VESSELS FOR EVERYDAY RITUALS

A small
rebellion
in clay.

Held, turned, opened. A vessel finds its character in the space it leaves empty. Explore three forms before the firing.

Turn the vessel↗

STUDY 07 / VaseFORM / LIGHT / MOTION

OPENING / 46 %

Three ways to hold space

07 — AN EXERCISE IN CERAMICS

LOOK A LITTLE CLOSER

CATALOGUE 01 / PROFILE

A line turned into volume.

Three profiles share the same blue glaze. Alter the opening to follow the curve from the foot to the hollow lip.

Form01 / 03

Mouth opening46%

15—100

Glaze depth58%

MIN—MAX

Drag to turn. Arrow keys to explore.
Every study begins with a small change.

A NOTE ON CERAMICS
THE KILN PERSPECTIVE

The most useful part of a vessel is the part we do not make.

A practice in leaving space.

THREE CHAPTERS / ONE EXPLORATION
Everything starts off-centre.

FIG. 01 / KILN

01 / CENTRE

Everything starts off-centre.

Before there is a vase, there is a lump of possibility. The wheel asks for patience: bring the mass into balance, then listen for the form that is already waiting inside it.

Choose a vase, bowl or urn to change the silhouette. Back to the instrument ↑

FIG. 02 / KILN

02 / OPEN

The inside makes the outside.

An opening is a decision about use. A narrow neck keeps a stem upright. A generous rim makes room for a hand. The profile follows the empty space as much as the clay.

Open the mouth and turn the form to see the interior. Back to the instrument ↑

FIG. 03 / KILN

03 / FIRE

Let the surface keep a secret.

A cobalt glaze gathers in the throwing lines and breaks at the shoulder. Deepen it to see the surface move from satin toward a glassier finish. The digital kiln leaves room for experiment.

Save a firing card for your chosen form and glaze. Back to the instrument ↑

YOUR TURN / A STUDY TO KEEP

Some objects become rituals.

Your settings stay here. Save a file to take them with you.

A smallrebellionin clay.