Visiting Clevedon Court this week provided the opportunity to experience some Eltonware, made by one of the Courts previous residents.

I was interested in how Elton had produced some of the relief motifs on his works. Some were clearly made separately and attached, but others appeared to be extensions of the surface.

These flower motifs appear to be made from coloured slips, which when layered up can create peaks and troughs.
This approach could be useful when thinking about adding colour to my work. At present, the idea of adding colour into the body of the clay feels much more holistic and truthful. The vast range of potential colours used to glaze bisque pieces seems quite overwhelming.  Elton’s flowers are quite precise and this may impact the refining of the (s)platter idea process.

Eltonware always evokes imagery of shining lustres and crackled surfaces – and the display didn’t disappoint. However, what I found most interesting was the organic shapes Elton removed from his pieces.

These two pots are quite different from the rest of the collection, appearing as if they could have been made only recently.

Considering the organic shape as a negative space is something that struck with me. I am unsure how this might impact my practice, but this idea is one to keep in mind.


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