Interpretation through print techniques

In this body of work, I am exploring the saltmarsh estuary through a range of print-based processes, translating observed forms and surfaces into ceramic language. Using mono printing, sponge printing, stencilling, mark making, and even the textural imprint of bubble wrap, I aim to capture the shifting, layered character of the marsh environment.

The colour palette is drawn largely from previously prepared oxide slips, alongside selective use of black and yellow. These are applied onto bases of either parian white slip or porcelain paperclay white slip, allowing the surface to remain light and responsive to layering. In places, I have used sgraffito to reveal underlying, more vivid colour layers, echoing the way tidal movement reveals and conceals the marsh beneath.

This stage of the work is intentionally exploratory. Once fired, I plan to revisit the surfaces with additional oxides and underglazes to deepen contrast and enrich the sense of depth and erosion found within the estuarine landscape.

Rather than working on flat tiles, I have chosen to construct upright forms. This allows the pieces to function as direct visual references within my studio space—objects that can be viewed at a glance on a shelf.