Paul develops all the original forms, often with input from associate sculptors and potters. This ‘modelling’ process is demanding and time-consuming. No effort is spared to ensure that the piece is of the highest standard and worthy of production.
Paul is assisted by Michael in the preparation of the master-moulds for each new design. Michael will later use these masters to produce the complex dies from which the ceramic pieces are made.
Once the dies are made, Kiwa will install them into the hydraulic press we use for most of our production. The two dies must be aligned in perfect registration and precise separation. (If they are allowed to touch when the press closes with 45 tons of force they are immediately destroyed.)
Michael and Kiwa are both skilled in the pressing process. A carefully measured piece of dense, de-aired clay is placed between the dies and the press closes. This process squeezes the clay so that it flows across the die surface and fills the cavity. In the process some of the water is squeezed out of the clay, so that the pressed piece firm enough to remove to the dryer. In this way hundreds of pieces may be made in a day.
Once dry, the piece is cleaned and any surface imperfections removed before bisque firing to 1040C.
Glazing
This is Paul’s department. He uses a number of formulations developed over many years. Some glazes are designed to enhance the textured surfaces, which are a feature of our work. These are mostly translucent glazes in cool blues and greens. Some have a lovely craquele (crackle) effect which are beautiful on decorative wall plates and reminiscent of old Chinese celadons.
Paul also produces glazes with a range of lustre effects.
Lustreware is a style first developed in Mesepotamia in the 9th century BC. The firing of lustre has traditionally been regarded as hazardous and difficult. “The art is so uncertain that often out of one hundred pieces of lusterware hardly six are good” (Piccolpasso 16th c)
Lustre has a magical dialogue with light. The surface will display a wide range of colours with changing ambient light conditions.
Precious metals including silver, gold, cobalt and vanadium are used to create spontaneous iridescent and pearly surfaces.
The firing of lusterware is crucial to its success. Firings are carefully monitored, and at certain critical temperatures the kiln atmosphere is manipulated to create the desired effect. This is labour intensive and success is never assured.
