SOME PICTURES TAKEN OF OUR PROCESS’S:
The larger pieces, up to 90kg in weight require a very long drying out period and shelving, table space and trolleys are all necessary, particularly during winter.
THE TWO OIL-FIRED KILNS ARE UNDER COVER ON TWO SIDES AT THE BACK OF THE WORKSHOP:
- A 40 cu ft oil-fired (paraffin/kerosene) kiln, lined with “Ceramic Fibre”, used in the production of tableware, stoneware and porcelain as well as medium to large sized stoneware.
- A 100 cu ft rolling hood oil-fired (paraffin/kerosene) kiln, lined with “Ceramic Fibre”, used mainly for our very big work.
- In addition, there is a medium-sized electric kiln used for bisque and lustre firing, and a small gas-fired ‘test kiln’.
- The five potter’s wheels in the studio are all electrically driven and David’s preferred wheel at present is an old Shimpo made in 1982. It is on this little wheel that the biggest of our pots are thrown.
- We work jointly on the same pieces, and the working area is common.
- Felicity using a potters wheel with a banding wheel placed on top of it as her work surface.
- All glazes, decorating slips, oxides and pigments are blended and mixed in the studio.
- Both our stoneware and porcelain clay is prepared at the studio. Raw materials are delivered in large quantities and stored at the back of the workshop.
- The clay is mixed by hand and then dried out in large canvas-lined brick drying trays prior to pugging and storage.
- Bisque firing is at 1 000°C, and glaze firing in a reduction atmosphere to 1 320°C, Orton cone 12.
“Not everything that is faced can be changed, but nothing can be changed until it is faced” James Baldwin