The ebb and flow of work means some weeks nothing is quite finished. I’ve found it’s always better to write about things I’m doing now, but that means some things miss the boat, like some black ‘shaved’ plates that I submitted to the Eisteddfod.
This week I haven’t finished a lot of things. I’ve made a cabinet: very narrow and tall, so I can have current tests on the wall where I can keep looking at them, and trying to work out what’s any good. It’s currently half-filled with tests of pale green glazes – many made, strangely enough, with tiny amounts of black stain – which gives a more subtle colour than, say, chrome or copper.
I made the cabinet out of rough wood and ply rescued from local skips – screwed together after a few wobbles – then washed with watered emulsion.
I’ve used a split batten to hang it: this is a great invention that makes screwing and hanging square miles easier.
I’m continuing to work with oak ash and thorn: the monoprints from the long and winding road have ended up on some cylinder pots. My initial tests are dipped in copper slip, and inscribed with the tree from the monoprints.
The marks are more visible after first firing – the biscuit stage, so I’m feeling hopeful they will turn out well when glazed.
carys davies porcelain
thinking about making
carys davies porcelain 
Admiring the alchemy you’ve achieved with those skip odds and ends. And the plates are mesmerising; can you explain the ‘shaved’ element?
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Yes – I throw the plates like normal plates, but then when I cut the off the wheel, I shave clay off the back of the plates making gaps and holes. I thought I’d say ‘shaved’ to make sure people understood the holes were deliberate!
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Love the cylinders with inscribed trees!
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Thanks Elaine – I’m crossing my fingers that they look good in the glaze too!
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