About My Work
The majority of this work is handbuilt, rather than wheel thrown, to create finely crafted forms while maintaining a visceral, clearly handmade feel. Texture is added to the work with hand carved rollers that are pressed on the wet slabs of clay before making the ware. The pieces are simple, functional forms to best focus on the surface design of each object.
Paper transfers are used to achieve layered depth and color on my ceramics. Paper transfers are basically monotype prints in a very simple form. First underglazes, which are colored pigments for ceramics, are brushed onto rice paper or newsprint. When they have dried, I cut or tear the paper into different sizes and decide where to place each scrap of color. Slip (liquid clay) is then brushed onto each piece of underglazed paper to rehydrate the colored pigments. The next step is to arrange them one by one onto a freshly made piece that is still greenware. When the transfers have dried on the vessel just the right amount, I carefully peel them off the piece.
Before the final firing, I clear glaze the printed surfaces of the clay, and use colored glazes on the interior and unprinted areas for accent color.
Through this monotype paper transfer process, the finished pieces have a look and feel that cannot be achieved through traditional brushwork or glazing.
Shelly Hedges
The majority of this work is handbuilt, rather than wheel thrown, to create finely crafted forms while maintaining a visceral, clearly handmade feel. Texture is added to the work with hand carved rollers that are pressed on the wet slabs of clay before making the ware. The pieces are simple, functional forms to best focus on the surface design of each object.
Paper transfers are used to achieve layered depth and color on my ceramics. Paper transfers are basically monotype prints in a very simple form. First underglazes, which are colored pigments for ceramics, are brushed onto rice paper or newsprint. When they have dried, I cut or tear the paper into different sizes and decide where to place each scrap of color. Slip (liquid clay) is then brushed onto each piece of underglazed paper to rehydrate the colored pigments. The next step is to arrange them one by one onto a freshly made piece that is still greenware. When the transfers have dried on the vessel just the right amount, I carefully peel them off the piece.
Before the final firing, I clear glaze the printed surfaces of the clay, and use colored glazes on the interior and unprinted areas for accent color.
Through this monotype paper transfer process, the finished pieces have a look and feel that cannot be achieved through traditional brushwork or glazing.
Shelly Hedges
