When I returned to ceramics after a break of nearly twenty years, I became obsessed with perfectly formed objects. I lusted after Korean celadon tea cups and Japanese woodfired tea bowls. The perfection of Les Blakeborough’s porcelain made my soul shiver and Gwyn Hannsen Piggot’s still life arrangements were to die for.
In my first year of ceramic study I only kept one piece of work and I was incredibly hard on myself. I set my standards so high that I was destined to fail. I don’t know if this was a subconsciuos act of sabatoge or not, though I suspect it probably was. At the end of my second year of study I had relaxed a bit and was starting to produce work that had potential.
The last three years have been incredibly difficult as well as incredibly rewarding. I have learned to relax and I have stopped being so hyper critical of my own work. Stopping drinking has been the catalyst for this new kindness to myself as has the support of you my internetz.Through your eyes I have been able to view myself as a bonafide artist, though I still have moments when I am sure someone is going to look at my work and say that isn’t good enough you aren’t an artist at all.
I have come to a place where I am happy with myself and with my work. I have stopped fighting my nature and my ceramics have improved because of it.
So instead of trying to make delicate teacups that look capable of floating off the table. I am making work that soothes my soul. The dead albatross bowls and handbuilt platters make my heart sing. My slipcast work satisfies my longing for beauty and elegance though they will never be perfectly formed and will always look very hand made. My catch cry of late has become if you want perfection go and buy it from the kitchen section of a large department store.
Now I am making ceramic rocks. These rock bowls are a beginning of a ceramic exploration of ideas. I am trying to get an earthy, natural feel balanced with a crisp inner beauty. The outside surface will remain matte and rock-like whilst the inside should be lovely and shiny and crystalline.
These bowls are in the kiln at the moment and I will get to see whether they have worked or not on Wednesday. They are very heavy and I will have to work on that as they will cost a fortune to ship. It would be like I was trying to post a brick.
So this is where I am at, at the moment. I still haven’t started on the dragon eggs yet, though I have started an extensive programme of glaze testing. I am planning on using the Easter break to make the dragon egg mould as well as a number of other projects I have on the go.
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Can you make some of those, with a hole in the bottom so I can plant them in the garden? I’d love a whole rock bed against the side of the house, filled with flowers and herbs.
No worries Sweety, how big would you like them? I will just make my ceramic experiments larger and you can have them all.
gorgeous…..I love them!!!!
Ooooh yes, I second what Veronica says but only if I win the lottery lol! The transport costs would be crippling ;-(
That’s a beautiful piece Kim! It could work very well as a combination paperweight/pencil holder. Or as garden pots like Veronica says, they’d be stunning.
Your ceramics are lovely, it’s amazing how expressive a medium it can be. There’s sadness and beauty in the albatross bowl and joy in the friendship platter. You’re definitely an artist!
Those rock bowls look perfect for plants or candles.
Those rock bowls ROCK, Kim. I love them. Unique and rough around the edges. Just like you.XO
Ohh these look gorgeous! Tough and also delicate Kim, as are you. 😉 xx
I love the two platters, they are simply gorgeous, as is all your work. xo
now your talking to kim x
Very organic. I Like it! The way the glaze oozes out of the one and overflows; it’s like a mini volcano. Even the one with no color inside is nice; with a clear coat or something.
Beautiful.
They’re just naturally beautiful! I like seeing the stages they pass through. Your requiem for a tree platter is my all-time favorite.
They are very lovely.