WFC An International Collection of Wood-fired and Sculptural Ceramics 薪窯陶芸と彫刻陶芸 インターナショナル・コレクション Een Internationale Collectie van Houtgestookte en Beeldhouwtechnieken Keramiek Une Collection Internationale du Feu de Bois et Céramique Sculptural ????????????
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Ben Richardson
Tasmania Australia
My making process is strongly based on the wheel with its inherent potential expressed in the containment of the circle and the expanding gesture of the spiral. However often that is merely the starting point as form is cut and reshaped. Recently I have been experimenting with handbuilding techniques using hand rammed clay in flexible formwork using coarse clay bodies with dolerite inclusions.
A variety of techniques are used to texture the surface of the clay suggesting surfaces found in nature. It can be from rope found on a nearby beach impressed into soft clay to create surfaces that reflect sun and wind on sand and water or faceted clay that echoes cleaving rock and burred steel. It may exist in the packing scars of local scallop shells and marram grass, sedimentary fossil residues of the transforming fire.
A variety of techniques are used to texture the surface of the clay suggesting surfaces found in nature. It can be from rope found on a nearby beach impressed into soft clay to create surfaces that reflect sun and wind on sand and water or faceted clay that echoes cleaving rock and burred steel. It may exist in the packing scars of local scallop shells and marram grass, sedimentary fossil residues of the transforming fire.
Ben Richardson
Tasmania Australia
My making process is strongly based on the wheel with its inherent potential expressed in the containment of the circle and the expanding gesture of the spiral. However often that is merely the starting point as form is cut and reshaped. Recently I have been experimenting with handbuilding techniques using hand rammed clay in flexible formwork using coarse clay bodies with dolerite inclusions.
A variety of techniques are used to texture the surface of the clay suggesting surfaces found in nature. It can be from rope found on a nearby beach impressed into soft clay to create surfaces that reflect sun and wind on sand and water or faceted clay that echoes cleaving rock and burred steel. It may exist in the packing scars of local scallop shells and marram grass, sedimentary fossil residues of the transforming fire.
A variety of techniques are used to texture the surface of the clay suggesting surfaces found in nature. It can be from rope found on a nearby beach impressed into soft clay to create surfaces that reflect sun and wind on sand and water or faceted clay that echoes cleaving rock and burred steel. It may exist in the packing scars of local scallop shells and marram grass, sedimentary fossil residues of the transforming fire.
Keywords: ben richardson
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