Head Hand and Heart

Linda Bloomfield

when the hand touches the clay, it's akin to meditation

I think a lot about form and surface texture, doing glaze research to find the perfect satin matt glaze and investigating the area where two glazes overlap. I make my own colours using raw materials such as nickel oxide and titanium dioxide, rather than using commercial ceramic stains.

I am always looking for inspiration in nature, from shells with a rough exterior and smooth interior, the textures and colours of lichens, rocks and pebbles, and visiting exhibitions of art, ceramics and textiles. A favourite colour combination comes from St Ives in Cornwall, where the weathered grey slate roofs are covered in mustard yellow lichen.

The most intricate work I do is throwing porcelain on the wheel and fluting pots. This is similar to meditation, as the focus is always on the point where the hand or tool touches the clay.

It is very satisfying to look at the shelves full of freshly thrown pots after a day’s work, particularly when a large order or body of work for an exhibition is completed.