I wrote this piece for the latest edition of Shards, South Wales Potters member's magazine. The theme of the issue was "Centering through Clay", and we had an interesting collection of pieces from both those who do not fit the neurotypical stereotype them, and those who work with neurodivergent people or others with mental health issues, and their interactions with clay.
On to the article...
What do we mean when we say a kiln is well or badly insulated? And how does kiln insulation actually work? Let’s delve a bit deeper into this.
A different look at the role of tradition in British ceramics.
Some thoughts on how AI and related digital tools may be used in studio ceramics.
Many potters happily use commercial stains and glazes on their pots. What considerations do we need to take about safety in the studio, or on items intended for use with food and drink?
Many potters just type in or select their desired firing schedule and press Start, thinking that’s all that is required when operating a kiln. But there’s a bit more to it than that if you want to have consistent, repeatable firings, all of which can be put under the umbrella of kiln calibration.
Clays and glazes emit various fumes during their firing. Is this anything we should be worried about, and if so what can we do about it?
No, our previous Prime Minister isn't returning - this was her favourite catch phrase. I'm going to tak about glazes, and summarise what makes them stable against attack by food, drink, or the dishwasher.
We all hear about the perils of dust, and particular of silica dust, in the studio. But how much dust is safe? And how much is in your studio? And is it the wrong type of dust?