Shelf Preparation & Packing of Kiln
In my recent series of work, the ceramic sections have been constructed by applying porcelain and paper clay slip to individual cellulose tubes (obtained from manufacturers of cigarette filters), which are then joined to create complex forms. Following a slow ‘burnout’ firing, a hollow honeycomb structure is revealed. Due to the shrinkage of ceramics, great care is needed when firing complex structures like this. To prevent cracks occurring, I embed the form in ‘Alumina Hydrate’, which acts as a layer on top of the kiln shelf, to aid better movement of the piece during shrinkage. This video clip illustrates my shelf preparation using ‘Alumina Hydrate’ and how I position the work prior to firing.
For more information and research on the firing of honeycomb-like ceramic structures, have a look at ‘Cellular Ceramics – Structure, Manufacturing, Properties and Application’ by Michael Scheffler and Paolo Colombo.
Cutting Glass & Applying Batt Wash to Ceramics
Exploiting the fluidity of glass, my recent series of work aims to produce an environment in the kiln. Melted through apertures in ceramic and copper forms, the glass drips to create strands and swirls of colour. This video demonstrates how I cut clear and coloured glass into small chunks, which enables me to decide the exact placement of colour when melted. With a differing COE (Coefficient of Expansion) between the porcelain and glass, this video clip also shows how I apply Kiln Wash to the ceramic base, to prevent the glass crazing and cracking when fused with ceramics.