Hand painted with multiple layers of underglaze, it takes 6 layers to create the background blends and an additional 5-10 layers for any over laid colors. Painted on bone dry clay, fired to cone 04 and clear glazed.
4 x 4 x 4" H
Terri Kern about the process " This bottle form was thrown on the wheel, appendages were added the the bottom to create feet and then it was carved in relief. Multiple layers of underglaze were painted on the surface of this piece to get the rich color. Each layer of painted underglaze is translucent and I can control the opacity of the underglaze by deciding how many layers to apply to the surface. You can see the translucent nature of the underglaze in the clouds, where the darker blue of the background peeks through in places. You’ll notice that each fish has it’s own unique scale pattern and that a couple are wearing masks. I used my wet black sgraffito technique to create the dotted pattern on the rim of the bottle, some of the waves and the circular line pattern on the bottom of the piece. I paint the black underglaze on in small sections, about the size of a dime, and while the underglaze is wet, I carve through the surface to reveal the background color. I love the movement that I can create with this technique. Narratively, seafaring imagery and sea life map my artistic journey. For me, art is about visual communication, sharing experiences through an object that I’ve made, taking risks, learning new skills, trying to find the right images to convey greater concepts. It’s a complicated process that requires perseverance, patience and practice. Ceramics is 50% art and 50% science. The clay, underglaze and glaze are made up of organic materials, that by their very nature, are constantly changing. When that happens, I have to adapt, plot a new course, do some creative problem solving and explore new waters."
Learn more about the Artist: Terri Kern
A note from the artist:
"This body of work is especially important to me as the details, craft and imagery represent the best work I have done to date. The more intimate scale of this body of work takes more time to paint and carve because it requires more precision in my brushwork and use of the wet sgraffito technique. I have to admit that I’m a little in love with the entire body of work."
"I think of each piece from this body of work as a treasure that will reveal itself to the viewer slowly over time."