In this article we have a rare treat, a near identical pair, a Bisque fired demonstration item and its fully glazed and fired counterpart. The two are prepared and authored by Jane Hamlyn, "a pioneer in saltglaze revival" as stated by David Whiting. Through these two dishes, the impression one gains from absolute form, versus the final piece is night and day. Features are exaggerated through the glaze, some even made visible for the first time.
Jane Hamlyn (U.K.), 1994, Dish. Bisque demonstration item. Courtesy of the Ceramic Study Group.
Rolling back, let us first examine the demonstration item. Exquisitely hand built, the item expresses expertise not only in refined overall form, but also in fine surface work across the piece. The figure expresses a rough square with rounded corners; Each edge is impressed bearing shell-like handles.
The dish is held up by corded feet that wrap around each corner that smoothly transition into the main body. From bottom to top of the dish, we observe grooves drawn at the base, two along the midpoint and one to mark the beginning of lip and handle; Each groove is proudly expressed on the inside of the vessel. The form provokes notions of organic elements through its handles, crafted through its feet, and eternal through its subtle grooves like vains in stone. Overall, it expresses a sense of equilibrium with a note of tension, suspended though sturdy, comfortable with its own weight.
By investigating form alone, we would look past the technique and expertise that gained Hamlyn the 1999 European Saltglaze Prize. Through Sodium chloride salt one gains an 'orange peel' texture, Hamlyn provides striking contrast to lazuli blue slip the with addition of titanium to create a copper green.
Jane Hamlyn (U.K.), 1994, Saltfired dish/hand built, Courtesy of the Ceramic Study Group.
Hamlyn breaths life and adds drama to the work through her glaze. Feet, external skin and handle, through to lip and interior each articulated through exercising a range of saltglaze techniques. The feet now are punctuated through the dark slip penetrating between ribs, providing a cleaner and more calculated finish. The external skin has its convex edges accented with greens to assist the eye in turning each corner. The lip and internal surface exhibiting the 'orange peel' effect ever sought after by Hamlyn. Added groves along the interior edge and a motif of parallel lines carved into the dish surface tie together the work. The parallel lines provide an ordered disruption of saltglaze pitting, and provide a visual reference to the feet.
This pair of sisters (but not twins) of Jane Hamlyn expresses the incredible expression and additionally layers of meaning, composition and hierarchy that glaze can provide.