history in the hand through functional ceramics
TRANSCRIPT
The College of Wooster LibrariesOpen Works
Senior Independent Study Theses
2015
History in the Hand Through Functional CeramicsKatherine E. StephensThe College of Wooster, [email protected]
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© Copyright 2015 Katherine E. Stephens
Recommended CitationStephens, Katherine E., "History in the Hand Through Functional Ceramics" (2015). Senior Independent Study Theses. Paper 6960.https://openworks.wooster.edu/independentstudy/6960
HistoryintheHandThroughFunctionalCeramics:LookingtothePast,CreatinginthePresent,andSharingwiththeFuture
KatherineStephens
SubmittedinPartialFulfillmentoftheRequirementsForSeniorIndependentStudy
TheCollegeofWooster
DepartmentofArtandArtHistoryStudioArt
November13,2015
AdvisedbyWalterZurko
Acknowledgements:
Iwouldliketothankthefollowingpeopleforeverythingtheyhavedoneforme.
Withoutthem,thisprojectwouldneverhavebeenpossible:
ToBeckyMaier-Moon,forherunbelievableenthusiasminmydesiretocreatepots.
TomySeniorI.S.ladiesinthebasementofEbert,especiallyDevinandKaitlin,for
likingmywork,evenwhenIdidn’t.
WalterZurko,myadvisor,fortheenthusiasm,theexpertisethatwouldfollowany
time“I[had]aquestion,”forthegenuinejoythatresultedfromeveryI.S.meeting,
andfinally,forbeingwillingtoworkwithmeinthefirstplace.
Tomymother,foreverytwo-hourphoneconversationaboutabsolutelynothing,for
sympathizingwithmewhenIwasupset,andfortheconstant,unconditional
supportandlovethatIhavefeltfromdayone.
SpecialthankstotheCollegeofWooster’sArtDepartmentforhelpingmefundmy
project.
“Try to put thought, time and care into making these useful objects
with the hopes that the users will somehow connect with them
beyond their intended purpose.“
Jennifer Harnetty, Ceramic Arts Daily
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Introduction
SomemightsayI’moldfashioned,buttherehasalwaysbeensomething
aboutobjectsfrombeforemytimethatI’vefeltdrawnto.FromthetimeIwasa
youngchild,Ihavebeensurroundedbyobjectsthatrevealedevidenceofusefrom
theirpast.Myroomisfullofvintageoddsandends—you’llfindoldrecordsorold
postersfrommoviesbeforeIwasborn;agingbookswithpagessocrispand
browned,theyarelikeleavesinautumn;slightlyrustingtinsfilledwitheverything
fromsafetypinstobuttonstoearrings;oldmasonjarsofvarioussizes,shapes,and
colorsscatteredacrosseverysurfacecontainingknittingneedles,kitchenutensils,
andpaintbrushes;evenanoldmedicinejartoholdpencilsnexttomycomputer.
Objectssuchasthesehavehistory,previousownersthatusedtheseitemsintheir
ownway,andnowtheyhavepassedintomyhandsandbecomeapartofmydaily
life.
Ialwayssaythatantiqueshopsare“dangerous”placesforme—particularly
formypocketbook—butit’sinthoseplacesthatIfeelveryathome.Igrewupina
familythatprizesantiques—mygrandparentswerefrequentbuyersandsellersat
salesandauctions,andmyownhousefeaturedmorethanafewoldobjectsaswell.
Itwasn’tuncommonformetotagalongwhenthey’dgotoasalejusttosnoopfora
fewdiamonds-in-the-rough.Duringtheseoutings,Ilearnedalotaboutvarious
pieces,theirorigins,and,withtheoccasionaloddity,whattheywereusedfor.
PerhapsthemostfrequentcommentIheardwas,“thesejustlastforever”orsome
variation.Overtime,Ihavecometothinkofoldthingsasnotjustbeautiful,butalso
dependablefortheirindividual,utilitarianpurpose.
