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After choosing the pieces on paper, I start to make the first prototypes in my studio. Depending on the shape of the drawing, I will experiment with different production techniques. The Glove-Vase for example is a piece that I stamp and then sculpt afterwards, the laundry bottles are made by pouring liquid clay into a mould. Some of my designs are also produced by attaching turned and moulded pieces together, like the Ears-Vase. The base is turned and the ears are stamped in a mould. This is a combination I really enjoy because it mixes the classical craft of throwing clay with an almost industrial aesthetic of moulded or pressed plastic. For the moulds I use standard casting plaster and for the glazes I prefer to use lead-free options. All the clay I use comes from the region around my studio in the South of France and the firing is done in an old kiln my father bought second-hand 20 years ago – it is still going strong. Just recently, I also bought a smaller kiln to make my prototypes and glaze tests. I use both of them at 1020°C for the earthenware and 980°C for the glaze. After I finished all the prototypes of my first collection, I realised how my previous experience in fashion taught me to create an overview of a collection and how to develop an idea into a fully finished piece. This skill allowed me to naturally transform my first attempts at ceramics into a cohesive group of objects. After I finished photographing my first collection, I realised that I had created a universe where each stand-alone piece could also work together in a series. This is a challenge that I really enjoyed in fashion, and it was amazing to feel I could find the same excitement in working with ceramics. Now my mission is to try and push the boundaries of this universe with my new collection. It would be a dream to eventually expand my work with pieces that extend the limits of clay. Wood, metal and glass are all material that I would love to be able to experiment with one day. For more information visit lolamayeras.com ijk Dvan Bram LOS NAHM tos by ; pho Browne ica : Jess iew terv In 68 September/October 2022
page 69
Faulty kiln? Health and Safety report? Annual service? We offer expert assistance for ALL makes of electric kiln. Service undertaken in all areas of mainland United Kingdom, or bring your kiln to us for repair at our in-factory Kiln Spa. Contact us on 01782 535915 / 535338 servicing@kilncare.co.ukservicing@kilncare.co.uk For the beginner and expert in ceramics & pottery www.kilncare.co.uk Texture & Decoration 01934 863040 www.hot-clay.co.uk . . . . Robust kilns that will achieve high temperatures comfortably Potter’s wheels designed for daily use in a busy workshop Glazes to broaden the potters’ palette with adventurous textures and effects expressive and challenging work Creative clays for Tools, machinery, . colours and equipment for 21st century studio potters. Tel: Fax: 01782 746000 01782 745000 www.potterycrafts.co.uk sales@potterycrafts.co.uk Potterycrafts Ltd Campbell Road Stoke-on-Trent ST4 4ET

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After choosing the pieces on paper, I start to make the first prototypes in my studio. Depending on the shape of the drawing, I will experiment with different production techniques. The Glove-Vase for example is a piece that I stamp and then sculpt afterwards, the laundry bottles are made by pouring liquid clay into a mould. Some of my designs are also produced by attaching turned and moulded pieces together, like the Ears-Vase. The base is turned and the ears are stamped in a mould. This is a combination I really enjoy because it mixes the classical craft of throwing clay with an almost industrial aesthetic of moulded or pressed plastic.

For the moulds I use standard casting plaster and for the glazes I prefer to use lead-free options. All the clay I use comes from the region around my studio in the South of France and the firing is done in an old kiln my father bought second-hand 20 years ago – it is still going strong. Just recently, I also bought a smaller kiln to make my prototypes and glaze tests. I use both of them at 1020°C for the earthenware and 980°C for the glaze.

After I finished all the prototypes of my first collection, I realised how my previous experience in fashion taught me to create an overview of a collection and how to develop an idea into a fully finished piece. This skill allowed me to naturally transform my first attempts at ceramics into a cohesive group of objects. After I finished photographing my first collection, I realised that I had created a universe where each stand-alone piece could also work together in a series. This is a challenge that I really enjoyed in fashion, and it was amazing to feel I could find the same excitement in working with ceramics.

Now my mission is to try and push the boundaries of this universe with my new collection. It would be a dream to eventually expand my work with pieces that extend the limits of clay. Wood, metal and glass are all material that I would love to be able to experiment with one day.

For more information visit lolamayeras.com ijk

Dvan

Bram

LOS

NAHM

tos by

; pho

Browne ica

: Jess iew terv

In

68 September/October 2022

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