments.
Each piece is a 'one-off', and each firing is unique.
Work is produced in batches which are individual, but when the kiln is opened pieces are similar in colour range.
Most of my work is 'thrown' on an old electric wheel, but I also enjoy the quietness of hand- building work.
Red earthenware is used for the lustre- glaze pieces; white earthenware is used to make brightly coloured functional ware.
Some of the whiteware is impressed with plants from our garden, textiles, and objects from my travels.
I also slip- cast a range of simple, contemporary, heart-shaped forms. These are either glazed with a classic white majolica glaze with lustre sliptrailed onto their surface. Others are 'water-etched' and the outside surface left matt. These are clear- glazed inside to be functional.
Everything is fired in my workshop in Kinnaird, using a propane gas kiln. To make reduction- lustre glazes, it is necessary to reduce the amount of oxygen in the kiln. By closing the ports and air supply into the kiln, a smoky atmosphere is produced, which creates the iridescence associated with lustre glazes. Intense reduction favours copper pinks and reds, whereas 'light smoke' produces a rich variety of silvery blues.
Commissions / practice/ community artwork experience
Exhibitions
Every year since graduating my work has been shown in galleries throughout Scotland, and is in many private collections.
Recent exhibitions
2006 Dec 'All That Glitters', Cone 9 Gallery Xmas Show. North Berwick
2007 Feb The White Gallery, Dundee
2007 Feb ' Mix' at The Dundee University Botanic Gardens
2007 April Art for The Maggie Centre. The White Gallery, Dundee
2007 May 'Potfest' Perth
2007 July The Peter Potter Gallery, Haddington
2007 July The 10th anniversary exhibition, Fotheringham Gallery, nr. Stirling
2007 August The Strathearn Gallery, Crieff (SPA selected exhibition)