Ce­ram­i­cist Cather­ine Lucktaylor uses an­cient Ja­panese ring tech­niques to cre­ate her vi­brant ves­sels, in­spired by the rugged Cor­nish coast­line


Ce­ram­i­cist Cather­ine Lucktaylor uses an­cient Ja­panese tech­niques to re her colour­ful ves­sels, in­spired by the Cor­nish coast­line

What’s your back­ground?

From the ! rst time I made a coil pot I fell in love with ce­ram­ics – it made me feel a con­nec­tion to my African an­ces­tors. I went on to do a two-year Foun­da­tion course and then stud­ied Ce­ram­ics at univer­sity in Wolver­hamp­ton. It was dur­ing my Foun­da­tion course that I dis­cov­ered the art of Raku ! ring, when David Roberts [a lead­ing prac­ti­tioner of Raku pot­tery] gave a lec­ture on the sub­ject.

What in­spires you?

I live in St Just, which is the most westerly town in Bri­tain, and my stu­dio is on a farm near St Buryan. The Cor­nish land­scape is a huge source of in­spi­ra­tion to me: the turquoise tones of the sea, the rugged cli # faces and the vi­brant hedgerows. I even love the wild weather, es­pe­cially the strong winds and rolling sea mist.

Talk us through your process

All of my pieces are made by hand us­ing an­cient hand­build­ing tech­niques such as pinch­ing and coil­ing. I start o# by cre­at­ing a pinch pot and then add coils of clay to slowly build up the shape, which is a re­ally med­i­ta­tive process. I then bur­nish the sur­face to a smooth sheen us­ing my favourite beach peb­ble and in­cise de­signs onto the pot be­fore they dry to cre­ate de! ned ar­eas of glaze. I also im­press some pots with lo­cal $ow­ers and leaves and build up ar­eas of colour by splash­ing glaze onto the sur­face. My re­cent col­lec­tions are all Raku-! red – an an­cient Ja­panese tech­nique orig­i­nally used dur­ing tra­di­tional tea cer­e­monies. Glazed pieces are

‘The Cor­nish land­scape is a huge source of in­spi­ra­tion to me: the turquoise tones of the sea, the rugged cli faces and the vi­brant hedgerows.’

fired to around 950 de­grees Cel­sius and care­fully re­moved from the kiln while red hot. The cool air causes the glaze to crackle and the pots are then plunged into saw­dust and smoked for 20 min­utes. Once re­moved from the saw­dust, cooled in wa­ter and care­fully cleaned, the pots have a vi­brant glaze and stun­ning dark ar­eas. Why do you choose to Raku re your ce­ram­ics? Raku has an im­me­di­acy to it that is rare in ce­ram­ics. A "er the slow mak­ing process, the glaze ! ring is very quick. The kiln can reach tem­per­a­ture in less than an hour, so I’m able to build up a rhythm and do sev­eral ! rings in a day. The ex­cite­ment of see­ing how the pots emerge never fails to de­light me!

What projects do you have on at the mo­ment?

I’m cur­rently work­ing to­wards two ex­hi­bi­tions that are hap­pen­ing in July 2018, one at The White Fox Gallery in Cold­stream in the Scot­tish Bor­ders and an­other at The Tay­berry Gallery in Perth, Scot­land. I’m also busy cre­at­ing a new col­lec­tion to ex­hibit at Breeze Art & Mak­ers Fair in Pen­zance, near my home town, in Septem­ber.

What are your fu­ture plans?

I’m plan­ning to spend some time cre­at­ing a new col­lec­tion for a solo show of my work. I’m very ex­cited to cre­ate some new glazes and ex­per­i­ment with bolder shapes. It’s still in the de­vel­op­men­tal stages, but I feel in­cred­i­bly in­spired and I’m ex­cited for the fu­ture of my ce­ram­ics! See more of Cather­ine’s eye- catch­ing ce­ram­ics at luck­tay­lorce­ram­ Prices start from £35.

ABOVE Cather­ine fires her ce­ram­ics in a rus­tic out­door kiln. BE­LOW When ex­posed to the cool air, the pots be­come speck­led and crack­led.

BE­LOW Cather­ine im­presses some of her pots with lo­cal flow­ers and leaves be­fore fir­ing.

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