Training

Late 1960’s – Studied ceramics at Bournemouth under David Ballantyne & Peter Stoodley

Late 1960’s – Workshop practice during one summer with Alan Caiger-Smith, what a privilege! His freedom with the brush proved to be the biggest influence on my subsequent work.

1970’s – First workshop at The Pumphouse, Avon Dassett near Banbury under the name Liz Blundell.

1999 – Opened present workshop in part of former water mill near Chipping Norton. Made dozens of millennium mugs!

2006 – A year of experimentation & development of completely different range of coloured slips.


Technical Information

I use valentines 636 red earthenware clay, as it has some fireclay incorporated which gives good warp resistance at 1100 degrees.

For casseroles and baking dishes I add a medium-course grog and for teapots I add a fine grog, to give thermal shock resistance to the finished ware.

All the pieces are thrown by hand on the wheel, and decorated at the ‘leatherhard’ stage with a range of Slips coloured with metal oxides or stains.

For the slips I use a powdered white earthenware clay as the base, and add oxides to achieve the colours i want. For instance, copper oxide plus manganese dioxide for the deep green speckled slip.

I have two black slips, based on the clay body, which are mostly used as a ground base over which other coloured slips are brushed.

I almost always brush the slips, using a range of flat hakes. I enjoy the way the curve of the pot or bowl influences the arc of the stroke.

I use real leaves pressed into the slip to leave a print, and paint over with more slips thus using them as a resist. I also use hand cut paper stencils. Leaves and stencils are always removed before firing.

Final colours are not obvious until after the second firing (with a transparent glaze) to 1100oC.

The pots are designed for use and are dishwasher safe.

The End

Liz in Kiln