I have worked with coloured clay and vessels of understated form to depict aspects of the land, and experimented with the mechanics of inlay to do this. They have gone hand in hand with one determining the other. Metal oxides added to a white or creamy porcelain body gives pigment which can define the moody light and depth of field of the inner landscape.
The work is burnished after inlaying, glazed only the interior and fired in reduction to 1280 degree.
