Kate Boulton 7

Inspired by the natural environment of Lincolnshire and Yorkshire, she started to look at the local landscapes and seascapes as inspiration for her work, creating abstract versions of the world around her using clay, glazes and oxides.

The work primarily is with white earthenware and terracotta clays, scoring the surface to create undulating surfaces, fault lines and fissures. The detail and intricacies of the low relief technique bring a unique aesthetic quality to each piece, reflecting an intriguing sense of balance and contrast.

Layers of different glazes and oxides chemically react when fired at high temperatures, creating unique pieces and surprising results every time.

The work has developed over time, and continually explores the relationship between colour and texture, with particular emphasis on ceramic materials, glaze reactions and natural processes. She plans to introduce the techniques to produce useable objects such as bowls and vases.

Website: https://www.kateboultonceramics.com

Instagram: https://www.instagram.com/kateboultonceramics

8

Afagh Advay

Name: autumn 420cm x120cm 2018 Solo Relief Exhibition, Eskisehir, Turkey

She originally studied painting at the College of Fine Arts in Tehran (Iran). But before that she learnt the art of embossing and ceramics in a completely experimental and traditional way working in traditional workshops, at the age of 18. Then later continued her work by gaining experience in her own workshop. The knowledge gained in painting from college helped a lot when making her reliefs.

Although her career started by making embossments and pottery sculptures she since started making ceramic tableware.

One of the reasons she chose ceramics as the main material was that it lends it self to relief making. Traditionally making clay and stone reliefs has been very common since ancient times in her country, and dates back thousands of years. Inspired by ancient reliefs, she started making her own modern interpretations in design and techniques. She has had many solo and group exhibitions both inside and outside Iran, together with making many reliefs and sculptures for urban spaces. She hopes to expand this urban work to other cities in the world.

Currently she works in Turkey where she has a workshop, which is extensively equipped, including furnaces. These she uses for firing her reliefs and sculptures which are all handmade.

In the future she wants to research and produce ceramic dishes while studying traditional techniques of production in other countries as well as the influence of different lifestyles and cultures.

Emerging Potters – 24 Afagh Advay July - September 2021

Far left:Battle of sohrab and gorafarid 400cm x 500cm Relief clay Iran,Tehran

Left: The song of life. 240cm x 160cm Relief clay. Iran,Tehran

Below: Ancient glaze relief Found in the Susa

Her own work is both influenced by personnel experiences such as family and working in another country, and at the same time her work has influenced her own life while becoming an international maker.

When she starts a relief project the procedure is as follows:

- Make bricks measuring 20 x 20 cm. - Create a clay plate by putting these bricks together. - Carve the design into this clay plate.essic - Add clay to the necessary parts and create the details of the design. - At this stage, her skill in painting helps. - Divide the work again into 20 x 20 cm bricks and place them in a room for drying. Always control the temperature and humidity of this room and make sure that there is no airflow like wind and breeze because this causes them to crack. - Put them in the furnace for firing, after drying the bricks completely. - Finally pack the bricks carefully for transport to the installation site. - Install them on the wall as a board and patinate it. Embossing is one of the ancient arts of Iran that has been able to maintain a strong position in urban spaces.

In Iran, ancient reliefs can be seen in the mountains, along roads, as well as near water sources and springs. Among the ancient reliefs, can be found the reliefs of Firoozabad, Bishabour, Persepolis, and Susa. Persian kings often used reliefs to depict their wars, victories, and power.

Looking at the production of ceramic dishes in Iran, she notes that almost every region has its own traditional techniques for ceramics.