Jack Wooley

Ceramics

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Combining the precision of industrial production
methods and the fluidity of the unguided hand,
my work strives for a balance of certainty and
chance. With a focus on technique and
handcraft, products have been developed with
a distinct awareness of, and appreciation for,
the inherent imperfection of ceramics. Without
sacrificing function, they seek a certain
emelmental, unique appeal. My designs
explore themes of weight, texture, and light,
and seek to enliven our daily rituals.

The following is a selection of work designed

and produced over the last year in my own
studio in New York, at Jono Pandolfis facility in
New Jersey, and, most recently, in the London
studio of Billy Lloyd.

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Fifths Collection 4
Rimmed Plate 8
Standardware 9
Tenmokuware 10
Rocking Bowl 11
Lidded Jar 14
Gridded Carafe 15
Espresso Cups 18
Tea Light 19
Paper Tiles 21
Combed Vase 23

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Fifths Collection
Slip Cast Porcelain
Turned Plaster Model

Challenged by Billy Lloyd to design a range of

tableware using wheel turned plaster models
and slip cast moulds, I developed a group of
five plates and bowls based on a simple
geometric sequence of fifths. The largest plate
has a base diameter of 250 mm and a height of
20 mm, with an edge angled to 40. Each
successive piece becomes narrower by one fifth;
as the height increases, the angle of each new
edge reduces as well by the same rate. Rather
than conforming to industry standards for a
tableware range, I chose to allow the clear
geometric rationale to determine the final
pieces. The result is a collection offering an
array of uses and configurations - a reflection of
our manifold dining habits.

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1 2 3

4 5

Base Diameter Height Angle at Rim

#1 50 mm 100 mm 0
#2 100 mm 80 mm 10
#3 150 mm 60 mm 20
#4 200 mm 40 mm 30
#5 250 mm 20 mm 40
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 1-2 Previous work with stacked plaster cylinders and the
bandsaws ability to cut at precise angles provided the
initial inspiration.
3 Rough sketches illustrated the collective potential and
geometric strength of the idea, and led me to settle on a
range of five pieces.
4-5 Full scale line drawings and cardboard models helped
to determine the final modules, specifically, 20 mm
height and 50 mm width

1 2

3 4

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 1 A technical drawing of each profile tool
incorporates a resevior for slip
2 The drawing is glued to a sheet of acrylic, cut
on the band saw, and sanded smooth
3 The plaster model is turned & finished on the
wheel
4 A drop-out mould is cast from each model

1 2

3 4

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Rimmed Plate
Jiggered Stoneware
Wheel-turned Plaster Mould

Designed and produced in Jono Pandolfis studio in New

Jersey, the rimmed plate takes advantage of the facalities
particular capacities. Acrylic profile tools are cut to both the
interior and exterior contours of the final piece, the later being
used to form a plaster mould. Where the mould would
typically be refined through wet sanding, I have left the
texture in place to heighten the contrast between smooth,
glazed interior and rough, unglazed underside.

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Standardware
Slip Cast Porcelain & Stoneware

A range of tableware shapes produced using drop-out moulds

and clay and plaster models, both turned on the wheel. The
simplicity of forms allowed for expirements in weight and
finish. Two types of porcelain, a speckled grey stoneware, and
various translucent and white glazes were used. The work
represents my first attempts at developing a coherent collec-
tion of pieces, considering uniformity in thickness and repiti-
tion of contours.

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Tenmokuware
Slip Cast Porcelain

The breadth of tenmoku glaze is explored using

Standardware forms and a variety of application
techniques. A highly reactive glaze, the final appearance
changes drastically when applied by dipping, spraying,
or painting. In combination with other glazes (white or
translucent), the variety is increased further. The unique
finish from the glaze provides a strong contrast to the
clarity of form.

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Rocking Bowl
Solid Cast Porcelain
Sledged & Carved Plaster Models

A playful bowl for the kitchen counter, bedside

table, or bathroom shelf. The round exterior
means the piece wobbles when touched, while
the weighted base ensures it stays upright. Solid
casting allows for the thickness to taper towards
the rim, giving the appearance of lightness. In
addition to the smooth interior, two carved
textures were tested - one soft, one rough. This
was achieved by chiseling away at the positive
half of the mould.

