I was awarded a two week economusee residency through the sponsorship of Causeway Coast and Glens Heritage Trust, Mid and East Antrim Borough Council, Économusée Craft NI.
In Québec, over 40 Économusées promise a voyage into the heart of their craft through workshops by experienced artisans. My placement in Quebec, Canada allowed me to work alongside and learn from porcelain artist, Louise Bousquet of Porcelaine Bousquet where I gained a range of new skills and techniques.
This opportunity led to experimentation with new skills and techniques, including handcarving and slip-casting. I handcarved my leaf design into plaster and poured a liquid clay called slip into the carved shape (leaf mould). When ready the clay is removed, cleaned, shaped and set to dry. To shape the ceramic leaves I draped them across cylindrical sponges so that they were curved when dried. Pictured below is one of many processes I learned at Porcelaine Bousquet.
Alongside this, slipcasting and mould making became central techniques that I use today. Slipcasting involves filling a mould with slip (which is the liquid clay) and allowing it to solidify. After forming a cast which is a layer inside the wall of the mould it can be removed. In this case, I made a plaster mould in two parts that I then joined. The opening in the top of the mould is where you pour the slip into. The remaining slip is drained out so that the piece isn’t a solid mass, but a delicate piece of ceramic ware. Below, the process is pictured.
I also visited Jose's pottery as part of the Économusée placement whereupon I attended a raku firing which creates completely unique pieces as there is never a certainty as to the appearance of the outcome. Many find raku a temperamental technique but there’s an exhilaration the unknown image that may appear through the process.
The Raku technique involves placing glazed ceramics that are taken straight from the kiln while they are glowing red hot and then placed in a combustible material. The material could be sawdust, newspaper or even feathers which creates a reaction with the glaze, causing colours and shapes to settle upon the piece. The smoke during the raku firing creates a matte black colouring on the piece. Having viewed the craftsmanship of raku firing I was able to learn about a process that dates back to the 16th century.
With fondness I can say that I gained so much knowledge in my residency at Porcelaine Bousquet and I look forward to the techniques and processes that will remain with me in my ceramic ware.