A Trio in Conversation

For the final project of my Ceramics Diploma at West Dean College, I set out to create a set of three vessels - a triptych that speaks to itself through form, surface, and story. It’s been quite the journey, full of experimentation, discovery, doubt, and delight. Below, I’ve gathered highlights from the process, originally shared in real-time on Instagram.

Earlier in my diploma course I began to join forms that I had thrown on the wheel – rather than discard or recycle forms I was not happy with. I began experimenting and joining them together to create abstract vessels. I used them to experiment with glaze combinations and layers of slips, oxides, underglazes and glazes.

I enjoyed the process and decided to take it further for my final diploma piece – and independent study.

I then began a period of testing – it was the glaze combinations I needed to get right.

The sorcery began!

Test Glaze Pots – First Steps
17th January

A whole batch of little test glaze pots came out of the kiln - each one a small record of experimentation. Now comes the joyful (and slightly overwhelming) challenge of remembering what I did, deciding what worked, and figuring out which directions I want to push further. I started testing new combinations, scaling up some of the ideas, mixing new slips and glazes.

It’s a lot for the brain to hold - but also so exciting. Which bits would you choose?

*Click on image to view video in Instagram*

Stacking, Playing, Exploring

I began stacking my test pots in playful arrangements, building towers of three or four. This helped me explore potential relationships between forms and find new shapes and rhythms that sparked ideas.

I spent time reflecting on the results in my technical journal (every potter needs one of these) - considering glaze qualities, surface textures, transparency, opacity, slips, oxides and glazes - looking for the combinations that felt most alive.

What are the best bits? Where should I go next?

Refining Ideas Through Testing
21st January

The next round of glaze tests moved my thinking forward. I experimented with porcelain and stoneware, refining my use of slips, glazes, oxides, and wax-resist techniques. Each choice brought new insights — and a growing sense of which direction felt right. A few more tweaks, and I’d be ready to start scaling up the forms for the final vessels.

Leaning into the Strange
25th January

This stoneware pot with side fins marked a real turning point - an intuitive leap into less familiar territory. It felt bold, even a bit messy, but it also sparked something new. There were moments of surprise and plenty to be pleased with. I followed where the clay led - and was curious to see where this would take me next.

Decisions, Decisions
3rd February

The decision-making phase is always a bit of a minefield for me. I spent time mulling over shapes, forms, finishes, materials - trying to imagine a trio of vessels that would feel connected while each maintaining their own voice.

Should I include handles or fins? How could I create a sense of movement or dialogue between the three? What textures and colours would weave them together into one conversation?

Throwing and Shaping
15th February

After much sketching and reflection, I finally began throwing the larger pieces - a couple of intense days on the wheel, followed by time spent refining, trimming, and assembling. Slowly, the forms I’d been imagining began to emerge. There’s something so grounding about this phase - when the pieces start to take shape in your hands - slowly bringing them to life!

Making Them Dance
18th February

With the main forms complete, I moved on to slab additions - including the distinctive side fins or "wings" that began to animate the vessels. These subtle sculptural elements gave the trio movement and flow - it was as though they were starting to dance with each other.

Adding Layers
2nd March

Drawing on the patterns and glazes from my earlier test pots, I applied home-made coloured slips to the vessels, carving into them to create surface pattern and rhythm. This first decorative layer was instinctive, shaped by memory and intuition, grounded in what I’d learned from all the previous experiments.

The Brave Bit - Oxides and Wax Resist

Once the pieces were bisc-fired, it was time to be bold: applying layers of oxides and wax resist. This stage always feels like a risk - like I’m defacing my work - but it’s also where the real magic happens. The unpredictability of oxides and the way they interact with the clay’s surface is endlessly fascinating… and slightly terrifying! Not for the faint hearted!

Final Glaze Prep - Nearly There
3 March

My "dancing angels" (as they’ve now come to be known) were almost ready for their final glaze. I mixed up a satin white translucent glaze, gave each piece a careful dunk, then added finishing swishes with coloured stains. The anticipation was high - I was nervous, but hopeful.

A Glitch in the Firing
7th March

And then… a little set back… the joy of working with ceramics!

The kiln firing brought some unexpected results. Some elements I absolutely loved - but others just didn’t behave. A few of the colours didn’t hold up to the heat, and the angels weren’t quite singing and dancing as I’d hoped.

However, I am not done yet with these lovelies. I had ideas for one final firing - with a touch of “heavenly bling” to bring them fully to life.