Timothy Sullivan

Over the last few years, it has become increasingly important for me to think about my work holistically. As the surfaces became more important and complex, I initially felt the need to refine and simplify the forms to avoid conflict between the two. I’m currently exploring surface development on more complex altered forms.

I love the rich interactions, surface depth, and subtleties that can be achieved by layering and overlapping multiple glazes. I begin by drawing with glazes to establish basic patterns and a framework for spraying additional glazes. Each piece is then further developed by airbrushing or spraying a number of other glazes. The airbrush allows for fine shading and a larger gun provides for softer transitions between colors.

I use B-Mix and Porcelain. These white clay bodies are critical to color development in my glazes.

Most of the forms are wheel thrown using traditional throwing techniques. Some are constructed on the wheel with a combination of slabs, coils, and hump molds. Handles are generally extruded, pulled, and carved.

All of my work is reduction fired in a natural gas kiln to a hard cone 10 some are then refired in an electric kiln to cone 04.