How to Make a Vase Using the Kurinuki Technique

Take a solid block of clay and make a beautiful vase!

kurinuki technique

Kurinuki pottery is pottery made by inserting a dowel into a solid block of clay and hollowing it out to create a vessel. The kurinuki technique is loads of fun to play with because it is so different from the usual wheel throwing or handbuilding techniques potters are used to.

In today’s post, an excerpt from the July/August 2020 issue of Pottery Making Illustrated, Eva Champagne shares how she makes a lovely vase using the kurinuki technique. –Jennifer Poellot Harnetty, editor.


Solid Block of Clay

For the kurinuki technique, begin with a solid block of clay. Since I cut the form to shape the exterior, the block must be larger than the intended final form. Next, drive a dowel or stick (1) into the block to get the interior space started (2, 3), leaving plenty of thickness at the bottom to allow for cutting and shaping of the foot.

Five Great Handbuilding Techniques and Tools

Pick up variations on classic handbuilding techniques when you download this freebieFive Great Handbuilding Techniques and Tools.



 

1 Kurinuki tools include paddles, loop tools, wire tools, and found objects.

2 Drive a dowel rod or stick into a sold block of clay.

3 The stick starts the foundation of what will be the interior form.

4 Roll and paddle texture to create an interesting surface.

Next, press various tools and objects onto the block to provide texture (4). The clay needs to be firm enough to hold its shape, but with enough give to take on impressions. I’m forever on the lookout for texture sources such as coral, sea fans, woodblocks, and plants. I also make my own bisque-fired clay stamps and rollers (5). Paddling is a good way to create surface interest, as well. And because I follow up with slicing clay away from the block, often only a remnant of the impressed texture remains when I’m finished. Afterward, the block should be left uncovered to firm up a little bit, enough so that the texture will resist being marred during handling.

Shape the Form

Slicing creates facets as well as developing the overall shape. I use a wire tool, a fettling knife, and a cheese cutter. I start by cutting clay away from the bottom of the pot (6–8) for a raised foot, as shown, and then turn the block over and work on the body of the pot. I keep in mind how the form’s edges and planes will catch soda, because I fire these pieces in a soda kiln. You may likewise be thinking ahead to a wood-kiln atmosphere, or to a particular glaze and how it will break or flow over the vessel’s topography. For me, it’s important to avoid overthinking or planning at this stage. I like to have the general form and visual weight of the shape in mind, but be ready to follow leads from the clay itself; the way a cut tears off may create a line or gesture that suggests the next cut (9). Presence of mind, enjoyment, adaptability, and trust in the process are key.

5 These are just a few of what I use to create texture and impressions.

6 Start cutting and shaping the form from the bottom first.

7 Remove small sections of the form to shape the block into a vessel.

8 Make cuts into the form with wire tools, fettling knives, and cheese cutters.

Once the exterior is cut and shaped, leave the vessel uncovered again until the exterior can be handled without leaving finger impressions. It’s important to me that the cuts retain their sharpness and freshness.

Hollow Out the Vessel

Next, hollow out the form more fully by scooping clay from the foot (10) and interior with a loop tool. The thickness of the walls depends on your aesthetic preference, but it’s important they be as even as you can manage. If your piece is especially tall and narrow, it can be challenging or near impossible to scoop the clay from the center to create more interior space. You may instead need to cut the form in half lengthwise with a wire tool, then hollow out each of the two halves using a loop tool (11). It will take some care to retain the integrity of the walls while hollowing and reattaching. Score both sides and add slip to join the form back together. I’ve found it’s best when I can camouflage the seam with some paddling or other texture after reassembling (12).

9 Turn the vessel right-side up and continue to shape the form.

10 Carve a foot into the bottom of the form with a loop tool and refine.

11 Hollow the interior by cutting the piece in half and removing clay with a loop tool.

12 Reassemble by scoring and slipping, then camouflage the seam.

Comments

Leave a Reply

You must be logged in to post a comment.

Enter Your Log In Credentials
This setting should only be used on your home or work computer.

Larger version of the image
Send this to a friend