150,000 followers, a truly remarkable number and an amount I never dreamed of achieving simply through posting pictures of my ceramics and endless essays about pots. I can’t thank everyone enough, to those who like, comment and purchase my work, supporting a livelihood I would have never thought possible. The new year will be exciting as I return to London and begin the search and setup of my own studio finally after years of learning and apprenticing. From one adventure in Japan to another back home and I can't wait to share it with you all. x
Photograph by Lizzie Mayson, (@lizziemayson).
Painting Max's base colours layer by layer!.🖌 I’ve finally finished a Christmas commission that I haven't been able to share with you yet! Now I am back to painting Max, Cotton and starting a new project! Can't wait to share more with you guys ❤️ #trekell
The back of a bowl, an old vessel thrown just before starting my apprenticeship with Lisa Hammond. It’s a piece I’ve kept for one reason, as the glaze surface is likely unrepeatable, well, it could be, but I can't imagine why I’d ever do it again purposefully. It’s very easy to forget a step in ceramics, be it a single ingredient forgotten from a glaze recipe, or double an amount as you’re distracted for a single moment. When you’re dealing with repetition, such as mixing five buckets of glaze that all look identical apart from half a percentage of red iron oxide, which isn't enough to change the colour drastically, mistakes happen. Every potter I know who mixes their own glazes and deals with their own studio practices where things are mixed from scratch have stories of them going wrong. I’m certain I forgot to sieve this glaze, which means the raw elements, even though very well combined after having the mixer churning away in the bucket for a good while it wasn’t truly so as the mixture wasn’t pressed through an eighty mesh sieve. There are chunks of white, lots of iron dots and the colour changes subtlety in washes over the piece and actually, I really quite like it.
I recall mixing the same glaze again in another bucket, plunging the mixer in and switching it on as I went for a tea break, fifteen minutes alone and the solution would be perfect for sieving once I returned. Rather, when I did, I stepped into a room where the floor was covered in a layer of crimson red, the base of the bucket had a split in it and the seething machine had forced all the glaze out of it and across the room. Lots of it too, an expensive mistake. These things often only happen once to craftspeople, thereafter you check, even if it’s just a quick glance inside the bucket or ticking off the materials as you combine them. I wonder what my next one will be.
چشمه عمارت مربوط به دوره صفوی است و در بهشهر، بلوارشهیدهاشمی نژاد واقع شده. این اثر در تاریخ ۹ مرداد ۱۳۵۲ با شمارهٔ ثبت ۹۴۸ بهعنوان یکی از آثار ملی ایران به ثبت رسیده است.
معماری این بنا به صورت دو طبقه بوده و هم اکنون طبقه همکف و بخشی از طبقه اول آن باقی مانده است. از ویژگیهای معماری این بنا سیستم آب رسانی آن است. در وسط عمارت همکف مظهر چشمه وجود دارد. با استفاده از تنپوشههای سفالی آب به حوضچههای طبقه اول هدایت شده و پس از سرریز به صورت آبشار به چشمه طبقه همکف و حوضهای اطراف بنا سرازیر میشده است. این بنا در روزگار آبادانی مزین به نقاشیهای رنگارنگ. کاشیهای متنوع بوده است. “#Cheshmeh Emarat” mansion is related to the Safavid era and is located in #Behshahr , it has been registered on 31 July 1973 as one of the #national works of Iran.
The #architecture of this #building is #designed in two floors but now it just remains the ground floor and part of its first floor.
The architectural #feature of this building is its water #supply system. In the middle of the ground floor you can find the origin of the fountain. Water was directed to the first floor #basins by some #clay covers, after overflowing, it flooded into the ground floor #fountains and basins around the building as a waterfall.
The building was #decorated with #colorful#paintings and #tiles at the time of its creation and development.
they feel and look like eggshells and are totally matt ..⠀
they are a take on my "pure" collection, similar shapes but a totally different finish.. ⠀
not a pure white, but a warm white ..⠀
made with porcelain, they have not been glazed but are yet stain/oil-proof thanks to this fabulous nano technology that is food safe, dishwasher safe, heat safe etc...⠀
I think they are going to be a new collection, as they feel quite special ...⠀
so far I am lost for a name..⠀
apart from " egg shell".. ⠀
but somehow it does not feel quite right..⠀
any suggestion, any comment too ??⠀
ils ont la couleur et le fini mat de coquille d'oeuf..⠀
ce sont les formes de ma collection "Pure" mais d'un blanc "chaud" ..⠀
Faits en porcelaine, ils ne sont pas émaillés mais pourtant non poreux car traités avec cette technologie nano, qui convient aux aliments, résiste au lavage lave-vaisselle..⠀
Je pense qu'une nouvelle collection est née car ils sont vraiment spécials..⠀
mais comment appeler cette collection?⠀
"coquille d'oeuf"..çà ne sonne pas juste⠀
vos suggestions? et qu'en pensez vous?⠀