Emily-Kriste Wilcox

Much of my work focuses on surface decoration, collage and juxtaposition.  The vessel is a starting point for exploration of shape, and an interest in the sense of repair and assemblage has informed my method of construction over several years.  The result is multi-faceted pots, rich in movement, energy and aesthetic value.  Where handles, lips and spouts are used, these are exaggerated or understated in scale, removing the traditional tableware function.

References are diverse and include dressmaking patterns and text, medieval puzzle jugs, maps, boats, clouds and the landscape.   I find that drawing and painting is integral to the development of the surface treatment of my pots, and in particular, informs the colours and textures used. I like to be able to weave the surface pattern in, around, out and through – to explore the space and composition much like a painting.

To achieve the desired depth of surface, I layer up coloured slips via an adapted method of monoprinting.  This is worked alongside other slipware and sgraffito techniques.  Pots are handbuilt using predominantly a white earthenware body treated with layers of slip, underglaze, oxide, glaze, and occasionally transfer and lustre.  Glazes are used to enhance and add another level of tone, or to enrich the texture of isolated areas.  Pieces often go through multiple firings and as each is individual, the process of building up the surface varies accordingly.