comiaued fram page |

Another area of inspiration has been from
my collection of old fabrics, both Oriental
and Western. | produce a series of work
that is pierced in a vaniety of pattems and
cut-outs reminiscent of eyelet or lace. | use
a crystalline glaze to enhance the open
areas and to give a sense of delicacy.

A couple of years ago I had the opportu.
nity to travel to Korea.as an invited partici-
pant ina ceramics festival. To be able to go
tothe country that is Queen of the celadons
was for me an amazing experience. Again,
here were all those pots that I had known
in books, now just inches away from my
nose, Room afler room of incredible pieces
rekindled my interest in working with
celadon glazes. It took me about a year to
develop the ones that | was looking for and
I now have two glazes that I am happy
with. One is a carbon trapping, crackle
celadon and the other is a beautiful soft
turquoise with small bubbles. Normally I
make my own porcelain but [am using the

Judi Dyelle

celadon glazes on commercially made
porcelain because of its wonderful trans-
lucency.

Form is the underlying factor in my
work, whether it is handbuilt, wheel
threwn ora combination of the rpwe. The
finishing process of glaze, slip or firing
is an embellishment to it.

Through my research into ancient cul-
tures and the inspiration that! draw from
them, I hope that the work I do will have
a timeless quality to it.

Judi Dyelle

Judi Dyelle Vase, Celadon Series 2002,
wheel thovwn, carved flowers, reduction,
high fire porcelain, propane gas kiln, come
1 (1305°C), 25.1 cm H x 9.0 cm W.
Photo: Jamet Dev yer

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Potters Guild of British Columbia Newsletter Apnl 2005