Balance in Bloom

Artist Statement

This ceramic bowl emerged from a hope to create balance (both in physical and conceptual senses) and from the parallels between geologic processes and ceramic ideas explored in Earth, Fire, and Form: The Geology of Ceramics. I was particularly influenced by our course discussions of thermodynamics and crystal growth, and how the specific firing conditions and temperatures can act as a representation of igneous and metamorphic processes. My goal for this piece was to create a form that appears symmetrical on the surface and physically, but also reveals the complexity of crystal formation through the chosen glaze post-bisque.

I chose B-Mix Crystalline clay because it is formulated to withstand cone 10 firings and achieve full vitrification without melting. The clay body contains kaolin, ball clay, silica, and feldspar, which are the mineral components that reflect natural silicates and influence both the plasticity during formation and stability during firing. Since crystalline glazes require high peak temperatures followed by controlled cooling to promote nucleation and growth, it was important to choose the right clay body. This choice reflects an understanding of phase equilibrium and thermodynamics, where temperature ramps and holding periods directly influence material outcomes and the size and frequency of the produced zinc crystals.

In making this bowl, I experienced repetitive failure. Initially, I struggled to throw anything consistently, especially finding issues in creating even thinness or raising walls. After my longest series of failures, I stopped and re-taught myself how to properly anchor a bat, as well as asked for help from my wheel neighbor. By slowing the wheel and being patient enough to widen the base before drilling, I was able to improve my success rate. This experience taught me that frustration itself is not the problem, but rather how I act because of it. When I slowed down (literally) and redirected that energy into better centering, my pieces improved.

Before glazing, I focused on achieving even walls and concentric feathering patterns with a sharp carving tool to create a smooth hand feel and intentional nucleation sites. During drying, I slowed the process by flipping the bowl upside down at the leather-hard stage and placing a damp sponge under the plastic wrap to prevent rim cracks. I did this to prevent kiln accidents from trapped moisture, but also to provide predictable sites for nucleation of crystals once the glaze was added.

The firing process did not provide all of the outcomes I originally expected. I initially expected the crystals to form as isolated, smaller features within the etched patterns, but instead, those etchings acted as cups for nucleation, trapping glaze and encouraging crystal growth higher along the rim. Additionally, the bottom of the bowl doesn’t have nearly as many large crystals as I would have expected. I believe this is due to the glaze getting trapped higher. Overall, the resulting crystals are smaller than they may have otherwise been and include small imperfections in symmetry. Looking closely, you can almost see images, including small flowers, swirling forms, and shapes resembling lungs and a heart. The unpredicted crystal growth helped me understand how giving up some control to the materials (yet still being guided) and their behavior can produce more interesting visual products. This class has been immeasurably impactful in my reflection on the value of the intersectionality of arts and sciences. I hope my piece can reflect this balance and provide room for exploration and curiosity towards crystalline growth and uniqueness.