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Asanaspiringpotter,thenotionofwell-crafted,durable,functionalitems
appealstome.Sincemymediumisclay,itwasaneasydecisionformetochooseto
makefunctionalobjectsatthepotter’swheel.AsIbegantoconductresearchformy
SeniorIndependentStudyproject,Ilookedathistoricalfunctionalwaresfromdaily
life,manyofwhichsurvivetoustoday.Thesturdinessofthesepieces,in
combinationwiththeobviouswearandtearexhibited,affectedmeinthesameway
objectsdoinanantiquestore.Irealizedthatasaresultoftheirdurability,theyhad
survivedtobepartofthelivesofmany,andthuscreatedalinkfromoneindividual
toanotheroverthecourseoftime.
Allthatsaid,noteveryoneintheworldislikeme,andnoteverythinginmy
lifeispre-owned;I’mstillachildofGenerationYwhogrewupinaworldwithcell
phones,internetaccess,andaconstantculturalfocusonbeingyoung.Mypointis,in
ourcultureofeasyaccess,instantgratificationanddisposability,many,ifnotmost
peoplehaveadesireforthe“new.”BecauseI’mcreatingnewfunctionalwares,I
haveaninnatedesiretoseethembeingusedinsomeone’skitchenorhome.Itismy
hopethatthesehandmadewaresmaysomehowhelptoestablishaconnectionfrom
onetheuser/ownertoanother,somewhatliketheconnectionIfeelwhenusing
antiquesinmydailylife.
Oldobjectshaveahistory;theyhavebeenownedandused,andsometimes
lastlongerthanahumanlifetime.ThoughIcannotrecreatethathistorywhen
makingnewwares,becausemyobjectsaremadebyhand,Icanactastheinitial
personintheobject’spotentiallineageofhumaninteraction.TheobjectsIhave
acquiredfromsalesandantiqueshopshaveallbeenpartofsomeoneelse’slife,and
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eventhoughImaynevermeetthepeopletowhomthoseitemsbelonged,alink
betweenushasbeencreated.Itismyintentiontocreatehand-madefunctional
objects,usingahybridizedaestheticgatheredfromavarietyofhistoricalsourcesin
ordertoparalleltheunexpectedbondsthehistoryofobjectsmakesbetween
overlappinggenerations.
Process
TheprocessofmySeniorIndependentStudyprojecthasbeenbothphysical,
andconceptual.Clayis,asamedium,inherentlyprocess-oriented;myapproachto
conceptualideasisalsoveryprocess-oriented;asaresult,thesetwosetsof
processeshavecontinuallyinformedeachotherthroughouttheentiretyofthis
project.Thisinteractionhasallowedformetogrowinmyunderstandingofthe
mediumanditsproperties,anditshistoryinAmericaandBritain.
Wheel-Throwing
Atthebeginningofeverythrowingsession,Iwouldgrabsomeclay(brown
stonewareorgrollegporcelain),andbeginwedging.Thewedgingprocessiscrucial
becauseitensuresevenconsistencyoftheclayandalsoridstheclayofairpocket.
Thisprocesstakessomemuscleandpatience,butismostlyatechniqueofleverage;
therockingmotionofwedginghasmeditativeeffect,whichallowsmetoconsider
whichformsIshouldfocusonthatparticularday.Itisalsoatimetoreflectonnew
inspirationsIhavediscovered.Afterwedging,theclayisrolledintoballsof
specifiedweights,basedonthepredeterminedformsthateachballwillbeusedfor.
Next,Isetupmywheel,whichincludedfetchingwater,gettingmytoolsset
out,gettingabatmatandsomebatsattheready,andthrowingthrowndownaball
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ofclay.1Thefirststepatthewheelistocentertheclaybypullingtheclayupintoa
coneshapeandthen,whileusingtherighthandtocontrolthebottom,usingthe
baseofthelefthandtopresstheconebackdownintoamound;thisactiondisplaces
theclayfromitsoriginalposition,allowingmetohavemorecontroloverthe
placementoftheclayonthewheel,ensuringitiscenteredproperly.
Thisisfollowedbyopeningtheclay,byslowlycreatinganindentinthe
centerofthemoundand,whilesupportingtheoutsideoftheclaywiththeother
hand,pressingdownuntilthedesireddepthisreached.Then,thebaseiscreatedby
thegentle,butfirm,outwardmovementofthehandstoexpandthebasetothe
desireddiameter.Followingthat,theclayiscollared(broughtin)atthetoptomake
therimsmallerindiameterthanthebase,andtherimisgentlycompressed.
