Helen’s signature ‘lenticular, moiré ceramic’ style - ‘shifting and moving surface effects’ - is created by using stained black clay screen printed onto plaster batts, contrasting with white porcelain casting slip. By forming a textured, wafer-thin sheet of clay into an upright, oval cylinder and attaching a base, the translucency of the material enables light to shine through the vessel's wall.

Height 25 cm
Width 13 cm

White porcelain is cast into large, wafer-thin sheets of clay, stained orange clay is applied to one side. Cut into thin strips and assembled into wide, upright cylinders, the kiln ultimately forms the over-all fluid structure through high heat. The outer surface is polished to a satin feel after the first firing.

Length 120 cm
Width 35 cm
Height 25 cm

These distorted traditional vase forms in a brutalist style were Bisque fired and glazed. Plaster moulds were made from a vase that had been sawn up, re-assembled, then secured before porcelain casting slip was poured in to create the new shapes. When set, the mould is removed, any imperfection is highlighted with surface pattern.

Height 20 cm
Width 15 cm

Using the colours of orange, yellow, black and white, Helen screen printed clay onto a plaster batt. An A3 sheet of porcelain is cast, carefully removed from the plaster, cut up and laminated together to make double-sided vessel walls, before cutting to size and joining. A base is attached and smoothed to create a low, wide contemporary and decorative ceramic object, reminiscent of an abstract desert.

Length 32 cm
Width 21 cm
Height 11 cm

A slip cast vase is left upside down to dry in the plaster. The drips usually trimmed, remain and are glazed and gold lustered. This project emerged in lockdown, using other people’s old or no longer wanted materials.