I have a semester to focus on making in the workshop, to catch up on the sessions missed in the first lockdown. My slab-building has improved in the last semester, but there are still areas I want to refine and polish. As my making skills improve I want to experiment with building larger and more complex forms, as well as being more creative in terms of design.
To kick off this semester I have started to make three linked pieces. I want to see whether larger and more complex forms can be made in parts. I like the idea of being able to join or separate the finished pieces, so that they can be displayed in a flexible manner, or individually.
How to join the separate pieces
I have tried two types of interlocking joins between the three pieces to see which is best. The first is a loose rounded connection, the pieces are essentially standing side by side. The second is like a jigsaw piece, one part fitting within the other. I am drying these three pieces together, separated by strips of paper. I am unsure how much space is needed to allow glazing, this could be an issue on the second interlocking joint. In fact I am not sure whether interlocking pieces is a good idea at all, but I will find out soon.
Smaller pieces are not easier or quicker
I decided to focusing on the bases and add a very shallow slab for the sides. I thought that I could quickly test the design idea, without building three complete pots, and it would be quick and easy. I was wrong. Firstly, the joining is the time consuming part, and there is still the whole base to do, even if the sides are shorter. Secondly, the added difficulty with a shallow vessel is that the base is wholly on display, so needs to be perfect.
Anyway, I will persevere with the three little trays. (They can be used for olives, or nuts at the Stand and Deliver Christmas lunch!)
Mitred joins
I had noticed a flaw with one of my pots for practice 2, I had not mitred all my joints. In some instances, mainly 90 degree corners, I had joined flat ended slabs together, apparently this is called a butt joint. This caused two problems, firstly in some cases the joints were visible after firing, half a centimetre from the corner. Secondly, if cracks appeared they seemed to be on these types of joints. The mitred seams did not seem to have small cracks. I think I will mitre all of the slabs on my next vessel and see if this works better.
I have tried to search for interlocking forms in ceramics, the only artist I can think of at present is Wayne Higby, specifically his work Temple's Gate Place, shown below. The forms stand adjacent to each other, this would obviously be easier, avoiding any problems with fit and shrinkage. Maybe I have overcomplicated this already, particularly the second jigsaw-like join.
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