Ceramics

Jugs

Bodily language is often used in reference to ceramic objects – full, rounded bellies; narrow waists; long, elegant necks; tall foot rings – and jugs are forms that I think really suit these descriptions. They often appear quite bird-like, with pinched spouts that are not dissimilar to beaks, handles maybe reminiscent of wings. The shape of the body upholds this comparison – particularly when they appear to sit very lightly on their feet – with the rounded forms like a little song bird, chest puffed out from an intake of breath, subtly leaning back in anticipation of its song. This little jug dated to 13th–14th century Orvieto is a very sweet example.

The two different forms I’ve been developing – one with a handle and one without – are thrown on the potter’s wheel, then subsequently painted in layers of coloured clay slip, before being finished with ornamental slip-beading that takes influence from decorative street furniture and architectural details.

Jugs have an animated quality that is more apparent, I think, than in other pieces of tableware which tend more towards stillness. They’re objects that I really clearly imagine in use and in motion, and find especially engaging because of this. I think about how their weight would change as they are filled with and subsequently emptied of liquid, how my grasp on the handle would adapt in response, how I might cradle my other hand around the body to give extra support. Are they most satisfying to hold when full or empty, or somewhere between? How much do you have to tilt them to get a smooth stream of liquid?

I find them exciting objects to make because of all these considerations – there’s so much to try and get right. A lot of this is speculative since you can’t truly know the weight of the object plus its contents until the final firing is complete, but this just adds to the sense of anticipation to put it to use.

I think the handled jugs I've made so far are getting towards this impression of animation I am seeking – their narrow base growing up into a wider mid-section has the quality of an inhale, as though their shape has been defined by rising air. Research into similar forms has led me to look at late Medieval London baluster jugs . These are tall, slender jugs with an ovoid bodies that lift upwards as if mid-stretch, grounded by a gently flaring foot. The very slight lean is contributing a lot to their charm too. This tilting aspect (seen in a forwards motion on this jug from late 13th – early 14th century London) makes it seem as though it is fresh off the wheel, clay just released from the potters hands. It is in the process of steadying itself, wavering gently as it comes to its centre. ●