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Small Ruffle Vase No. 2 of 3 | Soda Fired
Each small 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 a small bunch of flowers stays nicely spread out instead of all leaning to one side. And once they’re in, the ruffle sits around the base of the blooms like a soft, flowy skirt.
This one is from my Soda Fired Fall Collection. The outside isn’t covered in glaze like most pottery. During the firing, soda ash is sprayed into the hot kiln, turns into vapor, and becomes glaze wherever it lands on the clay, so the shimmery golden bronze you see is just the brown stoneware and the soda reacting to each other. The inside is glazed by pouring glaze in and pouring it right back out, so it holds water for fresh flowers, and that color peeks out from between the undulating ruffles. 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 calmest of the collection. A soft slate blue glaze wraps around the body in big, sweeping curves, fading into violet near the base, and the rest is left bare so the soda could do its thing. You can see exactly where the soda landed hardest, with glossy, almost metallic patches of bronze and copper across the shoulder and little dark speckles from the clay showing through. Every side of the vase looks a little different, so it changes depending on how you turn it. Inside, the ruffle opens up into a deep blue violet that peeks out through every wave.
At about 5 inches tall with a wider, rounder body, it’s made for a small, full bunch of flowers, a handful of dried stems, or a spot on the table 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.
Each small 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 a small bunch of flowers stays nicely spread out instead of all leaning to one side. And once they’re in, the ruffle sits around the base of the blooms like a soft, flowy skirt.
This one is from my Soda Fired Fall Collection. The outside isn’t covered in glaze like most pottery. During the firing, soda ash is sprayed into the hot kiln, turns into vapor, and becomes glaze wherever it lands on the clay, so the shimmery golden bronze you see is just the brown stoneware and the soda reacting to each other. The inside is glazed by pouring glaze in and pouring it right back out, so it holds water for fresh flowers, and that color peeks out from between the undulating ruffles. 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 calmest of the collection. A soft slate blue glaze wraps around the body in big, sweeping curves, fading into violet near the base, and the rest is left bare so the soda could do its thing. You can see exactly where the soda landed hardest, with glossy, almost metallic patches of bronze and copper across the shoulder and little dark speckles from the clay showing through. Every side of the vase looks a little different, so it changes depending on how you turn it. Inside, the ruffle opens up into a deep blue violet that peeks out through every wave.
At about 5 inches tall with a wider, rounder body, it’s made for a small, full bunch of flowers, a handful of dried stems, or a spot on the table 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.
