Ceramics

Jack Wooley

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Combining the precision of industrial produc-
tion methods and the fluidity of the unguided
hand, my work strives for a balance of cer-
tainty and risk. With a focus on technique
and handcraft, products have been develo-
ped with a distinct awareness of, and appre-
ciation for, the inherent imperfection of cera-
mics. Without sacrificing function, they attain
a certain emelmental, unique appeal. My de-
signs explore themes of weight, texture, and
light, and seek to enliven our daily rituals.

The following is a selection of work designed

and produced over the last year in my own
studio in New York, at Jono Pandolfis facility
in New Jersey, and, most recently, in the Lon-
don studio of Billy Lloyd.

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Fifths Collection 4
Rimmed Plate 8
Standardware 9
Tenmokuware 10
Rocking Bowl 11
Lidded Jar 13
Gridded Carafe 14
Espresso Cups 17
Tea Light 18
Paper Tiles 20
Combed Vase 22

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Fifths Collection
Slip Cast Porcelain
Turned Plaster Model

Challenged by Billy Lloyd to design a range of

tableware using wheel turned plaster models
and slip cast moulds, I developed a group of
five plates and bowls based on a simple geo-
metric sequence of fifths. The largest plate has
a base diameter of 250 mm and a height of 20
mm, with an edge angled to 40. Each successi-
ve piece becomes narrower by one fifth; as the
height increases, the angle of each new edge
reduces as well by the same one fifth. Rather
than conforming to industry standards for a ta-
bleware range, I chose to allow the clear geome-
tric rationale to determine the final pieces. The
result is a collection offering an array of uses
and configurations - a reflection of our mani-
fold dining habits.

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 Base Diameter Height Angle at Rim
#1 50 mm 100 mm 0
#2 100 mm 80 mm 10
#3 150 mm 60 mm 20
#4 200 mm 40 mm 30
#5 250 mm 20 mm 40

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 1-2 Previous work with stacked plaster cylinders and the
bandsaws ability to cut at precise angles provided the
initial inspiration.
3 Rough sketches illustrated the collective potential and
geometric strength of the idea, and led me to settle on a
range of five pieces.
4-5 Full scale line drawings and cardboard models helped
to determine the final modules, specifically, 20 mm
height and 50 mm width

1 2

3 4

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 1 A technical drawing of each profile tool in
corporates a resevior for slip
2 The drawing is glued to a sheet of acrylic, cut
on the band saw, and sanded smooth
3 The model is turned & finished on the wheel
4 A single piece mould is cast from each model

1 2

3 4

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Rimmed Plate
Jiggered Stoneware
Wheel-turned Plaster Mould

Designed and produced in Jono Pandolfis studio in New Jer-

sey, the rimmed plate takes advantage of the facalities particu-
lar capacities. Acrylic profile tools are cut to both the interior
and exterior contours of the final piece, the later being used
to form a plaster mould. Where the mould would typically be
refined through wet sanding, I have left the texture in place
to heighten the contrast between smooth, glazed interior and
rough, unglazed underside.

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Standardware
Slip Cast Porcelain & Stoneware

A range of tableware shapes produced using drop-out moulds

and clay and plaster models, both turned on the wheel. The
simplicity of forms allowed for expirements in weight and
finish. Two types of porcelain, a speckled grey stoneware, and
various translucent and white glazes were used. The work re-
presents my first attempts at developing a coherent collection
of pieces, considering uniformity in thickness and repitition of
contours.

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Tenmokuware
Slip Cast Porcelain

The breadth of tenmoku glaze is explored using Stan-

dardware forms and a variety of application techniques.
A highly reactive glaze, the final appearance changes
drastically when applied by dipping, spraying, or pain-
ting. In combination with other glazes (white or translu-
cent), the variety is increased further. The unique finish
from the glaze provides a strong contrast to the clarity of
form.

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Rocking Bowl
Solid Cast Porcelain
Sledged & Carved Plaster Models

A playful bowl for the kitchen counter, bedside

table, or bathroom shelf. The round exterior
means the piece wobbles when touched, while
the weighted base ensures it stays upright. Solid
casting allows for the thickness to taper towards
the rim, giving the appearance of lightness. The
interior texture is achieved by hand carving
the mould, creating a strong contrast with the
smooth exterior.

