Each of the artist’s works begin in either of two ways.
The main method is begun by the artist creating a prototype in clay either on the wheel or by handforming. From this prototype a plaster mold is created. The plaster mold may be a simple one piece drop mold or may be complex and made up of multiple pieces that fit together like a 3D jigsaw puzzle. Once this plaster mold has had time to dry for a number of days, it is then filled with a porcelain slip ( liquid porcelain clay) for a specified time for a skin to form around the inside of the mold and then the excess is tipped out. When it has dried sufficiently, the porcelain slipcast piece is removed from the plaster mold, and is ready to begin being decorated.
The second method is by handbuilding a form using thin slabs of porcelain clay.
The porcelain form becomes a canvas upon which to decorate and create a narrative. Recently the artist has started to draw on all sides of some of the 3 dimensional forms to create a meandering of ideas and thoughts that connect to each other.
To achieve a finished piece involves many laborious steps.
Each piece is handcarved, and handpainted before or after bisqueing the piece. After bisquing (first firing) the work is sandpapered smooth before painting.
Because the artist likes to keep the pieces fine and delicate, she needs to glaze each piece in stages to prevent oversaturation of the glaze onto the porcelain piece which would break it. Firstly, she glazes the interior of the piece, allowing it to dry, then cleans the outside of it and then applies the glaze to the outside with a brush first with the clear glaze, then allowing it to dry, cleans and then applies the black glaze to the piece. It is then fired to 1290c in an oxidising electric kiln.
The final firing occurs after the artist applies the real gold lustre with a fine paintbrush to each piece and it is then fired to 800c.
Each piece is unique and a ‘one of a kind ‘ either functional or nonfunctional artwork.