Goose Fire

The work

Ornaments, carved forms, and pigs

What comes out of the studio. Where a piece's stage in the process is known it is noted; where it is not, the caption just describes what is there.

Carved and cast forms

Two unfired clay pieces on a green pottery wheel head: a goose with a long curved neck forming a loop handle, its body covered in incised leaf and scale texture, and a jack-o'-lantern with carved eyes and mouth.
Goose and jack-o'-lantern. Both unfired. The goose's neck loops back to form a handle, and the surface texture is worked into the clay after casting.

Ornaments

Looking down into a kiln at pale unfired ceramic ornaments with faceted, ribbed and pinecone-textured surfaces, several sitting in pink silicone moulds, separated by refractory kiln posts.
A kiln load. These have not been fired yet.
A wire rack of plaster slipcast mould halves, some retaining carved leaf and pinecone relief, some emptied after casting.
The plaster moulds they come from, some still holding their carved relief.

Pigs, and Alesha at the bench

Alesha at her workbench in a tan leather apron, holding an open clay bird form. A faceted geometric clay bird sits in the foreground.
Alesha working on a bird form. The faceted piece in front of her is a different kind of shape from the cast work.
Editorial illustration of Alesha at a workbench holding a clay pig she has been shaping.
Shaping a pig. Editorial illustration, not a photograph of a piece.

Also from this studio

Jesse makes ceramic ornaments as well as supporting the studio. His work appears here as it becomes available.