James Stead

Having graduated in 2000 from University of Cumbria, I started to experiment with reduction firing stoneware while renting a studio in Sheffield. Although the use of a gas kiln was engrossing and highly enjoyable, I had to say goodbye to the studio to start my career as an art teacher and purchase a small electric kiln of my own.

The smaller dimensions of the kiln influenced the type of work I produced. Lower temperature firings were used to ensure the longer life of the kiln elements. This naturally led onto earthenware, brighter colours and the possibility of burnishing my work. There are many examples of potters smoke firing unglazed work, but none sprung to mind of anyone who smoked work that was glazed or partially glazed.

Using a glaze that contrasts with the clay body helps to give the piece more impact. Now I am in my fourth year of teaching and I am able to devote more time to my ceramics and continue to explore the innumerable possibilities when working with clay.

---