Thenextstepispullingupthewallsofthelow,hollowform,whichservesto
thinandevenoutthewallsoftheformandtoextendthepiece’sheight;thisstep
beginsatthebaseandtheclayisslowlypulledinanupwarddirectiontoexpandthe
body.Collaringandcompressingoftherimisrepeatedinbetweeneachpull,until
thedesiredthinness/sizeisachieved.Thefinalstepistoslowthewheel
significantly,andtoshapetheform.
Therearemanyintermediatestepsthatoccurwhilethrowingaform,which
includetheuseoftoolstocuttherimoralterthepieceinsomeway,andthestepsI
mentionedaboveareonlythefundamentalstepsofthrowing.Nonetheless,Ithink
1A bat is a removable plastic surface placed on the head of a pottery wheel. When a pot is finished, the entire bat can be removed from the wheel with the piece still on it, this makes freshly thrown work easier to transport.
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thisgivesagoodillustrationofthissmallpartofthewholeofcreatingeachceramic
piece.Creatingtheseworksisatruelaboroflove.
ConceptualProcess
ThepotsIhavecreatedoverthecourseofthisprojecthavechanged
dramatically.Myinitialeffortsresultedinlargegroupsofmugsandtumblers,but
makingthemfeltuninspired.Thesepiecesfeaturedaplain,slightlyflaredformand
anundecoratedsurface(later,Iusedtheseforglazetesting).BoredwithwhatIwas
currentlyworkingon,Ilookedbackthroughsomeofmyworkfromtheprevious
semesterandfoundasmallstonewarejugthatI’dgainedafondnessfor(Figure1).
IusedthisasastartingpointandfoundinspirationinearlyAmericanstoneware.
SeveraloftheearliestpotsIcreatedformySeniorIndependentStudyproject
werebasedonoldcrockjugs(Figure2).Forthesepots,Iretainedthestraightedges
andthedefinedangleoftheneck,butgavethemwidermouthsandshorter,more
roundedrims,tomakethemintojarsinstead(Figure3).TheshapethatIhadwhen
I’dfinishedremindedmeofanoldmetalcistern,soIbeganresearchonmetalware
andAmericantinware.
Afterdivingfurtherintotheprocessofresearchhowever,Ifoundmyself
surroundedbyinspirationfrommultiplecultures,uses,andtimeframes.Initially,I
triedtobasemyworkssolelyonEarlyAmericanstonewareandAmericantinware,
butIfoundmyselfconstricted,whichmademequestionhowIplannedtousethese
sourcesasinspirationformyownwork.Expandingmyresearchallowedmeto
createmorediverse,moreinterestingpiecesthatreflectthewebofinfluencesthat
inspiresmyloveofpottery.Additionally,byexpandingmyvision,itallowedmeto
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createhybridizedwarestodemonstrateavisualconnectionbetweenpeopleand
cultures,whichwouldmimicthepotentiallyinvisibleconnectionIwouldlikemy
piecestomakebetweenowners/usersovertime.
Thetwoprimarysubjectsofmyinitialresearch,earlyAmericanstoneware
andAmericantinwarevesselsfromthe18thand19thcenturies,werealikeintheir
simplicity,utility,anddurability.However,theyjuxtaposedeachotherinphysical
form;earlystonewarepotterywasoftenround,bulkyandlarge(Figure4)whereas
metalwaresweremoreangularinform,lightweightandthin(Figure5).AsI
furtherexploredthesewares,IrealizedthatIdidn’twanttorecreatetheseforms,
butIstillwantedtoutilizesomeoftheirqualitiesinmywork.Idesiredtomake
somethingnewthatreflectedtoday’sworld—theworldinwhichtheywerecreated.
AsIcontinuedtoresearch,Ibeganlookingatcontemporarypotterytosee
whatthe“potteryoftoday”lookslike,andwhatamongstthewideandvariantworld
ofcontemporarypotterymostappealedtome.Simultaneously,Ibegantoresearch
glazes,glazingtechniques,andothersurface-orientedelements,whichmightactas
astrongcontrasttothehistoricalformsandhelpmetoestablishastyleofmyown.
WhatIfoundinsteadwasafreshlookatacontemporaryapproachtominimalismin
pottery,specificallycontemporarypotteryintheUnitedKingdom.
