Each sculpture is first drawn to develop its creativebalance. Then I make the inner structure to support the ideas that I have drawn. Often I will let areas of clay harden and carve into them. These will take and support glaze flow. I work each piece of a turntable so that at times I am working very much in the round, this is particularly helpful in the overall feel and in getting the carving part of any piece to have flow as in this large piece with the sea horse and the rider. LIke much of my work and tend to have a palette of colours in my mind from as early as the sketching stage. With this particular piece I wanted to 'fracture' the visual density of it by using a large amount of spotting with gold. There are over 700 dots of gold on this piece. Yes I do count them as I work! August 2017.
With shells I really enjoy using a sgraffito process as this adds to the flow and natural pattern that sea shells have.Where glazes are applied later, the glaze 'falls' into the etched surface and increases the visual sense of depth. Porcelain's delicate nature just adds that final touch.
where really 'tight' detail is required I prefer to work really close so with things like heads I will work using miniature tools and often, like this ~on a spike.