The panels are fired to 1250 C with a plain black and various layers of other glazes. This then achieves a surface of contrasts in colour and texture. And so creates rhythms and juxtapositions that might be found in nature.
The panels are fired to 1250 C with a plain black and various layers of other glazes. This then achieves a surface of contrasts in colour and texture. And so creates rhythms and juxtapositions that might be found in nature.
Walk With Me is a Sculpture from Nigel Hoyle Ceramics, Exhibition collection. This series of pieces are hand thrown and dried to leather hard before the time-consuming process of carving.
The layers of seemingly random patterns lend a mysterious quality to the forms which defy the actual scale of the vessel. This then portrays a unique vision from any given viewpoint.
This multi-layered, highly textured work has been in development for over 25 years. First shown at a degree show which featured cracked white slip on black glaze back in 1992. The panels are fired to 1250 C with a plain black and transparent glaze.
This series of Wall Panels mark a shift in the style of my glazing for the moment. They feature a Screen Printed image over layered underglaze colours on the clay, thus achieving a more vivid finish. The panels are then fired to 1260C.
This multi-layered, highly textured work has been in development for over 25 years. First shown at a degree show which featured cracked white slip on black glaze back in 1992. The panels are fired to 1250 C with a plain black and transparent glaze.
This multi-layered, highly textured work has been in development for over 25 years. First shown at a degree show and featuring cracked white slip on black glaze back in 1992. The panels are fired to 1250 C with a plain black and transparent glaze where there is a screen-printed image featured.
The panels are fired to 1250 C with a plain black and various layers of other glazes. This then achieves a surface of contrasts in colour and texture. And so creates rhythms and juxtapositions that might be found in nature.
The panels are fired to 1250 C with a plain black and various layers of other glazes. This then achieves a surface of contrasts in colour and texture. And so creates rhythms and juxtapositions that might be found in nature.
The panels are fired to 1250 C with a plain black and various layers of other glazes. This then achieves a surface of contrasts in colour and texture. And so creates rhythms and juxtapositions that might be found in nature.
This multi-layered, highly textured work has been in development for over 25 years. First shown at a degree show and featuring cracked white slip on black glaze back in 1992. The panels are fired to 1250 C with a plain black and transparent glaze where there is a screen-printed image featured.
This multi-layered, highly textured work has been in development for over 25 years. First shown at a degree show which featured cracked white slip on black glaze back in 1992. The panels are fired to 1250 C with a plain black and transparent glaze.
This multi-layered, highly textured work has been in development for over 25 years. First shown at a degree show which featured cracked white slip on black glaze back in 1992. The panels are fired to 1250 C with a plain black and transparent glaze.
This multi-layered, highly textured work has been in development for over 25 years, since a degree show which featured cracked white slip on black glaze back in 1992. The panels are fired to 1250 C with a plain black and transparent glaze where there is a screen-printed image featured.
Eternally Grateful is a Sculpture from Nigel Hoyle Ceramics, Exhibition collection. This series of pieces are hand thrown and dried to leather hard before the time-consuming process of carving.
The layers of seemingly random patterns lend a mysterious quality to the forms which defy the actual scale of the vessel, portraying a unique vision from any given viewpoint. This series of pieces are hand thrown and dried to leather hard before the time-consuming process of carving.
The panels are fired to 1250 C with a plain black and various layers of other glazes. This then achieves a surface of contrasts in colour and texture. And so creates rhythms and juxtapositions that might be found in nature.
The panels are fired to 1250 C with a plain black and various layers of other glazes. This then achieves a surface of contrasts in colour and texture. And so creates rhythms and juxtapositions that might be found in nature.
The panels are fired to 1250 C with a plain black and various layers of other glazes. This then achieves a surface of contrasts in colour and texture. And so creates rhythms and juxtapositions that might be found in nature.
The panels are fired to 1250 C with a plain black and various layers of other glazes. This then achieves a surface of contrasts in colour and texture. And so creates rhythms and juxtapositions that might be found in nature.
This multi-layered, highly textured work has been in development for over 25 years. First shown at a degree show which featured cracked white slip on black glaze back in 1992. The panels are fired to 1250 C with a plain black and transparent glaze.
The panels are fired to 1250 C with a plain black and various layers of other glazes. This then achieves a surface of contrasts in colour and texture. And so creates rhythms and juxtapositions that might be found in nature.
This multi-layered, highly textured work has been in development for over 25 years, since a degree show which featured cracked white slip on black glaze back in 1992. The panels are fired to 1250 C with a plain black and transparent glaze where there is a screen-printed image featured.
This multi-layered, highly textured work has been in development for over 25 years, since a degree show which featured cracked white slip on black glaze back in 1992. This series is characterised by a labyrinth design similar to that which features on much ancient Greek coinage and artwork.
This multi-layered, highly textured work has been in development for over 25 years, since a degree show which featured cracked white slip on black glaze back in 1992. This series is characterised by a labyrinth design similar to that which features on much ancient Greek coinage and artwork.
This series of Wall Panels mark a shift in the style of my glazing for the moment. They feature a Screen Printed image over layered underglaze colours on the clay, thus achieving a more vivid finish. The panels are then fired to 1260C.
This multi-layered, highly textured work has been in development for over 25 years. First shown at a degree show which featured cracked white slip on black glaze back in 1992. The panels are fired to 1250 C with a plain black and transparent glaze.
This multi-layered, highly textured work has been in development for over 25 years. First shown at a degree show which featured cracked white slip on black glaze back in 1992. The panels are fired to 1250 C with a plain black and transparent glaze.
This multi-layered, highly textured work has been in development for over 25 years, since a degree show which featured cracked white slip on black glaze back in 1992. The panels are fired to 1250 C with a plain black and transparent glaze where there is a screen-printed image featured.
This multi-layered, highly textured work has been in development for over 25 years, since a degree show which featured cracked white slip on black glaze back in 1992. The panels are fired to 1250 C with a plain black and transparent glaze where there is a screen-printed image featured.
This multi-layered, highly textured work has been in development for over 25 years, since a degree show which featured cracked white slip on black glaze back in 1992. The panels are fired to 1250 C with a plain black and transparent glaze where there is a screen-printed image featured.
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