Updated: Jun 5
Applied oxides to the pot; using them wet meant they stuck to the bisque fired ceramic better and made the more faint oxides more pigmentated. I used a strong concentration of each to ensure a strong colour payoff after glazing. I chose colours that worked best during my tests, consisting of Black copper oxide, copper carbonate, red iron oxide, manganese dioxide, crocus martis, nickel oxide and spots of silicon carbide.
Following this, I used a hake brush to apply transparent glaze over the entire exterior surface of all 3 vessels, then adding patches of oatmeal, tin white and spots of jade and red on top. My aim is that all the glazes will melt together, along with the oxides, and add to the textural quality of the vessels. I learned from my previous test and applied the glaze much thinner, so as not to smooth over the surface texture. Furthermore, applied small patches of silicon carbide on top of the glaze - it is a key ingredient in lava glazes and causes it to bubble while it melts. This creates a really nice extra texture on the surface.
The addition of red glaze is inspired by Susan Nemeth, I really like her use of pink and red on her ceramics that create the idea of soreness. It also reiterates the personification of these pieces, relating them back to the people looking at them.
Glazing the inside: on the two smaller forms, I used tin white and jade glaze. I wanted to experiment and see if the jade glaze blended into the white as it did with the red in my previous experiment. On the left form, I applied white all over and then added jade on top, applying it more sparingly as I got to the top so it (hopefully) will look like it's growing upwards. On the right, I applied the jade all over, then adding patches of the white on top to see how the glazes would react together with a different application. The interior of my large vessel was more complex to glaze, due to the holes in the vessel structure, I couldn’t pour glaze inside without it gushing out and spilling everywhere. Therefore, I chose to leave the majority of the inside unglazed, as it won’t be visible from the exterior. I did, however, glaze the lip of the vessel at the top with the transparent, with patches of jade and white.
Out of the kiln:
I am extremely happy with how these pieces have turned out. The oxides worked very well with the glaze additions and applying the transparent thinner than my tests was very successful. The bigger vessel is definitely the most impactful, the texture and form works better than the smaller ones as there is more surface area displaying it.