Ceramics
Studio pottery encompasses everything from the humble hand-thrown mug to abstract sculpture and vessels. From tableware to figurative pieces, there is something for everyone. Some prefer the crisp finish of a hand-turned bowl, others the earthy texture of salt glaze. Which ever you choose you can only wonder at the alchemy of the kiln that has distilled wet sloppy clay into a solid form.
Terms: The strength of the ceramic can depend on its makeup and the heat it is fired in. Red earthenware, used for flowerpots, is fired at a low temperature and retains its natural porosity. Stoneware is often grey or paler in colour and is fired in a hotter kiln making it stronger. Porcelain, usually white, is fired even hotter. Porcelain is particularly difficult to work with, and large pieces demonstrate great skill.
The glaze that covers the fired pot to make it watertight is an art in itself. Made from a mixture of silica and other minerals there are certain matt textures and colours, a bright yellow for instance, that are technically difficult to create and therefore sought after.
Look out for: Handling the ceramics will tell you a lot but will only be possible with small work like tableware. If you are able to, carefully turn over a piece. If there are spirals or concentric circles on the base, then it was probably thrown and /or turned on a wheel. You may also see a maker’s mark or stamp. The CAA bookshelf will tell you more: British Studio Potter's Marks (Yates-Owen & Fournier) is a great archive of the monograms of studio potters helping you to identify other work in your collection. For interests in particular techniques the Ceramic Handbook series is comprehensive.
Katy Bevan ©2006
clockwise from top left: Jonathan Wade, Carina Ciscato, Zeita Scott, Jane Cox