Throwing
It all starts with a ball of white mud.
It needs to be wedged to have an even consistency. Then I place it firmly on the wheel and cone up and down to the center. Porcelain clay feels like vanilla ice cream, only less cold. When it seems to be still I can create a shape - an upper section of the vessel. I have to be very careful putting it aside - the material is so soft and fragile, that I could deform it with the most gentle touch.
Then I leave it to rest and dry slowly under the cover. It usually takes about 1-3 days, depending on how warm and humid it is in the studio. When it holds its shape and is still cold to the touch but not sticky anymore, it’s time for trimming.
Trimming
I place it on the wheel again, this time upside down. A bit of slip on the rim helps to stick it firmly to the batt. Then using sharp tools I carve a footring and refine its shape. The consistency feels like white chocolate now, as porcelain shavings fall every time I immerse the tool into the material. The tricky part is getting thin, but even walls without seeing them - it certainly feels like an arcade game.
As soon as I’m satisfied with the shape I take the piece off the wheel and smooth the rim with a damp sponge. Then I leave it to dry, again - slowly.
Firing and glazing
When it’s dry and warm to the touch it’s ready for bisque firing in 950 Celsius degrees. When the kiln cools down, I can glaze the work. Cobalt decorations happen at this stage, too.
Then the piece is fired again at 1240 Celsius degrees. Of course, the whole kiln needs to be full during every firing.
When the kiln is unloaded I can polish the bases and matte surfaces with sanding paper, so they are silky smooth to the touch.
After about a month of work, porcelain vessels are ready to join your tea ceremony.
From my hands to yours 🤲