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1

1 Section drawing shows the diminishing thickness from base

to rim
2-3 The initial mould, with pour holes at the rim, failed to cast
properly. Moving the pour holes to the base allowed the slip 2 3
to flow properly and fill the mould completely.
4-5 The postivie half of the mould was cast with a smooth finish
before being carved away by hand
6 Multiple models were made to find the correct proportion,
weight and texture

4 5 6

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Lidded Jar
Slip Cast Porcelain, Cork
Thrown Clay Model

Initial forays into slip casting used clay models. For the jar, va-
rious pieces were thrown to a specific width to fit the cork lid.
The chosen shape was fired and glazed, and the mould cast. The
use of translucent and black glazes on the final piece make for
contrasting salt and pepper containers, though the simplicity of
the form allows for a myriad of uses.

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Gridded Carafe
Slip Cast Porcelain
Turned & Constructed Plaster Model

The carafe, equally suitable for water or wine, developed from

an exploration of the tactile experience of drinking. At the
neck, the natural gripping point, a gridded texture has been
applied during the glazing stage using dry wall tape, com-
monly found at builders merchants. A single strand of tape is
wrapped around the bisque piece, which is then spray glazed,
and the tape removed. The resulting irregular grid of unglazed
recesses provides a pleasant texture for the hand as it pours.
The angle at which the tape is applied, and the way in which it
overlaps upon itself, means that each piece is unique.

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 1-3 Preliminary line drawings
4 Medium density foam model at
half scale turned on lathe
5 Individual turned plaster sections
6 Constructed plaster model

1 2 3

4 5 6

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Espresso Cups
Slip Cast Porcelain

Handle-less espresso cups are the starting point

for explorations of color and texture. In one
instance, increasing amounts of black stain are
mixed into the slip, resulting in a subtle gradient.
In another, raw clay models are turned to a
rough, irregular texture before the mould is cast.
The gridded texture seen on the carafe was also
intially developed as part of these tests.

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Tea Light
Slip Cast Bone China
Carved Plaster Models

Three textural variations of tea light holders, produ-

ced in bone china to highlight the translucent pro-
perties of the material. Discs were cut from plaster
sheets and stacked five high to create the basic cylin-
drical form. Various treatments were applied to each
disc using three distinct techniques - chiseling, filing,
and cutting on the bandsaw. With each interven-
tion, the influence of the hand is introduced without
greatly altering the form. The models were recons-
tructed and slip cast moulds produced, from which
casts were made at various thicknesses for each
variation. A setter was developed to keep the form
during the first firing, and only the interiors were
glazed before firing again. While light is transmitted
through each piece, those that were cast for the shor-
test amount of time (5 minutes), were most effective
in illuminating the fine textures of the bone china.

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 1 Stacked plaster cylinders, roughly cut
on bandsaw
2-3 Shallow incisions made on the
bandsaw
4-5 Metal file used to create soft
concave contours
6-7 Chisel and hammer carve away at
perimeter

2 4 6

1 3 5 7

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Paper Tiles
Solid Cast Porcelain
Plaster Model

A messy studio and experiments in textured

plaster came together to create a wall tile that
makes use of disused packaging paper for its
veiny, chaotic surface. Crumpled brown paper is
pulled flat and held down to the table as plas-
ter is poured over top, capturing the folds and
crevices. A model is made and cut square, and
subsequently a solid cast mould from which the
tiles are produced. The fine, irregular texture is
thus carried from paper to clay. A distinct depth
to the surface plays with light and shadow when
applied vertically.

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1 2 3

1 The crumpled paper is pulled flat and held to the

table by cottling boards.
2 Plaster is poured into the form, capturing the
texture. The soaked paper will be carefully rubbed
away after the plaster has set fully.
3 The plaster is cut square and painted with shellac
to protect the intricate texture and aid release from
the mould.
4 A two part mould is made with pour holes in the
corners of the base of the tile. Fettling removes any
trace of the holes.

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Combed Vase
Slip Cast Porcelain
Sledged Plaster Model

The strong geometric form of the vase is coun-

tered by a wavy surface treatment achieved
using a cheap plastic comb. The model is sled-
ged in two halves, which are then joined to
create the 12-sided form. After running the
profile tool to define the form, while the plas-
ter is still wet, the comb is dragged down each
face. The imperfections of the hand - change in
pressure, lateral movement - and the fast-drying
nature of the plaster ensure each side has a uni-
que texture.

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1 2

1 The model is sledged in two halves

vertically. The rough ends are cut
away before.
2 The comb leaves flakes on plaster
on the model surface.
3 After hardening, the surface is
cleaned with a stiff brush.
4 The two halves are joined to create
the full, 12-sided form. Base and
top are leveled before the mould is
cast.

4 3

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