The creation of a 'well thrown' form has always motivated David. Not a person to accept half measures, the pot has to be technically sound and attention to good workshop practise becomes almost ritualistic. There are no easy paths and professionalism is paramount showing great respect for 'craftsmanship ' and all its values. Every aspect is researched in great detail and a questioning mind leaves no stone unturned.
Each piece demands complete attention to detail-whether it be a mug or the largest jar. David gets involved in work on a large scale, being physically strong size doesn't pose a great problem, yet he can relate to the smallest of teacups with great sensitivity.
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Thrown pots which are altered in form at the leather hard stage predominate. David likes the facets and flat surfaces for decoration. These pots are squared, oval or multi-faceted. A range of pressed and extruded shapes are made including shaped trays, square dishes and boxes of various sizes. David's son Daniel manufactures a wall mounted extruder (Dangor Ceramic Supplies) and it has been well tested at the workshop.
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All the pots are bisque fired before glazing. Most of the base glazes are celadons, with wax resist motifs, overglazes, trailed glazes and pigments on top. Consequently the time given to glazing and decorating is considerable. Long periods of glazing ,decorating and firings take place when development of ideas come to fruition. Every kiln holds its own excitement and glaze testing is an 'on going' exercise.
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Many of the glazes are ball-milled and made from local materials. Firings are carefully monitored with reduction atmosphere from 1000*C upwards and a rich period of oxidation for an hour at the end of the firing when cone 8 is half over.
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Each pot is an individual and considered alone, yet thrown in series. It is vital to the process that the form develops as the thrower warms to the shape, critically assessing the subtlety of the forms and discarding the ones that do not please. Sensuality becomes an inner decision based on experience, knowing the nature of the materials and how they combine and bond in the fire.
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Square, rectangular and octagonal dishes are made using extruded sections. The sections are extruded then left to stiffen and then joined to a slab base. When they have stiffened, they are turned over and extruded feet are added.
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Cut rim platters are shaped by cutting the rim with a cheese cutter and then throwing out.
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Over the last two years David and Margaret have been developing a new range of copper red glazes. By using copper and iron glazes in combination great depth of colour can be achieved. Carefully controlling the kiln atmosphere is essential, with moderate to light reduction, as these glazes are very unstable and unpredictable.
The larger bottle forms are thrown in sections. The base is thrown and left to stiffen and a further section added and thrown up. Using this method, David finds that he gains most continuity of form.
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The two jars above are especially large, the taller one 70cm high. These pieces were commissioned for customers in England.
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The potter must combine the innovation of the artist with the control of the craftsman and involve the intuition of the fireman, to create the 'whole' - no mean task!
