At the beginning of March I packed my bags and hopped on a plane to Scandinavia for the first time. I flew into Copenhagen, looking down on snowy, fragmented islands gradually massing together to form land. It looked flat, and it was cold.
Beautiful Nina Hole Sculpture, wood fired in situ, outside the farmhouse.
I arrived at Guldagergaard international ceramics research centre, pronounced Gool-ay-ago, by train and bus and foot, welcomed into a mildly chaotic world of 40 hour long wood-firings, unbridled artistic expression, huge amounts of expertise and a fantastic community of learning, sharing, warm people.
A tiny world inhabited only by ceramicists, where you don’t have to explain or excuse yourself. There is just acceptance. It’s a magical place…and there are sculptures and objects from the tiniest porcelain chair model to the most enormous tiled archway, just bursting from every corner of the place. I feel so inspired here.
I came to Guldagergaard because I want to expand my practice to incorporate my own-design slip ware. So, I signed up to do an Intensive Plaster workshop week in March, taught by the wonderful Harriet Caslin, and now I am back to complete a month’s residency for the rest of April, working with the skills I learnt.
My coffee pot design, an elegant mid-century modern style tall form.
I’m currently working very hard on a project to produce my own coffee set – a tall coffee pot, a slender jug and an angular cup. The first stage is scale drawing on paper, the second stage turning a positive form on the lathe, then adding components such as spout or handle or surface detail, the third stage casting a mould – the negative; the final stage pouring slip into the mould to form a porcelain positive to fire and use. Currently I am turning on the lathe, hand carving and adapting using precisely scored and folded acetate areas, to fit my design drawings. It’s a lengthy process, and I’m not sure what the outcome will be… The photos below show plaster being mixed; the coffee pot ‘stock’ on the lathe during the initial stages of turning; the finished coffee pot form waiting to be carved and fitted out; the jug model with grooves carved in and acetate being fitted; the coffee cup form on the lathe, ready to be cut off.
I’m also indulging my long held desire to work with stained porcelain, casting a small kitchen ware range using found objects in a pastel palette, and using marbling on two elegant hand turned designs that I did during the workshop week – a tall beaker vase and a wide, conical serving bowl.
Marbled yellow slip, just poured into handmade tall beaker mould.
Sodapop jugs and containers in a pastel colour palette.
Marbled and plain slips, all drying and waiting for first firing to test colours.
Marbled tall beakers waiting to be fired – the colours will become more vibrant after the second high firing, although hopefully still subtle.