On this page, you'll find my work divided up into the various collections. I like to vary the decoration techniques which I apply at various stages: just after the throwing of the pot, at the leather hard stage, at the bone dry stage, after the bisque-firing or on a raw glaze.
These pieces are some of my first efforts. I use them daily in my own kitchen and I've never got tired of these garlands of leaves on natural stoneware.
This well-stocked collection consists of pots which I have decorated with commercial glazes from the Amaco Potter's Choice cone 6 series. They lend themselves very well to being layered or applied on textured surfaces. For some pots I have used the wax resist technique, the 'chattering' technique or the water etching with shellac resist for some others. For many others I simply used batik stamps.
This collection which is popular and often requested by returning customers is decorated at the leather hard stage with an engobe coloured with oxides. I then carve different patterns or use stencils. After the bisque-firing, a clear glaze is applied and the pots are fired again at 1260°C.
This collection follows the same methods but in a different colour way.
This collection has the surface textured by 'chattering' immediately after trimming. When the pieces are bone dry, they are decorated with coloured terra sigillata then engraved. After the bisque-firing, the pots are dipped in a clear glaze and fired at 1260°C.
These pots have two layers of glaze: a cone 6 temmoku and a blue green glaze on the rims which will run down the walls of the pots. Those glazes are made in my studio from raw materials such as feldspar, quartz, whiting and an addition of colouring oxides such as iron for the temmoku and copper for the blue green glaze.
This collection is decorated when the pots are bone dry. A black terra sigillata is brushed on the pots which are then engraved. After the bisque-firing, the inside of the pots is covered with a satin white cone 6 glaze. Whilst the pots are still grey after the first firing, they turn black during the second one.
The same kind of work as above but with a coloured glaze.
For this collection, a coral engobe has been associated with a black terra sig, a clear glaze with a matt sgraffited surface.
This collection is made from red grogged stoneware. Some pieces are covered with a blue engobe and sgraffited; then they receive a clear glaze. Some others are simply bisque-fired then dipped in a clear glaze.
The inside of these pieces is covered with a red terra sigillata while the outside is covered with a black one and sgraffited. After the bisque-firing, the inside is glazed with a transparent glaze and the outside is left as it is.
The all white collection
These pots have been partly coloured with terra sigillata and sgraffited while the rest has been left bare to show the natural colour of the stoneware I use. The coloured part was left unglazed and the natural one received a clear glaze at 1260°C.