Pottery #18 - Whitewash

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Here are some pieces from my ceramics collection featuring white glazes:

Potter 1: Matthew Blakely

Blakely Artist Statement from 2001 when I purchased this vessel:

I endeavour to make pots that are beautiful visually and physically, and which are a pleasure to 

use. The pots are decorated simply with indentations or flowing lines made while the pot is still 

on the wheel, or with broad sweeps of slip, so that the form remains dominant. The qualities of 

porcelain are encouraged to find expression.

Porcelain is used for its whiteness and the quality it gives to the glazes. The glazes are in 

subtle tones and although applied relatively thickly, to give depth, they don't mask the clay. 

They enhance its character, capturing the gorgeous softness of a freshly thrown pot.

The decision to make functional pots stems from the belief that part of the beauty of an object 

lies in its use. All the pots are thrown on the wheel, hopefully imbuing the intimacy and 

immediacy of the process in the resultant uniqueness of each piece.

Matthew Blakely's Oil/Soy/Vinegar Pourers were judged the winner of the wheel thrown 

section at the Coffs Harbour City Art and Craft Award 2001.

Matthew Blakely, Oil/Soy/Vinegar Pourer,

wheel thrown porcelain (celadon glaze?)

Here are some photos of Matthew wheel throwing similar vessels: link.

Matthew's current Artist Statement:

I endeavour to make pots that are beautiful visually and physically, and that are a pleasure to 

use. Function is important to me because it influences the way a pot will be appreciated. I want 

my pots to be handled, felt and explored as well as being looked at. Often certain qualities 

present in the pot are quite subtle and will not be discovered easily or quickly.

I throw all my pots on the wheel, and try to encourage the energy and movement of the process 

and the softness and plasticity of the clay to show in the final piece. I create undulating rims 

and put throwing rings into the forms, which though thrown quite loosely have well controlled 

forms. The softness is within a certain structure. Often I distort the forms from the circular, 

sometimes cutting them and rejoining bases. This treatment, combined with the throwing 

marks, gives an added tension to the pieces.

I use porcelain for its smoothness, whiteness and translucency, its fired strength, and for the 

quality that it gives to the glazes. I have developed a range of clean, fresh glazes that 

compliment the porcelain. These are applied quite thickly to give richness and depth to the 

colour, and often move down the form, pooling on ridges, emphasizing the fluidity and softness 

of the forms.

I am exploring the interaction between form and glazes in the firing, particularly the point at 

which the glazes start to run off the pot. The resulting glassy rivulets, runs and drips of glaze 

make the pot seem like a moment in time - captured and frozen.

Potter 2: David Morrison Pike

David Morrison Pike -  Woodfired clay creamer, natural glaze

David Morrison Pike -  Woodfired clay, Kohiki glaze

Potter 3: Jim Bridgeman

Jim Bridgeman -  Raku fired lidded vessel, wheel thrown,

glazed with a white crackle raku glaze

Potter 4: Travis Kennedy

Travis Kennedy -  Woodfired Shino coated 'dirty' porcelain

Travis Kennedy -  Woodfired Shino coated 'dirty' porcelain

Bairei Kono

Boy with a snowball, 19th Cent.

27 x 27 cm, watercolour

Esa Jaske Collection