One day, the idea of creating triangular dishes struck me. I wasn’t even sure if it was possible to craft them by hand. I envisioned them with a smooth, satin surface, adorned with a subtle craquelure to add intrigue to the white color. I also contemplated adding a touch of color, perhaps a light blue, with natural and almost random effects. However, I didn’t want to use the Raku technique. Instead, I was drawn to the ancient methods of classical ceramics, and thus, the idea slowly began to take shape.
I crafted custom molds, a process that took about three weeks. Then, I searched for a coating for the pieces reminiscent of the most ancient ceramic techniques; I didn’t desire a typical glaze but rather a white finish. I aimed for a beautiful, soft white – warm, enveloping, and silky to the touch. After finding a suitable formula, the next step was verification. I ordered stoneware directly from Germany, which took three weeks to arrive. Finally, I commenced the work.
Creating the wide and thin shapes posed a challenge. After numerous attempts, I managed to achieve results close to my vision. After about twenty days and several kiln firings to vitrify the coatings, I had samples. However, it wasn’t enough; I needed to find a specific kiln for the second firing to bring out the desired effects on the pieces.
I reached out to Giorgio Azzaretti, a teacher, friend, and expert in primitive firing techniques, to explain my research. We agreed on a special kiln. In the end, the outcome was extraordinary – unique and distinctive pieces emerged from the process.
In the Mountain
