The choice of shape is practical. As few complex curves as possible makes the application of transfers much less demanding. The choice of bone china over porcelain is personal. There could be some technical gloss put over it in terms of it’s advantages in taking on enamels and transfers, but honestly? The answer is deeply personal.
It echoes me. As close to taste as you can get in terms of sensation. It is a healing echo because it makes sense to me in it’s innate materiality. The English body, reinvented out of necessity to survive (porcelain competition from China), turns out a altogether stronger body. Good old Wedgwood. The drive forward cooked up in a recipe with intention and redefined.
This brings up all sorts of questions about being ‘made’, ‘man-made’ and to what extent we are all these things. Mine is just a really extreme example but the same questions apply to all of us in our most anxious moments. So,what you can’t answer or were never consulted about you just accept, but Wedgwood, he had a question to answer, just like I did. We both answere(d) it in our own way.
Of course the projection and echo back to me is the healing element that I hold dear and that is there for every artist who uses clay, distasteful as it may be to some of them who hide it in technical jargon. Whatever floats your boat; you can’t kid everybody all the time though. Withhold if you like. It’s a personal thing, as I said.