After months of research and development focused on glazes made from kaolin (1) and materials sourced from local wetland and woodland sites impacted by climate damage, I had thirty small wheel-thrown, ceramic pieces ready to be passed on to Josh at GF Smith Papers. The goal was to review and pair each unique kaolin glaze surface with a type of GF Smith paper.
The Glaze Evolution
Initially, I developed a Shino glaze (2), which used only kaolin, calcium carbonate (from egg shells), and Nepheline Syenite, alongside the wild clay and mine ochre (3) sourced from a local wetland adjacent to a disused coal mine. This reduced number of glaze components simplified the testing and adjustment process, making it a great learning experience in understanding glaze principles. However, I quickly found that as I repeated this process to develop new glaze bases, not all the successful bases were compatible with one another. Consequently, weeks were spent developing each single glaze to get a stable and repeatable surface quality.
The next phase was to develop a ‘family’ of compatible glazes that could be layered, adjusted in combination, or used on their own. A large diversity of surfaces can be achieved by focusing on a ‘family’ of glazes that share similar base materials. Utilizing compatible frits and feldspars alongside the silica glass former, and Kaolin meant that, in addition to the six new glazes developed, multiple stable layered glazes could be achieved.
The testing process for all the different combinations and application methods quickly became unwieldy. Initially, after creating several amazing combinations, I found myself uncertain about what I had done to produce successful results due to the time lag in application and firing, along with the number of tests conducted. I learned the hard way to slow down and ensure that I documented and labeled each detail!
Collaboration with GF Smith Papers
Josh from GF Smith Papers, took each of the thirty vessels and matched them with appropriate papers. Using the Colour Plan series of papers (4), we explored various approaches, such as creating Josef Albers-type colour interactions. Ultimately, we developed a display method that utilized their sample-size colour plan papers and paired two to three colors with each glaze surface.
The matched papers were then cut to size by the GF Smith team, and we set about preparing the display of papers and pots for the interim exhibition of the ReWilding Practice programme.
The Colour Plan papers, made in Cumbria, adhere to high environmental standards—chlorine-free pulp treatments and lignin sourced from sustainably managed forests certified by the FSC (5). Not only are these papers recyclable and biodegradable, but their vibrant hues beautifully contrasted with the subtle tones of the kaolin, and natural source material glazes, adding a bold new dimension to my work.
A New Perspective
Intrinsically linked by the use of Kaolin, the papers and glaze surfaces worked well together. Introducing bold colours by pairing each surface with GF Smith color plan paper was a new experience for me. Typically, I source many of the pigments and colors I use from natural environments, such as mining ochre from disused coal mine run-off, wild clay, or earth pigments. Combining these hues with the depth and breadth of the colour plan series has opened up new and exciting areas of research for the next phase of my work.
Feedback from the community during this exhibition has proven invaluable, allowing me to reflect on my work and consider the next steps in my project. I am eager to explore how these new colour interactions will shape my artistic direction and deepen my engagement with the themes of nature, sustainability, and colour in my work. Thank you for following along on this journey—I can’t wait to share the next chapters with you!
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