More clay pieces in the inlay technique

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As I started to develop doubts whether I would achieve the effect I'm after with my layering method in concrete, I decided to run those tests in clay as shown in the previous post:

https://sandraholleart.blogspot.com/2021/04/showing-link-between-ceramics-and.html

The fired results led me to making some domed pieces that I can see as sitting forms or wall pieces.
Here are some documented steps along the way until I had some very rewarding, silky smooth results.


For the pattern to be inlayed in a different colour, I used a mould from
a previous wax carving for a concrete cast. see post
https://sandraholleart.blogspot.com/2021/04/drawing-evolved.html

The imprint is filled with layers of different coloured clay and then cut back to level

On this piece, I added some woven copper wire which I hoped would burn
away and leave black traces from the molten copper.

burnishing before firing

At a so called leather hard stage (when the clay still hasn't fully dried out but
isn't anymore malleable either) the forms were burnished and polished with a smooth
object to compress the surface and give a silky sheen as I didn't want to glaze the pieces.

burnishing before firing

Two pieces with irregular inlays in an attempt to achieve a mokume gane effect,
thus diffusing the visual weight and give it a more lightweight appearance. 


The black lines from the inlayed and burned away copper wire give a stark statement on the
white clay. The organic shapes and emerging patterns are inspired by the neural tissue of the brain. The black burnt lines show the crass consequences of its damage through illness.

This principle of inlay in combination with corrosion through fire I can see as widely
applicable to my work, be it clay or concrete.







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