David Binns’ carved and glazed ceramic forms evolve through a direct and intimate engagement with clay. The making processes he employs involve starting with an almost solid lump of clay, mostly porcelain or finely grogged stoneware clay. Once the clay has dried to a leather-hard state, he uses woodworking chisels and blades to carve each piece, applying an intuitive mix of part control and part chance. All his work is glazed with a single felspathic-based glazed, adapted with different metal colour oxides and opacifiers. He fires his work in an electric kiln (oxidation atmosphere), to very high temperatures – usually around Cone 11 (1320°C). Firing to such a high temperature causes the glaze to flow down the vertical surfaces of each piece in exciting, yet unpredictable ways. Firing to these high temperatures also means the clay body itself plays an important role in effecting the aesthetic qualities of the fired glaze. Occasionally he adapts the clay body with additions of a granular feldspar, which melts and dramatically effects the overlying glazed surface. The chance elements he allows within his making and glazing processes mean each piece is completely unique and unrepeatable. Opening each glaze firing is therefore often a mix of excitement, anxiety, despair and hopefully delight. He draws inspiration from the contrasting shapes and textures found in contemporary architecture and the natural landscape. Shaped by a deep respect of the fundamental principles of Japanese aesthetics, he strives to make work that has visual beauty whilst conveying a sense of quietness and simplicity.
Paul Wearing’s approach to his practice embraces contrasts of control and chance within the glazing process. This can be seen within his treatment of the glazed surface which renders evidence of intentional brush marks and chemical reactions of the glaze. The surface is built up and transformed through the brushed application of multiple layers of slips and glazes – generally six glazes and two slips are used on each piece. The pressure, direction and speed of the brush connecting with the vessel’s surface determines only some of the outcome. The surface develops in a partnership between Paul, the materials and process. Layers simultaneously build and crumble under the application of further layers. The process begins to reveal its own language, determined in part, by chance. Once applied the glaze materials are set to react within the conditions of the oxidised firing process. Here the inclusion of selective volatile materials brings further disruption to the surface through blistering, cratering and crawling. Glazing and firing processes are repeated until the optimum depth and complexity of surface appears.
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