A Thompson found pottery in the pandemic
US government. As such, her artistic endeavour mained a hobby until now.
“For the first time since I was 16, I don’t have a nventional job… This is different for me but it has owed me the time to get into pottery, free to explore d experiment,” explained Lisa.
Her vibrant pottery pieces are the result of a new bby she took up last year while stuck in Canada owing the pandemic. She was exposed to her new pottery lls through a family friend’s relative, Susan Stannard, o is a seasoned potter having been in the business for odd years. Not only was Stannard kind enough to re her skills with Lisa but she also generously vided the necessary materials.
“She taught me how to use the potter’s wheel, how it rks when it comes to glazing, and how to make amic tiles,” Lisa said. Having had that exposure, on return to Guyana, Lisa worked on advancing her new lls.
She was able to buy a kiln and a potter’s wheel from a al artist and she also bought a slab rolling table. ring her interview with The Scene, Lisa husiastically showcased her studio where she keeps all her tools, brushes and glazes.
In one part of her studio, she had unfinished pottery t was drying, noting that it takes eight to ten days for drying process to be completed. Drying the clay perly is important as it can explode easily during the ng process if not completely dry.
In another part, a tall shelf was occupied with glazes in
A pottery fish set with glass fired on various sizes. Lisa showed a board with different colours. Beneath each colour is a written number which indicates which number of glaze she used. Once fire is applied to a glaze, it becomes a particular colour.
The artist explained that clients choose from her palette which colours they want used on the pieces she creates. The numbers below each colour helps her identify which glaze was used to create the requested colour.
Unable to find glaze locally, she has no other choice but to import.