The making of a large plate begins with the forming stages: a shallow,
wheel-thrown, curved form to which a large clay coil is added. This
becomes the lip.
The slip work phase, using fairly thick white, chrome, and iron slips,
is a time of playful and spontaneous reactions guided more by
sensations and instinctual movements than by conscious decisions on my
part. I find this aspect of surface decoration immensely inviting, and
it also provides a beginning point during the next phase, glazing. But
are these active surfaces too daunting later on when glaze
considerations must be made? No, not at all.