Crafting Elegance Cameron Blake

Appears in the Jan/Feb 2024 issue of Pottery Making Illustrated.

In my home, a pedestal bowl often takes center stage, beautifully displaying seasonal fruits and vegetables as both decor and an invitation to indulge in a healthy snack. While its form may seem simple, the functionality of a pedestal bowl is multifaceted—from cradling produce to acting as a captivating tablescape centerpiece, or even serving as an elegant dish. These bowls bring depth and dimension to your decor, with their uncomplicated shapes allowing for a keen focus on proportions and details.

My introduction to ceramics was a respite from my role as a principal product manager at a leading technology company, where creativity primarily revolves around data analysis and business strategy aimed at enhancing customer experiences. My academic background in systems engineering, with its foundation in applied mathematics and science to solve large-scale problems, provided me with a unique perspective and appreciation for the process of pottery. Clean lines and precise forms are central to my design, with minimal surface design.

In June 2019, I enrolled in my first pottery class at District Clay Center in Washington, DC. I became captivated by the tranquility of the wheel and the sheer gratification of crafting tangible objects, in stark contrast to the intangible nature of my daily work. Unlike the digital products and experiences, I create, my handcrafted ceramics are tangible manifestations of my passion for this craft. My pottery focuses on creating elegant and contemporary forms that I proudly showcase in my historic 1911 Washington, DC, row home. 

Design

A pedestal bowl is just that, a combination of a bowl and a pedestal, and while it may appear simple, it offers endless possibilities for experimentation with proportions and shapes. The following decisions are key to my design process:

• Bowl Height: The height of the bowl can dramatically influence its purpose. Low-profile bowls are ideal for showcasing larger fruits and displays, while taller bowls make splendid salad centerpieces or pasta servers, allowing for a full view of the contents.
• Pedestal Shape: The pedestal’s shape can range from sleek curves to crisp lines, transforming the bowl’s style from modern to classic.
• Well-Defined Rim: I always ensure a well-defined rim in my bowls to accentuate the transition and create a clean glaze line. 
  

Proportions matter, but don’t hesitate to have fun with them. I construct a pedestal bowl in two parts: the bowl and the pedestal or stand.

Making the Pedestal

To create a well-supported pedestal with a modern silhouette, I want to create a wall with an inward slope. Begin by centering 4 pounds (1.8 kg) of clay and fully opening it to the wheel head, forming a bottomless donut (1). I use Laguna’s Miller 50, a mid-range speckled stoneware. Once opened, carefully pull the walls up and center, creating a conical inward-leaning shape, maintain steady speed and control as your form gains height to ensure control of the shape. Compress the rim to maintain structure (2). To refine the shape, use the straight side of the Shape 3 Green/Medium Mudtools rib to remove any throwing lines, and compress the walls (3). Holding the straight edge along the outer wall, gently pull toward the rib, completing a final pull. 

Using the wood undercut tool, cut an undercut to create a slight foot on the piece (4). Wire and let the piece dry to leather hard. The leather-hard pedestal is 7 inches (18 cm) tall with a 6-inch (15-cm) wide base, and a 4-inch (10-cm) wide top.

Making the Bowl

Start by centering 6 pounds (2.7 kg) of clay on the wheel (5). Center it low and about 8 inches (20 cm) wide (6), before opening (7). For wider bowls I keep the base wide, to support the curvature of the bowl and to prevent collapsing while throwing. 

I absolutely love trimming, so I am happy to trim the excess away versus risking a collapsed bowl.

Next, refine the interior curve of the bowl. Utilize a green Mudtools rib to define the initial shape and compress the clay as you expand the diameter. At a medium wheel speed, begin at the center and compress and press clay downward and outward with moderate pressure, helping expand the piece and form it to the curve of the rib (8). At this stage, and while using the polymer ribs, I do not utilize any water. As you throw open and define the interior curve, be mindful to leave the rim slightly thick to allow for shaping and defining. Do 1–2 pulls to extend the curve of the bowl and widen the shape. Then, further refine the shape using two ribs, one each on the interior and exterior, to help compress and support the wall of the bowl. Any curved rib could work, but I find the polymer ribs are less likely to stick and have a nice bend to allow for easy shaping. I use two yellow Mudtools ribs: Shape 0 on the outside for support and Shape 1 to refine the form, compress the interior wall, and remove any throwing lines (9). 

While supporting the bottom of the rim, use a wood undercut tool to gently shape and trim the rim (10), and then smooth any rough edges with a sponge. The leather-hard bowl is 13 inches (33 cm) wide and 2½ inches (6.4 cm) deep.

Trimming

Once the pieces reach the leather-hard stage, it’s time to trim the pedestal (11). Burnish and remove any trim lines using the yellow rib again. For the bowl, I trim the curve fully, creating a continuous curve base with no foot (12, 13). 

Assembling the Pedestal Bowl

To begin assembling the two pieces into one form, center the trimmed bowl upside down on a wheel head. Gently place the pedestal upside down on the bowl and center it. Use a level to ensure the piece is level. Mark both the outside and inside walls with a needle tool to indicate where the attachment will take place. This mark will act as a guide for scoring and slipping.

Deeply score and apply slip to both pieces to ensure a secure bond. Gently connect the two pieces while ensuring the pedestal is still perfectly centered on the bowl before sealing them together (14). Use your fingertip to blend and remove any excess slip (15). Allow the piece (16) to slowly dry right-side up under a plastic cover.

Firing and Glazing

I bisque fire my pedestal bowls to cone 06 and glaze the inside of the bowl form up to the rim line, then fire to cone 5 in an electric kiln for the glaze firing. I use Amaco glazes and find the satin matte black (SM-1) contrasts with the manganese in the unglazed Miller 50 clay body creating a speckled effect. To refine the surfaces of the unglazed portions, I wet sand the surface using DiamondCore sanding pads in 60, 120, 200, 400, and 800 grits. 

Cameron Blake lives in Washington, DC, and has a studio in Mt. Rainier, Maryland. To see more, follow him on Instagram @CeramicsByCameron or visit his website at www.CameronBlakeCeramics.com.