The audio file for this article was produced by the Ceramic Arts Network staff and not read by the author.
Ceramics Monthly: What role does tactility play in your work?
Will Talbot: How you physically interact with my pottery is a conversation that I have with myself on a daily basis. I fluctuate between undulating forms to more bulbous, amorphous shapes, even playing with various textures. There’s
a fine line between forms that feel good in one’s hand versus one that is purely there to interact with glaze and the kiln. Finding the balance is something that most potters are trying to do . . . function and/or art. I achieve it occasionally,
and fail more often than not. I derive a lot of pleasure in searching for that balance in the various styles that I create.
CM: What role does color play in your work?
WT: My relationship with clay is very closely related to my relationship with tea. Because of this, I try to use glazes that amplify the experience of whatever you’re drinking. I prefer to work with brighter, lighter colors that
showcase the liquid in the vessel. That being said, I have started to move in a more chaotic fashion where multiple colors are layered and are interacting with the pot rather than the liquid in it. Because I mainly fire a wood/soda kiln, there is
a level of randomness with these colors. That spontaneity is incredibly exciting for me and keeps me coming back to this laborious firing process.
CM: Have your interests in working with clay evolved? What do you plan to explore next?
WT: Every year, I go through a phase on how to change my work without losing my style. My evolution probably stems from making the same thing over and over. Even if I enjoy something tremendously, I feel compelled to change it up regularly.
All of 2023 was texture and how to incorporate that into a fluid form. I was using Japanese cedar branches as my texturizing tool and am going to continue doing that, but moving away from the texture and returning to my original style of movement. This
year, 2024, is a rebirth of my undulating forms and I plan to push them even further.
We understand your email address is private. You will receive emails and newsletters from Ceramic Arts Network. We will never share your information except as outlined in our privacy policy. You can unsubscribe at any time.
You have read of of your complimentary articles for the month.
For unlimited access to Ceramics Monthly premium content, subscribe right now for as low as $4.85/month.
We understand your email address is private. You will receive emails and newsletters from Ceramic Arts Network. We will never share your information except as outlined in our privacy policy. You can unsubscribe at any time.
Subscribe to Ceramics Monthly
The audio file for this article was produced by the Ceramic Arts Network staff and not read by the author.
Ceramics Monthly: What role does tactility play in your work?
Will Talbot: How you physically interact with my pottery is a conversation that I have with myself on a daily basis. I fluctuate between undulating forms to more bulbous, amorphous shapes, even playing with various textures. There’s a fine line between forms that feel good in one’s hand versus one that is purely there to interact with glaze and the kiln. Finding the balance is something that most potters are trying to do . . . function and/or art. I achieve it occasionally, and fail more often than not. I derive a lot of pleasure in searching for that balance in the various styles that I create.
CM: What role does color play in your work?
WT: My relationship with clay is very closely related to my relationship with tea. Because of this, I try to use glazes that amplify the experience of whatever you’re drinking. I prefer to work with brighter, lighter colors that showcase the liquid in the vessel. That being said, I have started to move in a more chaotic fashion where multiple colors are layered and are interacting with the pot rather than the liquid in it. Because I mainly fire a wood/soda kiln, there is a level of randomness with these colors. That spontaneity is incredibly exciting for me and keeps me coming back to this laborious firing process.
CM: Have your interests in working with clay evolved? What do you plan to explore next?
WT: Every year, I go through a phase on how to change my work without losing my style. My evolution probably stems from making the same thing over and over. Even if I enjoy something tremendously, I feel compelled to change it up regularly.
All of 2023 was texture and how to incorporate that into a fluid form. I was using Japanese cedar branches as my texturizing tool and am going to continue doing that, but moving away from the texture and returning to my original style of movement. This year, 2024, is a rebirth of my undulating forms and I plan to push them even further.
Learn more at www.bellhillpottery.com.
Unfamiliar with any terms in this article? Browse our glossary of pottery terms!
Click the cover image to return to the Table of Contents