BACKGROUND AND TECHNIQUE
The clay body of the pot is a specially formulated stoneware, designed to withstand the thermal shock it undergoes in the firing processes. After throwing the form, layers of liquid clay slip are added, then burnished prior to the first biscuit firing. Glaze effects are then applied at the next stage to achieve the final results. Raku is then fired to 1000 degrees centigrade, removed from the kiln red hot, to be smoked in sawdust to achieve its distinctive and individual markings, it is then finished with beeswax.
“I work out of a small garden studio, using a raku kiln. It provides a fantastic opportunity to further explore how flame and smoke affect my work. Each piece is individual and totally unique and hand thrown on a wheel. It is then finished with different effects to achieve the shape and balance I’m seeking. These often arise from how the form itself speaks to me. Patterns in nature or from different cultures inspire and inform my decorative work. I’m currently exploring themes using the monochrome nature of Raku. The contrast between crackle glaze and clay, which has been affected by the smoke, provides the opportunity to use patterns which highlight these effects and compliment the form. I have also been producing collections of work that both happily exist together, or as single pieces.”
Excitingly Graham’s “mathematical knots” raku bottle has been accepted into the Isaac Newton Institute’s art collection in Cambridge.
All the work is marked with Graham’s personal stamp and is guaranteed to never be exactly repeated.