Nerikomi technique

The Pattern Sheets of different thickness of white and black stained porcelain are layered in a special sequence to form a block. This block is cut along the side or at an angle at different thicknesses and re-layered to form another block, to arrive at the desired pattern.

Thus the black and white pattern goes from the outside of the ware through to the inside – it is not painted on. Every pattern is unique and cannot be replicated exactly, and only a limited pieces can be made from each block of pattern.

The attraction of using nerikomi as a decoration technique is that the effect is beautiful and striking, with lots of detail for the eyes to follow. Yet, it requires a technically minded person to work it out.

My interest in the nerikomi technique reflects my dualistic character, being artistic enough to appreciate beauty in all forms of expression whilst also having a rational scientific mind, able to engineer complicated geometric forms. 

The block of pattern is then rested for at least 6 months to let the moisture level to equalise.

The Formation A thin slice is cut from the final block, rolled thinner to give an organic touch to the pattern. Templates are cut out, and the pot is then hand built.

The newly made pots are placed in a closed box to allow them to dry slowly, over several weeks, depending on the weather. This helps to reduce distortion and cracking. The loss during this drying process is high, the result of both the delicate nature of porcelain and the amount of cutting and joining when forming the pattern.

Once biscuit-fired, the pieces are polished with sandpaper in water, the work is meticulous. Polishing removes any smear marks made while rolling out the slab of patterned porcelain, revealing the sharp lines and squares of the pattern.

The pots are finished on the inside with transparent glaze, the outside is sanded but unglazed, for a matt finish and smooth texture.