Arts and Crafts . Porcelain Pottery * Durable * High Fire * Lead Free * Handmade . Potter's wheel + slab hand Made * Not caste from molds *
Crystalline Glaze Structure
One of A Kind * Decorative + Functional
All of these images are examples of my work.
Not available for sale. Limited Production
(403) 254-8100 email: firstname.lastname@example.org
facebook: Pamela Rodger Porcelain Artist
Porcelain is a white, hard, smooth, dense clay. Building with porcelain requires careful timing + even drying. But I can use the tricky properties of porcelain to stress + crack it. This leaves organic, crack patterns on the surface. Once the piece of porcelain has soft edges and a drier centre, I use a rolling pin to thin + flatten it. This is the point that the cracks appear. The next stage of drying is crucial. Uneven drying may cause the deeper cracks to split the piece open. That may make it interesting, but not functional. Once the piece is totally dry, it goes into the kiln for the bisque stage. After that, I paint a solution of water and red iron oxide or cobalt + manganese onto the porous clay body. I sponge the excess off, until the mineral deposit remains only in the cracks. Then I apply brush strokes of wax resist onto the textured surface, before glazing + airbrushing the colors on. The piece is fired in a kiln to 2,355 degrees F. The unglazed porcelain areas naturally produce a thin glaze on it, from the silica in the clay body. Use it like any other piece of pottery.
Creative, Hand Made Style In Serving Dishes
For 48 years I have worked as an artist, a gallery owner and a teacher. I fell in love with high fire, white, porcelain clay, because the clean colors and clarity of decoration suited my personal nature. I no longer make production lines.
The decorative and functional clay pieces that I make, are from an electric kiln, fired to 2345 degrees F. Since the heat radiates and does not come from a combustible fire, the glaze colors are clean and bright with rich penetrating hues.
Like all clay artists, my glaze chemistry is from personal research. I have used the same white glaze for decades, as a pivotal point for a wide variety of colors and effects. My glaze chemistry grows small crystal structures within variables provided by natural minerals, kiln heat, time and barometric pressure.
The glaze is airbrushed in fine coats, so that during the firing process, there is room for the glaze to flow and grow the crystals. Each firing varies according to glaze application, heat movement and outside barometric pressure.