ThefirstpotterstocatchmyattentionwereJamesandTillaWaters,a
marriedduo,whoworkinruralWales;thepartnershipisstreamlinedsothatJames
throwspiecesonthewheel,andTillamakesdesignandcolordecisions.2Their
2"James & Tilla Waters Ceramics." James & Tilla Waters. Accessed September 13, 2015. http://www.jamesandtillawaters.co.uk.
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functionalpiecesaresimple,basicforms,towhichtheyapplysoft,semi-transparent
glazes.
Manyoftheirpots,liketheonesshowninFigure6,havecompletelystraight
sidesandthesurfaceiscompletelysmooth.Theyarefreeofsurfacetexture,with
theexceptionoftheirsignaturestamponthesideofeachjar.Eventheknobsonthe
lidsoftheseformsareuncomplicated,havingstraightsidesandbeingsomewhatflat
inshape.
Thewarmthoftheirworksurprisedme;eventhoughtheirworkis
exceptionallyclean-lined,andsuchsimplicitycouldsuggestindustrial
manufacturing,theymanagetoexhibitreferencestothepresenceofthehuman
hand.InFigure7,whichshowstheinteriorofasmallmug,itispossibletoseethe
ringscreatedbythepotter’shandonthewheel.Theyaresubtle,buttheirpresence
issignificantandevokesanhonesty,whichremindstheviewer/userofhuman
presenceduringitscreation.
LikeJamesandTillaWaters,Ichosetoutilizestraightsidesformanyofmy
pieces.Thisdecisionisreflectiveofboththeminimalaesthetic,whichtheWaters
use,andalsoofthestraightsidesseeninthehistoricalmetalwaresIdiscussed
previously.Manyofmypiecesfeaturestraightsides,liketheforminFigure8.This
bowlhasflared,straightsidestofollowtheaestheticoftinwareandthereference
tometalwaresisfurtheredbytheinclusionofthedottedlineandtwonotchesto
illustrateanartificialseam.However,itisalsopossibletoseethelinesintheclay
createdbythehandduringitscreationonthewheel,remindingtheviewerofnot
onlythemedium,butalsoofhowthepiecewasmade.
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Anothercontemporarypotter,whoseworkisformallyminimalbutshows
evidenceofthehumanhand,isDerekWilson.Hedescribeshimselfasa“twenty-
firstcenturyhybridizationofstudiopotterandconceptualartist,”andhisart
exhibitsinfluencesfrombothEuropeandAsia(Figure9).3Hisfunctionalwaresare
wheel-thrown,andarealsobasedoffofclean,straightlinesandsmoothtextures,
butsomeofhisworksincludealterations,suchasdimples,thatpresentthehand-
madequalityofhiswares(Figure10).ManyofWilson’sworksareverysimplein
shape,createdbythealterationsofbasiccylindricalforms.
Becauseofthesimplicityofhiswork,smallchanges,suchasdimples,havea
strongimpactonthefinaloutcomeofhispots.Ichosetoincludethisdetailinsome
ofmyownworksaswell,whichaffectsthepiecesnotjustvisually,butalsotactilely.
Withtheinclusionofdimples,thepiecesitsinthehandoftheuserdifferentlythanit
otherwisewould;dimpleswithintheformofapiecechangestheconnectionahand
makeswiththework.Theseindentationscreatedipsinthesurfaceofapotwhere
thefingers,thumb,orothercurvesofthehandcanrestmakingapiecefeelmore
personalbyemphasizingitshand-madecharacter.
Someofmyownwork,suchasthepitcherinFigure11,featuresdimples.
Thisform,moreroundedthanmanyoftheothers,wasbasedontheformsofearly
Americanstonewarepitchers.Theroundednessofthebodymakesfora
comfortablefitinthehand,butwiththeadditionoftheindentations,thesupporting
handisgivenamoredefinedplacement,creatingabettergripfortheuser.3"Derek Wilson Ceramics." Derek Wilson Ceramics. Accessed September 13, 2015. http://derekwilsonceramics.com.
