Victoria Thompson Ceramics

Including ceramicists: Jim Malone Shoji Hamada Phil Rogers Ken Matsuzaki Charlie Collier Lisa Hammond Jean-Nicolas Gérard Mike Dodd Anne Mette Hjortshøj Nic Collins Roelof Uys Matt Foster Lucie Rie Mick Casson Jennifer Lee Robin Welch Rachel Wood Richard Long Karen Howarth Richard Batterham Zeba Imam Melanie Keeling Charlie Collier Margaret Curtis Wayne Clark John Calver Adam Keeling Rachel Wood Tom Knowles Jackson Anne-Marie Jacobs Fitch and McAndrew

Over the past year, I have spent a great deal of time looking at my local salt marshes and coastal environments for inspiration in my ceramic work. One thing that has really struck me is just how many variations of green can be found in nature, from the soft, muted shades of salt marsh grasses to the deeper, richer greens of seaweed and the subtle tones of moss and algae. I decided to set myself a challenge: to develop ten different green glazes that I could use within my own

A ceramic glaze can seem complicated because each ingredient, whilst often having a primary purpose, often contributes in more than one way to the success of the glaze. To explore this, I will use a traditional green celadon glaze. The Green Celadon recipe used as an example in this article is from John Britt's The Complete Guide to High-Fire Glazes: Glazing & Firing at Cone 10 (2007, p. 69). Green Celadon Potash feldspar — 30% Silica — 30% Whiting — 20% Kaolin — 20% Red ir