Looking at Chris Taylor’s multi-coloured vessels I am reminded of layers of wallpaper in an ancient house. Pattern on pattern over paint, in colours that are both rich and muted. And just like wallpaper, layers on layers bring with them ideas of process, and each pattern and surface needs time to contemplate.

 

Chris Taylor - vessel (photo: Ester Segarra)

Chris Taylor – vessel (photo: Ester Segarra)

 

It’s pattern in particular that interests Chris, for its abilities to either aid or confuse the eye when looking at three-dimensional objects, and it’s why he tries to cram so much of it onto one thing. But he also enjoys the process and technique, exploring unconventional ways of applying and arranging the decoration on ceramic vessels.

It’s quite a process. “Most of my current work is thrown on the potter’s wheel, distorted before being decorated in various combinations and layers of coloured clays and print. Once this initial stage is completed the pieces are fired before being partially glazed, after which the decorative process continues with additional layers of pattern and colour being applied. Sometimes pieces are sanded to reveal some of the earlier layers of patterning, and sometimes a lustre is applied to create additional interest.”

 

Chris Taylor - vessel (photo: Ester Segarra)

Chris Taylor – vessel

 

Although he has been working with clay for more than 15 years, including a stint as a teacher at the North Devon School of Art as well as producing his own range of handmade tableware, it was not until undertaking his MA through the Royal College of Art in 2010 that he started working in this way. At the beginning of his MA he won a travelling scholarship to visit Jingdezhen, China, describing the experience as “pivotal”. It was there that he discovered the printing technique that allowed him to build up the layers before firing took place. “This technique has had a massive influence on my work and I continue to use it now.”

The experience has been pivotal in more ways than one. Not only was it an opportunity to learn a new technique, but it also meant that he had to do something even harder – to unlearn.

“Something I had to learn to overcome was accepting that certain things I had for years considered to be faults were no longer faults.”

“I have been making for many years and my early training was concerned with making tableware for various companies. With the tableware I produced there was a standard that needed to be met. Warping and cracking were considered incorrect, as were glaze chips, colour variations etc… This way of thinking became quite ingrained in me to the point where I did not question it.”

 

Chris Taylor - vessel (photo: Ester Segarra)

Chris Taylor – vessel (photo: Ester Segarra)

 

Chris Taylor - surface detail

Chris Taylor – surface detail

 

“When I came to make this series of work for my Masters it was my intention to question and actively resist expected practices. However at the beginning I found it hard to accept some of things I was producing as successful pieces of work; rather I viewed them as seconds. It took me a while to realize the rules by which I had worked when making tableware were no longer relevant and I began to accept all outcomes as interesting experiments. At this point my work appeared more successful to me. Ultimately the way I see technical failure now has completely changed.”

 

Chris Taylor - vessel (photo: Ester Segarra)

Chris Taylor – vessel (photo: Ester Segarra)

 

Chris Taylor - surface detail

Chris Taylor – surface detail

 

“I am conscious of the desire for the series to continuously evolve, so with this in mind my favourite piece at any point in time is usually the one which is the most different from the one before. Often this is a piece that has ‘gone wrong’, or at least not according to plan, forcing me to try new techniques or make different decisions which results in something new.”

Chris Taylor - group pf vessels (photo Ester Segarra)

Chris Taylor – group of vessels (photo Ester Segarra)

 

“When reading your blog in preparation for answering your questions I was quite taken by Angela Stevens‘ quote, “If things aren’t right in the end, then you are not at the end.  I think that this sums up my way of thinking with regards to the development of the series. If I am not happy with a piece I will keep on working on it until I am.”

You can find more of Chris Taylor’s work on his website, www.christaylorceramics.co.uk.