Subtle, low-key colour that hints at its origins, and a minimal quality that on close inspection reveals numerous intricacies of line and surface, characterise these vessels.
Victoria begins by moulding a coil pot; drawing particular attention to how her hands can manipulate the clay. After careful sculpting to an almost ultra-smooth finish, the only trace of human presence she deliberately leaves behind, are the hints of thumb print marks and the calculated eroded edges. Following this initial working stage, an ultra-fine slip; Terra Sigilatta is applied prior to a biscuit firing.
The jars, vases and pots are then put inside a larger vessel where they are packed with organic, combustible material before beginning the unusual process of pit, barrel or smoke firing.
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