10
Additionally,IalsoincludeddimplesonpieceslikethemuginFigure12,
whichhasstraightsides.Thispiece,likethetumblerbesideit,isbasedofftinware
likethebowlImentionedbefore.Whilethestoneware-inspiredpitcherfeatured
roundedsides,andthedimplesfitsnugglyintothefrontareawherethepitcher
wouldbesupported,theplacementofthedimpleswaslessclearforthemug.The
roundnessofearlyAmericanstonewareindicatesthehand-to-objectcontactthat
wouldhavebeenfrequent,howeverwithtin-warethatroundedbellyismuchless
common.Myaddingdimplestothestraightsidesofthemug,itcreatedcurvesin
thesidesoftheform,whichallowsthepiecetositmorecomfortablyinthehand.
Glazing
Earlyintheprocess,whileIwasstilltryingtodefinemyconceptforforms,I
beganmyglazetesting.IknewfromearlyinmyprojectthatIwantedtoexplore
glazesandseehowdifferentglazeswouldlookonmypottery.Becausethereareso
manyfactorsthataffectglazechemistry—frommineralsintapwatertohowapiece
isfiredinakiln—glazingcanbebothchallengingandexciting.Inordertofind
glazesthatIfeltwouldcomplementmyforms,Iperformedavarietyofteststhat
includedmorethan150testtiles,whichincludedvariancesontheapplicationofa
fewselectglazes,includingGeoffryWheeler’sROB/GABlendandMatte“B”glazes.I
createddifferenteffectsbytryingavarietyofcolorants,layeringglazesoneoverthe
other,andviseversa,andbyfiringatdifferentheatingandcoolingspeeds.Ialso
trieddifferentglazeapplicationtechniquesincludingdippingandspraying.
Additionally,theseglazeswerealsotestedbyapplyingthemoverStevenHill’s
11
StrontiumCrystalMagic:WarmandStrontiumCrystalMagic:Cool,whichresultedin
avarietyofeffectsaswell.
ArtistssuchasLousiaTaylorandLindaBloomfielduseglazesthatare
colorful,yettransparentenoughtoallowtheviewertoseetheringsfromthe
creationofapieceonthewheel(Figure13,Figure14).Thepresenceoftheselines
(eventhoughsomeofLindaBloomfield’sworkismassmanufactured),onceagain
createsthatinterpersonalconnectionbyremindingtheviewerofthepresenceof
themaker.Whenusingglazesonmyownwork,Ialsohopetomaintainthe
presenceofmyownhandandtouseglazesthatemphasizeandcomplementthe
textureleftoverfrommyhandandthewheel.
Exhibit
Becausemyshowisstillawaysaway,Ihavenotmadeconcretedecisionsas
tohowIwillsetupthegalleryspacetodisplaymywares.However,becausethe
displayissocrucialtohowartworksarereceived,Ithinkitisimportanttoaddress
someoftheideasbehindwhatIhopetoachieve.
Tobegin,myoverallgoalfortheatmosphereofthisexhibitionistofinda
balancebetweenthespaceofthegalleryandadomesticspace.AsIstatedearlyin
mypaper,myworks,whiletheyarepiecesofart,arealsomadewiththeintension
ofbeingused.Thegallery,thephysicalspaceinwhichmyexhibitionwillbesetup,
reflectstheroleofmypiecesasartwork,andsomyprimaryfocusistoemphasize
thedomesticqualitiesofmywaresinmydisplay.Placementofplatesonatable,for
example,willhelpwiththiskindoffeeling.
12
Additionally,Iwouldliketocreateaverysmalldeskspaceforaguestbook,
abovewhichmyartiststatementwillbehunginapictureframe.Onthesurfaceof
thedesk,Iwouldalsoliketoincludeacoupleofmypieces,onetoholdpensor
pencilsforsigningtheguestbook,andoneforsomethingdecorative,suchasflowers.
Anotherpotentialelementtomydisplaywouldbetheinclusionofa
bookshelf.Shelvesareastandardwayofdisplayingceramicpiecesagainstawall,
butbyusingthesetupofabookshelf,itwillfurtherthedomesticatmosphere,
ratherthanamoreformalspace.Also,thebookshelfwouldallowmetodisplay
objectsatagreatervarietyofheights,whichwillgivememorecontroloverthe
angleatwhichtheviewerseeseachpiece.
Also,forwaressuchasplatesanddeepbowls.Iwouldliketosetupasmall
table.Notonlywillthisshowtheobjectsinasettingofuse,asopposedtoshelves,
whichindicatestorage,butitwillalsoallowforindividualpiecestobeviewedasa
unit,whichcreatestheideaofalargersingularwork,aset,outofsmallerindividual
pieces.
