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Ruffle Bud Vase No. 5 of 5 | Soda Fired
A little vessel with a lot of personality. Each bud vase is thrown on the wheel by hand, and while the clay is still soft, I work my way around the rim, pressing it in and out with my fingers one wave at a time. No two ever ripple quite the same way.
The ruffles aren’t just for looks. Every little dip in the rim gives a stem somewhere to rest, so even a single flower stays standing instead of flopping to one side. And once it’s in, the ruffle sits around the base of the bloom like a soft, flowy skirt.
This one is from my Soda Fired Fall Collection, and the outside isn’t glazed at all. During the firing, soda ash is sprayed into the hot kiln, turns into vapor, and becomes glaze wherever it lands on the clay. The golden bronze you see is just the brown stoneware and the soda reacting to each other. Flip it over and you’ll find little circles on the bottom from the wadding it sat on in the kiln, where the raw clay stayed bare.
This one is the quiet one of the bunch. It sat somewhere in the kiln where less soda reached it, so instead of a high shine, it came out soft and matte, like warm toasted clay with just a little sheen at the neck where the soda kissed it. Before the firing, I dripped and drizzled a flashing slip over the body, and with less soda on top, it stayed a velvety mustard yellow that looks almost like honey running down the sides. It even wrapped all the way around the bottom and up to the ‘pooterie’ carving. Inside, the ruffle opens into a deep cobalt blue, the perfect pop against all that warm, earthy brown. It’s a good reminder that in soda firing, the kiln decides, and every spot gives you something different.
At around 4.5 inches tall, it’s the perfect size for a single stem, a few sprigs of whatever is blooming, or nothing at all on a windowsill where it can just be pretty. Made to hold a small moment.
This is a one of one piece, so the one in the photos is the one you’ll get.
A little vessel with a lot of personality. Each bud vase is thrown on the wheel by hand, and while the clay is still soft, I work my way around the rim, pressing it in and out with my fingers one wave at a time. No two ever ripple quite the same way.
The ruffles aren’t just for looks. Every little dip in the rim gives a stem somewhere to rest, so even a single flower stays standing instead of flopping to one side. And once it’s in, the ruffle sits around the base of the bloom like a soft, flowy skirt.
This one is from my Soda Fired Fall Collection, and the outside isn’t glazed at all. During the firing, soda ash is sprayed into the hot kiln, turns into vapor, and becomes glaze wherever it lands on the clay. The golden bronze you see is just the brown stoneware and the soda reacting to each other. Flip it over and you’ll find little circles on the bottom from the wadding it sat on in the kiln, where the raw clay stayed bare.
This one is the quiet one of the bunch. It sat somewhere in the kiln where less soda reached it, so instead of a high shine, it came out soft and matte, like warm toasted clay with just a little sheen at the neck where the soda kissed it. Before the firing, I dripped and drizzled a flashing slip over the body, and with less soda on top, it stayed a velvety mustard yellow that looks almost like honey running down the sides. It even wrapped all the way around the bottom and up to the ‘pooterie’ carving. Inside, the ruffle opens into a deep cobalt blue, the perfect pop against all that warm, earthy brown. It’s a good reminder that in soda firing, the kiln decides, and every spot gives you something different.
At around 4.5 inches tall, it’s the perfect size for a single stem, a few sprigs of whatever is blooming, or nothing at all on a windowsill where it can just be pretty. Made to hold a small moment.
This is a one of one piece, so the one in the photos is the one you’ll get.