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1 Section drawing shows the diminishing thickness from base

to rim.
2-3 The initial mould, with pour holes at the rim, failed to cast
properly. Moving the pour holes to the base allowed the slip 2 3
to flow properly and fill the mould completely.
4-5 The postivie half of the mould was cast with a smooth finish
before being carved away by hand
6 Multiple plaster models were made to find the correct
proportion, weight and texture

4 5 6

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Lidded Jar
Slip Cast Porcelain, Cork
Thrown Clay Model

Initial forays into slip casting used clay models. For the jar,
various pieces were thrown to a specific width to fit the cork lid.
The chosen shape was fired and glazed, and the mould cast. The
use of translucent and black glazes on the final piece make for
contrasting salt and pepper containers, though the simplicity of
the form allows for a myriad of uses.

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Gridded Carafe
Slip Cast Porcelain
Turned & Constructed Plaster Model

The carafe, equally suitable for water or wine, developed from

previous explorations of texture and a consideration for the
tactile act of pouring. At the neck, the natural gripping point,
a gridded texture has been applied during the glazing stage
using dry wall tape, commonly found at builders merchants.
A single strand of tape is wrapped around the bisque piece,
which is then spray glazed, and the tape removed. The
resulting irregular pattern of unglazed recesses provides a
pleasant texture for the hand as it pours. The angle at which
the tape is applied, and the way in which it overlaps upon
itself, means that each piece is unique.

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 1-3 Preliminary line drawings used to
test proportions and eventually
settle on the specific dimensions.
4 Medium density foam was turned
on the lathe to create a half-scale
model.
5 As the full form could not be
turned in one piece, it was broken
into three sections.
6 The sections are fixed together
and seam lines cleaned to create
the full plaster model.
1 2 3

4 5 6

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Espresso Cups
Slip Cast Porcelain

Handle-less espresso cups are the starting point

for explorations of color and texture. In one
instance, increasing amounts of black stain are
mixed into the slip, resulting in a subtle
gradient. In another, raw clay models are turned
to a rough, irregular texture before the mould is
cast. The gridded texture seen on the carafe was
intially developed as part of these tests.

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Tea Light
Slip Cast Bone China
Carved Plaster Models

Three textural variations of tea light holders,

produced in bone china to highlight the translucent
properties of the material. Discs were cut from
plaster sheets and stacked five high to create the basic
cylindrical form. Various treatments were applied to
each disc using three distinct techniques -
chiseling, filing, and cutting on the bandsaw. With
each intervention, the influence of the hand is
introduced without greatly altering the form. The
models were reconstructed and slip cast moulds
produced, from which casts were made at various
thicknesses for each variation. A setter was developed
to keep the form during the first firing, and only the
interiors were glazed before firing again. While light
is transmitted through each piece, those that were
cast for the shortest amount of time (5 minutes),
were most effective in illuminating the fine textures
of the bone china.

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 1 Stacked plaster cylinders were cut on
the bandsaw
2-3 The bandsaw was used again to create
shallow incisions around each disc.
4-5 A metal file was used to carve soft,
concave contours into the perimeter.
6-7 The roughest, irregular texture was
achieved using a chisel.

2 4 6

1 3 5 7

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Paper Tiles
Solid Cast Porcelain
Plaster Model

A messy studio and experiments in textured

plaster came together to create a wall tile that
makes use of disused packaging paper for its
veiny surface. Crumpled brown paper is
pulled flat and held down to the table as
plaster is poured over top, capturing the folds
and crevices. A model is made and cut square,
and subsequently a solid cast mould from which
the tiles are produced. The fine, irregular textu-
re is thus carried from paper to clay. A distinct
depth to the surface plays with light and shadow
when applied vertically.

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1 2 3

1 The crumpled paper is pulled flat and held to the

table by cottling boards.
2 Plaster is poured into the form, capturing the
texture. The soaked paper will be carefully rubbed
away after the plaster has set fully.
3 The plaster is cut square and painted with shellac
to protect the intricate texture and aid release from
the mould.
4 A two part mould is made with pour holes in the
corners of the base of the tile. Fettling removes any
trace of the holes.

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Combed Vase
Slip Cast Porcelain
Sledged Plaster Model

The strong geometric form of the vase is countered

by a wavy surface treatment achieved using a cheap
plastic comb. The model is sledged in two halves,
which are then joined to create the 12-sided form.
After running the profile tool to define the form,
while the plaster is still wet, the comb is dragged
down each face. The imperfections of the hand -
change in pressure, lateral movement - and the fast-
drying nature of the plaster ensure each side has a
unique texture.

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1 2

1 The model is sledged in two halves

vertically. The rough ends are cut
away before.
2 The comb leaves flakes on plaster
on the model surface.
3 After hardening, the surface is
cleaned with a stiff brush.
4 The two halves are joined to create
the full, 12-sided form. Base and
top are leveled before the mould is
cast.

4 3

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