How to Use Gloop Glaze as a Building Material Jihyun Kim

Firing and Glaze Work 

The work is bisque fired to 1742°F (950°C). After firing, sand any remaining imperfections. Next, you need to create a custom “gloop” glaze—a thick, viscous glaze that melts at high temperature but retains structure. Unlike traditional glazes, it does not fully flatten, allowing it to function as both surface decorating and structural material. You can use this glaze to connect separate slip-cast components, create flowing, organic forms, and add weighted, dangling elements to surface details. The glaze is mixed to a clay-like consistency so it can be sculpted before firing. It can be combined with high-fire stains (1, 2) to create colored accents that melt and drip over spike forms (3, 4). 

Final Firing 

To control how the glaze flows and to connect the components, fire the work upside down to cone 6. To align the two components and allow the glaze to melt from the top piece onto the bottom piece, use kiln furniture to hold them securely in place. Adjust soak times as needed, depending on how you want the glaze to behave and settle. 

After firing, allow the kiln to cool below 212°F (100°C) before unloading. At this stage, the piece is complete. 

Gloop Journey 

The way I work with gloop glaze is highly experimental. It comes with a high failure rate, but it is also incredibly exciting and versatile. I first began using this glaze four years ago while studying at the Royal College of Art in London. I discovered it through a recipe on Glazy (glazy.org) and was immediately fascinated by its behavior. 

I started by experimenting, creating playful forms, firing at different temperatures, and testing it with various clay bodies. Through these early trials, I realized that the glaze could potentially be used to connect separate ceramic components (5). While this idea felt new to me at the time, it is in fact a method widely explored by many ceramic artists around the world. From there, I began adjusting the recipe, refining firing schedules, and rethinking how forms could interact with the glaze inside the kiln. 

For my graduation project, I wanted to create a cohesive and thoughtfully designed piece that also functioned as a vessel. I developed a form where the upper section acts as a vessel and the lower section as a donut-shaped base, allowing the glaze to melt through and connect the two parts. The process involved a great deal of trial and error. In reality, nine out of ten pieces failed, by cracking, breaking, or simply not behaving as expected. It was a stressful and demanding process, but after several months of persistence, I finally achieved the result I had envisioned. That moment was incredibly rewarding. From there, I began producing a series using this technique, which I named Salty Fairy Ring vessels. 

After graduation, I continued to develop this approach, experimenting with different forms, scales, colors, and clay bodies. Some pieces were successful, while many others were not. Now, after nearly four years of working with this glaze, I feel I understand it to some extent, perhaps around 65%. There are still unpredictable outcomes that arise, and while they can be frustrating, especially when a piece does not meet my expectations, I have come to accept this unpredictability as part of the process. In many ways, it is what gives this technique its unique charm. When it works, the result feels especially meaningful. 

I continue to expand the Salty Fairy Ring series, exploring new forms while maintaining the same fundamental firing approach. At the same time, I believe there are still more unexpected and exciting possibilities within this glaze, and I am eager to keep pushing its limits. 

the author Jihyun Kim is a ceramic designer from South Korea whose work melds tradition with enchantment. Holding an MA in Ceramics & Glass from the Royal College of Art, UK, her work has received international recognition and has been showcased at esteemed events including Collect 2026, London Design Festival, Milan Design Week, and the British Ceramic Biennial. To learn more about Jihyun Kim and her work, visit jihyunkimceramic.com or follow on Instagram @kimkim_ceramic.