Jan Beeny
Ceramics
About the work:
I make one-off, slab-built ceramic pieces on a variety of scales. My pieces are based largely on animals, particularly how they move, behave and how human societies throughout time have been compelled to bestow significance upon animals by producing images, objects, stories and mythologies. At present I’m looking specifically at secondary sources for ideas such as the stylised depiction of animals in heraldry, mediaeval stained glass windows and tapestries. Often people find humour in my pieces although anthropomorphic sentimentality is something I try to avoid.
Making:
All my pieces are slab-built, this method allows me to build quickly on a large, or small scale. I realised slab-building was my preferred technique quite early on in my studies, it seemed to relate closely to my drawing style. The process is quite direct: I roll out large slabs to approximately 2cm thick then impress textures randomly using a variety of objects and processes. The slabs are allowed to dry a little then I tear them, stretch and distort the surface by throwing and dragging the slab across the table, or floor – this encourages an interesting surface whilst making the slab thinner and larger. I then cut out preconceived shapes and allow them to dry to not-quite leather hard. The surface marks are intended to enhance the form and introduce new stimuli to respond to later in the making. Later the semi-dry sections are bent and folded into hollow forms – further refined and cut, areas are stretched or pushed from within the form, twisted, impressed, trimmed etc then joined together to build the final piece.
Materials and firing:
I use Potclays 1142 white special stoneware. It is very similar to the clay I used at college, (a mix using hyplas 71 ball clay), prepared by the department’s technician (Eddie) and known tantalisingly as “Eddies Body”. It has two essential properties: high plasticity and strength when used in slab-form. Most importantly is that it just feels right.
Sometimes I paint a coloured slip (45 ball clay, 45 china clay, 10 feldspar + commercial stain) – blue or yellow onto the leather hard piece to enhance the surface marks and start the colouring process. I apply two or three oxide washes after the bisque firing (950oc), red iron oxide, copper carbonate, vanadium pentoxide, chromium oxide or manganese dioxide. The oxide washes are applied heavily and randomly, then wiped back to enliven the surface. More slip is dry-brushed over the oxides, again to break up the sweeps of colour and add more texture.
A thin solution of glaze is poured over the piece to provide a base coat, then using a slip trailer a thicker solution of the same glaze is applied to vary the colour and soften specific areas of the surface. The glaze is a dry matt white glaze fired to 1120°c and soaked for 15 minutes in an electric kiln.
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Last updated 28th January 2006
