Month: June 2023

This bottle was made in Edgware by Aki Moriuchi in 1998. The rust coloured bottle is 28.2cm tall and coated in reactive slip and glazes. To make it, Moriuchi threw it on a wheel then altered the form; the piece was then reduction fired and partially sandblasted. I am intrigued by the effect the sandblasting had on the final outcome I would have liked what it looked like before and experiment with what can be achieved with sandblasting can enhance my work. Also, what was added to the glaze and slip to achieve the rust colour and what caused the uneven colouring and harness that and control it.

This octagonal plate by John Chalke is stoneware 17.4cm in diameter with volcanic glazes layered and fired multiple times over decals and an off centre bottom centre. What I like about this plate is how interesting it looks with all the textures and the decals and the contrast between the two. This work is useful to me in my studio practices as it shows me what textures are achievable in volcanic glazes which is what I intend to use in my own work. I would like to have known more about it.

Made originally in Syria 1200, this jar was “poorly restored” in the 1970s presumably to preserve the function of the object, to store and hold things. This fixing was done by inserting a can into the broken jar and securing it with plaster and modelling clay. the object is 14.5cm of fritware, metal, modelling clay, plater, glaze and paint. I wish there was more information about this mysterious object I have so many questions like: why was it fixed like that? What is the purpose? Who did this? Is it art or intended to be functional? If functional why add the ceramics why just use the tin alone? I like the way it looks, the juxtaposition between the simplistic old pot against the brightly painted modern patterned tin.

One of these objects was made in 1999 and the other in 1220, both of which are aquamaniles meaning that they are vessels or jugs with animal features. Made from fritware with lustre in Iran. What I love about these objects is the character incorporated into the small objects and the lustre added to an otherwise overlooked object and along with their cuteness it makes them more enticing.

This flower pyramid from 1695 was manufactured in Metalen Pot Factory, Netherlands. The function of this ceramic structure of Netherlands delftware is to display flowers in dutch and English manor houses; its 160cm and 32.5kg of tin glazed earthenware. This example is imitation of Chinese porcelain as the Dutch could no longer source it. What fascinates me is the scale of these towers and the precision that went into making each of the 12 stackable pieces.

Made in London 2019 by Akiko Hirai the moon jar is around 65cm of stoneware; presumably thrown in two halves then connected. The jagged surface is adorned with cherry wood ash glaze and this visage is in order to celebrate the beauty of imperfection.

What I like about traditional moon jars is the scale and perfection but this example intentionally has a rough surface and imperfect white glaze.

This moulded hardpaste porcelain was made in 1755 Saxony (now Germany) and later restored. What interests me about this object is the restorations and how they are visible under the UV light showing the difference between modern and historical materials that would have otherwise gone unnoticed. I would like to experiment with this in my own work and research further into why the old materials don’t react to UV light and how to harness this.

The Death of Munrow

“The Death of Munrow” is a Staffordshire flatback first produced in 1810; this example is estimated to be from 1830. This 34.9cm tall slip cast piece depicts the mauling of a British army officer being mauled to death inspired by a true event that occurred on a hunting trip in India 1792. Originally from Staffordshire potteries, it can now be found on display in the V&A in London. The piece is lead glazed earthenware and painted with enamels.

I chose this object as it relates to my own work in the studio in that I am making my own Staffordshire flatback. I find it interesting that such a graphic story was commemorated as a novelty collectable item.