I had already experimented with the effect of using two glaze colours on the dotted pieces. It creates more immediate close up interest though adds another stage to the process; When not fired on (rebisqued) the first colour, whether oxide or glaze tends to smudge and risks looking muddy. I had also been encouraged to use an oxide wash on the carved forms to enhance the texture. I was concerned about this for two reasons. Firstly a strong fluxing oxide such as copper or cobalt can react with the overlying glaze as in this piece, which is bisque fired craft crank, with copper carbonate suspension brushed on then wiped off, rebisqued then glazed in yellow. The copper carbonate was difficult to wipe off, partly because the crank surface is very rough. As seen, after glaze firing, the piece is a pleasant green but not yellow. I have tried again recently. The back left test piece has UcA4 /17 (a green glaze made with copper carbonate and chrome oxide) brushed on and wiped off. The one to the right has a more dilute green glaze with extra copper. The copper settles very quickly in this more watery dilutant and is difficult to apply evenly. All these pieces have been re-bisqued. This image shows the back left form with two layers of the latest red glaze, fired to a little below cone 8 or 1260 degrees C. I really like this effect. Unfortunately it was not a good test of this glaze combination because there is evidence the kiln underfired as the cone was not fully over. It should be rested.
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I have not visited this garden (Covid 19!) in Herefordshire but have read about it in several books and articles. It was the 4 acre private garden of Sir Roy Strong and his wife Julia Treveleyan, created over 40 years from a field they could no longer let out. It has now been gifted to the gardening charity Perennial and is open to visitors. Sir Roy published a book about the Laskett in 2003 in which he described his research into garden history through which he realised that " any great garden was not only an arrangement of plants and artifacts in terms of its design and composition but is also a tissue of illusions and ideas" The pictures look great, with gorgeous plants, well maintained shrubs and topiary and some variety. Its all very balanced -pairs of matching urns, columns and placed classical statuary. I want to visit but am hoping for a few more surprises. From the pictures its not too obvious where the 'autobiographical' aspect manifests, though the naming of various parts of the garden, like those of 'Little Sparta' are clearly personal. One garden I have visited several times is Arley, in Cheshire This garden also has its formal areas, such as the walled garden above, and areas of luscious colour such as the carefully planted formal borders that change through the seasons. My favourite areas however are the informal Rose Garden in June, full of foxgloves, and the Woodland Walk. Spring, with its bulbs and flowering shrubs, is the best time for the Woodland Walk but throughout the year this sculpture adds interest, lifts the spirits and and evokes memories. These wooden carved chipmunks, many times lifesize, raise a smile. As seen by the worn areas round them, they also invite investigation. The colour combinations at Arley are also inspiring: Arley is gem in Cheshire!
Strong, R. (2003) The Laskett -the story of a garden. Transworld Publishing: Bantam Press |
AuthorI am indulging my passion for ceramics by undertaking studies for an MA at UCLAN Archives
August 2021
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