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- hand built teapot, using soft slabs
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- small teapot, blue quandong leaf/fruit decoration
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- tiny translucent dish with inlaid decoration
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- Sushi plate and chopstick rest, orange glaze
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- Sushi plate and chopstick rests, inlaid decoration
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- Sushi plate and chopstick rest, fig leaf decoration
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- Sushi plate and dish decorated with liquid amber leaves
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- Sushi plate and chopstick rest, green glaze
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- Sushi plate and chopstick rest, gum leaf decoration
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- Sushi plate and chopstick rest, hoop pine decoration
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- Sushi plate and chopstick rest, lavender glaze
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- Sushi plate and chopstick rest, macadamia leaf decoration
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- Sushi plate and chopstick rest, blue glaze
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- kaye stephens – cheese board – maiolica decorated pottery insert – turned timber surround
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- kaye stephens – small serving platter – maiolica decoration
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- kaye stephens – four small dishes – maiolica decoration
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- condiment bowl
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- soda/wood fired fungi bowl
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- smoky ice bowl
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- rainforest vessel
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- three porcelain bowls
about the pots
Porcelain clays, mainly Australian and sometimes with additions, are used to throw or hand-build functional domestic pots – mugs, bowls, platters, teapots, etc., – anything you might ‘use’.
Every piece is individual. Sets of mugs, bowls, etc. may be the same size and shape, but no two are exactly the same.
If you would like to purchase a pot or place a special order please contact us.
hand built work
Pieces are made from Southern Ice paperclay. Brightly coloured slips are added and the pots are fired in oxidation to a high temperature for a translucent finish.
Interiors are glazed at bone dry, the pot allowed to completely dry again and then exteriors are glazed. I do not bisque.
wheel thrown work
Various porcelains are used, fine colloidal slips are applied to freshly thrown pots before cutting off the wheel. When bone dry the interiors are glazed, usually with an ash, shino or celadon glaze. The pots are then once-fired in a long throat bourry box kiln, using wood as fuel, to 1300ºC.
During the firing, soda (sodium carbonate) is introduced into the kiln where it reacts with the clay and slips to form a glaze. The pots become translucent and sometimes ‘carbon-trapping’ occurs. Occasionally there is some warping which adds to the appeal of the pot.