Harriet Coleridge

Harriet’s direction of travel as a potter has taken her from the precision of tin glazed earthenware fired in an electric kiln to the wilder shores of throwing stoneware and porcelain and firing in wood fired anagama kilns.

Whilst relatively unpredictable, the effects of anagama firing are not random; there is always a balance between intention and chance. The placing of the pots – in relation to the path of the flame - the type of wood used, the length of the firing all affect the outcome.

 These pots are not glazed (on the outside); they are decorated by flame, fly ash and embers. The textures created by these elements vary dramatically according to the mineral content of the clay. Some have been fired in a kiln near Oxford, some in a kiln in the Charente, France.