I have been making my ceramics for over 8 years as a London-based ceramic artist. Over this time the pieces have evolved & transformed whilst keeping the essence of the original forms. Ceramics should evoke the desire to look and, if not more so, to touch.
Predominantly I use two different clays – porcelain & white earthenware. These collections focus on simple forms of cylinders, bowls and eggs shapes.
The largest collection I make is the tea light shells. I use either porcelain or white earthenware to form small bowls evoking the fragility of eggshells and the properties of each material achieve a different finish. The white earthenware is a solid material so I use mixes of crystalline glazes to the interior of the shell whilst leaving the exterior raw. The porcelain collection, in turn, is kept very simple by using the beauty of the pure porcelain, and to benefit from its strength and translucent properties.
Using a mould as my resist I make them by hand and the clay has the imprint of my fingertips. With the porcelain there is also a natural slight variation of thickness which when lit at night produces a soft cloudy effect. Each shell is pushed to a non-uniform shape & sanded on the outside surface to produce a smooth tactile surface.
Working the porcelain to near paper fine thinness I am interested in seeing how delicate you can work the porcelain while still retaining its strength. This has also led to combining various sizes of porcelain bowls into each other. The porcelain becomes soft during firing & moves in reaction to the form I have made. The finished piece will depend on how the combined bowls counter-balance & react to each other, becoming a unique organic form.
The cylinders collection began as very linear structural forms. Inspired by the movement of the porcelain during firing I began to experiment by exaggerating bends & folds during the making, adding the central etched lines to highlight the curves of the form. The porcelain is refined to a smooth sanded tactile finish. I apply copper oxide to the lines, which contrasts with the clay body and once again highlights the folds.
Throughout my work I am interested in the form of the piece as much as the function and how the structural properties of clay can be utilised in a beautiful way.
Many thanks, Sinéad.