My work focuses on carbon trapped porcelain. My pots are thrown and hand built and glazed with shinos. I fire with a carbon trap process, in which the oxygen in the kiln is heavily reduced, thus made very smoky at the right stage when the shinos can capture the carbon from the smoke. The kiln then needs to be managed to temperature so the volatile carbon is not lost. This can produce a number of accidental results, which I love. If the glaze traps no carbon, it is orange or white. Where it does trap carbon it moves between black, creamy, or grey.
My husband, Brian Nichol is a photographer, and I began several years ago to use his images on some of my work. Because the images are fired onto the pots in an electric kiln, the risk of losing carbon was an unknown. I was delighted to find that while somewhat unpredictable, when successful the carbon remains and the pots take on a new life. I am still experimenting to find the best temperature and firing schedule for this process.