June 2026 Monthly Analysis of Progress

June turned into a very busy month, in the tradition that May had set. I suspect this may be a new pattern to my studies.

Leaving aside Ceramic Wales, as I have written a separate blog regarding that event, I shall endeavour to analyse the rest of June's progress.

Life before Ceramic Wales saw me continue working really hard to finish the pieces I required to take with me to the fair. In the end I had three plaques, ten limited-edition mice, two busts, Lady Delores and Her Weaponised Parasol and Jago Deaders RIP 1881. I was happy with the collection and the standard of the work, for the most part. There will always be room for improvement as learning never stops and experience teaches us ever more.

In addition to the physical pieces, there were lots of other things needed for the weekend, particularly as my work is based on narratives. Somehow, I needed to get this across more than just in the pieces themselves. I have increasingly begun to question whether the ceramic object alone can communicate the complexity of the world I am constructing or whether my practice is inherently transdisciplinary, requiring text and illustration to complete the experience.

I decided upon making a folder of the poems of my work, presented in a style fitting the Victorian era. In this folder I included some of my sketches and illustrations of the characters I am working with; Scrawny, Jago Deaders and Lady Delores Raphus-Schilling. Additionally, I included the inspiration behind where my narratives emerged from, the back story on each of the characters and designs for the pieces on display. It was not the most accomplished piece of work, but it would be there for backup if anyone asked questions and wanted to see more. However, on reflection, the folder became far more than supporting material. It functioned as an extension of the work itself, inviting the audience to enter the fictional world that surrounds the ceramics. This made me consider that perhaps my practice does not sit solely within ceramics but occupies a space between object, narrative and illustration.

The poems were also printed onto card so that they could be given out with each piece should any of them sell. Again, this decision was about extending the experience beyond the moment of purchase and allowing the stories and characters to accompany the work into their new homes.

For the limited-edition mice, I needed something a little more. Each mouse required provenance and I achieved this in the form of an A6-sized certificate. This I could sign, number and date upon any sale occurring. Alongside the mice, I made an A5-sized sign that would stand next to them highlighting that they are limited-edition. I had lots of fun writing the detail and designing the artwork for both. I also put a wax seal onto each certificate, just to add a tad more detail.

Whilst enjoyable to make, these additions also raised questions about how value is perceived. The certificates and seals do not alter the ceramic pieces themselves, yet they potentially increase their sense of authenticity and collectability. This made me reflect upon the role presentation and provenance play in shaping how audiences engage with and value handmade objects.

All in all, I was happy with the results.

Packaging was another consideration. I remember being wholly disappointed when I purchased a small item from Jemma Gowland at CAL in 2025 and it came simply wrapped in a torn-off bit of bubble wrap. There was not even any tape to keep it together and I had to put it into my rucksack. This is not how I wanted my work to ever leave me.

Reflecting on this experience, I realise my disappointment stemmed not from the lack of protection but from the sense that the transaction ended abruptly. The object had been carefully conceived and made, yet its sale lacked any sense of ceremony or care. It made me question how presentation contributes to perceived value and reinforced my belief that the experience of acquiring an artwork begins long before the object reaches the viewer's home.

I had some cake boxes to fit the plaques, some green striped bags that the mice could go into, crates for the larger pieces and lots of bubble wrap and tissue paper. I logoed everything up accordingly, just in case I sold anything. Branding matters because my practice is narrative-led and extends beyond the ceramic object itself. Consistent visual identity creates continuity between the pieces, the written material and the overall experience, reinforcing the faded Victorian world I am constructing.

All of this I achieved in time for Wales and managed to get everything packaged for the journey and the extra items such as cash boxes, card readers, chairs and a trolley. As ever, planning, preparation and organisation made for less anxiety surrounding the event. More importantly, it allowed me to focus my attention on engaging with visitors and presenting my work rather than dealing with practical concerns that could have been anticipated.

Post Ceramic Wales, it was back in the studio to start on the way forward, but this time armed with lots of feedback on my work. I digested all that had been said, together with the sales I had made, and analysed a way forward with my practice. Making time to take stock is always beneficial because it creates space for reflection and enables decisions to be made from a position of consideration rather than reaction. The comments and interactions at Ceramic Wales highlighted how readily people engaged with the narratives and characters. This reinforced my belief that storytelling is not merely supplementary to my ceramics but is integral to how audiences access and understand the work.

Equally important is tidying everything away in its place, so you know where it is for next time. There will be a next time. I really enjoyed the fair.

My first stop was to test the crackle glaze again. It had not worked on my clay body on any of one to three coats applied. I tried again on the same ES20 clay body and on PF700 as I had some test tiles to hand. The only other difference was that the firing was undertaken in university rather than in my own kiln. The results were a resounding copy of the first firing. No crackle was to be seen.

This was most perplexing and I feel I now need to seek further advice on what to do next. However, the repeated failure forced me to question my assumptions regarding predictability. The differing firing environments suggest that variables beyond application thickness are influencing the result. Rather than viewing this as a simple technical failure, it highlights the need for a further systematic and investigative approach to material testing and reminds me that ceramic processes often resist certainty.

In terms of building pieces, I immediately set about building the three plaques to replace those that had been purchased. I love these plaques, both the making and the finished results. However, as previously mentioned, there is always room for tweaks and changes.

I made all three bases as a start and decided to change these. The hanging system previously employed I felt was a tad too complex. I designed a template where all three holes are at the same height and all three heads of the characters cover the hole. It meant raising Scrawny up higher, but this was manageable.

Although a relatively minor adjustment, simplifying the hanging system reflects a broader development in my practice. I am becoming increasingly aware that functionality and practical considerations are not separate from aesthetics. The experience of displaying and owning the work forms part of the overall encounter with it and therefore deserves the same level of attention as the visual elements.  It also allows me the opportunity to extend my design engineering skills, something I very much enjoy.

Looking at the plaques, I decided to personalise each of them further by building upon my previous incarnation and changing the detailing. I kept Lady Delores with a fleur-de-lis and Deaders with his mouse skull and crossbones, but with the skull now sporting a top hat. Scrawny now has an 'S' in black slip surrounded by a cluster of stars.

These changes may seem relatively small, yet they demonstrate my growing confidence in refining the visual language of my characters. Rather than repeatedly reproducing the same designs, I am allowing the work to evolve incrementally. This process of revisiting and revising previous pieces feels important as it suggests that my practice is not fixed but remains open to development and reinterpretation.

They look good and in next month's blog, I will cover adding on the characters and my planned changes there too.

Artwork for the sign on my stand

Artwork for the certificate