Similarly,toemphasizetheworkIhavedonewithglazingandglaze
experimentation,Iwouldliketodisplaythelargequantityofcupsandmugsfrom
earlyinmyproject.Ononewall,Iwouldliketoarrangeaseriesofhooksforthe
mugstohangon.Tomakethismoreinteresting,andtoemphasizethemugsassets,
Iwouldliketoarrangethemsothattheyareinlinesaccordingtotheirglazecolor.
Importanttonoteisthatthesetsarenotallofthesamenumber,Ihavegroups
rangingfrom7cupsto2cups,soIwouldliketoarrangethemincolumnsof
decliningnumbers,creatinganoveralltriangularshape.
13
Forthefinalsetofdisplays,whichwasinspiredbyKatharineMorlingand
EdmunddeWaal,Iintendtocreateshadowboxshelves(Figure15,Figure16).
BecauseIwanttocreateadomesticatedspace,shelvesseemlikeanobviouschoice.
However,inordertobridgethegallery-domesticgap,shadowboxesaredifferent
because,whiletheydoprovidestoragespacelikeyouwouldinahome,theyalso
featuretheouterliningofthebox,creatingaframethatreferencestheformal
gallerysetting.
Conclusion
Overall,throughouttheprocessofmySeniorIndependentStudy,Ihave
learnedavastamountabouttheformalqualitiesofclay—everythingfromglazing
materialsandtechniques,tothrowingplates,tonewwaysofalteringpots.Butmost
ofall,Ihavereallydevelopedanewunderstandingoftherelationshipbetween
objectsandtheinteractionwithpeopleandwithotherobjects.
Allofmyinfluences,variedastheymightbe,arestillrelated.Nothingistruly
originalandconceptsoverlaporreemerge.Justlikeobjectscanbepassedfrom
persontoperson,conceptscanbepassedfromobjecttoobject;howweinteract
withthoseobjectsmaybethesame,oritmaybedifferent,buttheconnectionisstill
there.
Overall,byincludinginfluencesfromdifferentsources,Ihopedtocreatea
hybridizedaestheticthatwillreflectthecomingtogetherofdifferentlifestylesthat
mightoccuroverthelifetimeofanobject.ItismyhopethattheseobjectsImake
willgoontobeusedbymanyandtobecomepartofthedailylifeofdifferentpeople.
Theiroriginalintention,amugasadrinkingvessel,forexample,isnotthemost
14
importantpart—instead,theaspectmostimportanttomeisjustthatthesewares
areused.However,andwherever,andwheneversomeoneneedsthem.Iwant
themtolivealifeasrichindiversityastheinfluencesthatcametogethertomake
them.
15
Appendix
Figure1.
WhitestonewarejugImadeinthespringof2015.
Figure2.
Commonstonewarejug.Minnesota,late1800s-early1900s.
16
Appendix
Figure3
Threesmalljars,brownstoneware
Figure4.
JeffersonS.NashPottery
Alkaline-glazesstoneware,1856MuseumofFineArts,Houston
17
Appendix
Figure5.
ExampleofAmericancopperwaremadeforthekitchen
Figure6,
JamesandTillaWatersliddedjars
greywithorangeandblackdetails
18
Appendix
Figure7.
JamesandTillaWaters
Smallmugwithlilacglazeandblackfootring.Thrownporcelain.
Figure8.
Bowl,grollegporcelain,beforeglazing
19
Appendix
Figure9
DerekWilson
ThrownPorcelain,celadonglaze
Figure10
DerekWilsonThrownPorcelain,celadonglaze
Appendix
20
Figure11.
Dimpledpitcher,grollegporcelain,beforeglazing
Figure12.
Tumbleranddimpledmug,grollegporcelain,beforeglazing
21
Appendix
Figure13.
LouisaTaylor
OrioleSupperSet,ThrownandAssembledPorcelain
Figure14
LindaBloomfieldBowls,2010.
22
Appendix
Figure15.
KatharineMorling,NatureBox,2013Antiquebox,porcelainandblackstain
Figure16.
EdmunddeWaal,fifteenstones,2014.
15porcelainvesselsinaleadandwoodcabinet
23
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Stephens24
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