The ceramic surface sensibilities I employ, via electric kiln methodologies, originated from my experiences with wood, salt, saggar, and raku. The vitreous slips I have been developing for over 30 years are high in soluble materials, borax, GB, frit, and so forth, that when applied at different thicknesses, or dried at different rates, will self-glaze.

To achieve the surface results I desire, I must multi-fire. Each firing is usually to 1945 F (04) to vitrify the ceramic surface - which enables me to control the saturation of the oxides or overglaze I apply in subsequent firings. Each piece requires an unexpected combination of materials, process, improvisation, and is always an exciting challenge. 

I use an iron-rich clay body, as it serves as a painterly ground that intends to refer to the warmth/viscera of the body. The iron in the clay, combined with varying layers of translucent slip, evokes the corporeal and provides the connective tissue between material/process and content.