The process of making this body of work begins on the wheel where I throw all of my base forms out of a rich red terracotta. Each form is allowed to dry to a leather-like consistency where the clay is stiff yet still able to be manipulated. At this point I apply the woodblock relief pattern or other texture such as carving. My woodblocks come form India and were once used as fabric printing blocks. I also use materials such as antique heating grate covers, which can be very ornate and easily transferred to a clay surface. Currently I am working on carving my own customized printing blocks out of linoleum block, used in printmaking. On most forms, my next step is to trim a base or foot, by attaching the piece back on the potters wheel upside down and carving away the excess. This process is much like that of woodturning. In the case of a vessel which requires a handle, I build and attach them just after the trimming process. I allow the piece to now become bone dry over a period of controlled drying which usually takes about two days. The work needs to be dried slowly to avoid cracking. Now I begin to layer various colors of slip. Depending on the piece I may layer up to five different colors, usually beginning with white and ending in black. Each layer must be completely dry before adding the next. Once all layers are applied and allowed to dry for at east 24 hours, I use various abrasives such as sandpaper and scouring pads to meticulously sand back through each layer to varying degrees. The end result is an aged surface not unlike an old wall which has been painted many colors then abraded by the elements reveling the past layers. This step is by far the most painstaking and lengthy, yet it is also where the work really comes to life and is very rewarding. The work now is fired in what is called a bisque firing, whereby the pieces will come out like soft stone or brick. This is very important for the application of glaze, because unfired clay is very unstable when it becomes wet. After the bisque I apply a colored interior glaze, typically with a satin finish, and a clear glaze on the surface. In addition to providing a sterile easy to clean surface the clear coat sharpens the color of the various slip layers. The last step if to load thee work back into a kiln and fire it to 1945 degrees ferighnhight, or, in ceramics terms, cone 04.
