Porcelain Grace - Meryl Ruth

This stoneware ceramic teapot is hand-built. It is another in the series of teabags, a term I coined to represent clay teapots created in the form of designer handbags, many with pets emerging, as in this case.
The French bulldog's head and paws for this piece are sculpted in wet clay; spout, handles, leather straps, buckles and clasps are formed from extruded clay reworked to shape.
The faux fabric exterior surface of the teapot's body is made by press mold to emulate silk brocade.
Clay sculpted dog bone figure at back of dog's neck serves as teapot's lid.
Construction sequence:
- First fired to cone 06.
- Underglazes painted and airbrushed.
- Refired to cone 5.
- China paints and opalescent overglazes applied.
- Lusters are applied to hardware.
- A final luster firing completes the work.
Shown at Critters, University of New England Art Gallery, Portland, ME, 2011; Texas Teapot Tournament, Houston Potters Guild, Clay Art Museum and Educational Organization (CAMEO), Houston, TX, 2012.
Date: 2010.
Size: 16.0" x 9.0" x 7.0".
Sold to a Hong Kong buyer.

ENLARGED VIEWS

Enlarged view.

Enlarged view.

Enlarged view.

CREATIVE PROCESS

Early construction phase showing press mold surface and beginning sculpting of the bulldog.

Early development of this work involves hand-building the basic structure by means of clay slabs.
The surfaces of the body of the teapot are fashioned with press mold technique to impart a fabric pattern.
The French bulldog emerging from the interior of the teabag (a coined term for a teapot created in the form of a handbag) is sculpted in place.

Spout, handles and hardware are added.

Further construction enhancements are made with addition of spout, handles, straps, buckles and clasps of extruded clay reshaped to design.

Fired successfully, underglazing of the work is begun.

The piece is successfully fired to cone 06. Underglazing is begun to seal and color the surfaces.

Additional glazing and another firing carried out.

Underglazing is completed by painting and air-brushing the glazes onto the surfaces of the work. In the course of this process, some of the glaze is removed by means of a sponge to reveal and enhance the surface texture.
The piece is then subject to refiring to cone 5.

Further coloration with China paints and opalescent overglazes.

Coloration is further enhanced and design is detailed with China paints and opalescent overglazes.
Lusters are to be applied subsequently to the hardware.

Piece is finalized by a last luster firing.

The work is almost completed by firing it one last time for vitrification of the luster coating.

Cold finishes enliven the coloration of the completed work.