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Large Extruded Jug with Thrown Base, 2017
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Walter Keeler is a British studio potter, born in London in 1942. He attended Harrow School of Art, London where he was trained by Michael Casson. He established his first pottery at Bledlow Bridge, Buckinghamshire in 1965 then moved to his current studio in Penallt Wales, where he lives with his potter wife Madoline. He was professor of Ceramics at the University of the West of England and in 2007 was named Welsh Artist of the Year.
Keeler makes salt glaze pottery influenced by early Staffordshire Creamware. Writer Oliver Watson described him as 'one of the most important and influential potters of the 1980s'. Keeler's work is held in a number of public collections including Victoria & Albert Museum, National Museum Wales, American Craft Museum, New York, Los Angeles County Museum of Art , Museum of Fine Arts, Houston, USA and the Museum of Modern Art, Tokyo.
Keeler makes salt glaze pottery influenced by early Staffordshire Creamware. Writer Oliver Watson described him as 'one of the most important and influential potters of the 1980s'. Keeler's work is held in a number of public collections including Victoria & Albert Museum, National Museum Wales, American Craft Museum, New York, Los Angeles County Museum of Art , Museum of Fine Arts, Houston, USA and the Museum of Modern Art, Tokyo.
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About the work
About the Work
Black stain. Saltglaze
Extruded forms are synonymous with Keeler's work. In particular the strong sweeping forms of the jugs, with spouts an integral part of the body, rather than being added later. The forms are made by pushing the clay through a die of the desired size and shape using a wall mounted extruder.
Salt glaze is not applied to the pot but occurs as a result of chemical reactions during the firing itself. Salt is thrown into the kiln as it arrives at its peak temperatures and vaporises. The sodium within the salt then combines with silica in the clay to form a glaze surface.
Potters often talk about the desired ‘orange peel’ effect of salt fired pots, where the glaze surface appears pitted and bumpy. Potters who salt fire also often make use of clay bodies and slips which contain iron or cobalt, lending their surfaces a rich dark red or blue colour.
Extruded forms are synonymous with Keeler's work. In particular the strong sweeping forms of the jugs, with spouts an integral part of the body, rather than being added later. The forms are made by pushing the clay through a die of the desired size and shape using a wall mounted extruder.
Salt glaze is not applied to the pot but occurs as a result of chemical reactions during the firing itself. Salt is thrown into the kiln as it arrives at its peak temperatures and vaporises. The sodium within the salt then combines with silica in the clay to form a glaze surface.
Potters often talk about the desired ‘orange peel’ effect of salt fired pots, where the glaze surface appears pitted and bumpy. Potters who salt fire also often make use of clay bodies and slips which contain iron or cobalt, lending their surfaces a rich dark red or blue colour.
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