For this series, I used raw unprocessed red clay from an Upper Ajaran village which I dug up with help from locals. I explored it with simple forms and primitive techniques, just following the material.
I fired it without knowing whether those pieces would survive the high temperature and what marks they would acquire. I made a simple white glaze from the same clay fragments, and continued sculpting - I made the glaze thick so I could apply it by hand instead of the traditional brush method. Then I fired my pieces one more time.
I fell in love with Georgian nature last year, and relocated here in March. I only knew there are great red clay layers. Technically speaking, this clay in its wild state is not plastic enough, so sculpting from it was like building sand castles. But I didn't want to make any changes to it and enjoyed the process as it was.
I guess an artwork is never finished because it needs the viewer/context to expose it. This is why I chose the vessel form: to leave empty spaces inside. It is impossible to use these vessels for water or fresh flowers. The hollows are totally non-functional.
5 vessels, unprocessed Brili clay, glaze, fired at 1050℃