DORIS BANK. Her formal training and practical experience as a master of ceramic art were the foundation upon which she started her own studio in Miltenberg, Germany.
Her handmade works are designed to capture the natural origins of the materials she uses. Her talent give her work a uniqueness seldom found in todays commercial world.
My aim and my products.
The shape, color and finish of my pieces should highlight the natural energy of my raw materials. The unglazed side lets you feel the texture of the hand-modeling work involved.
The fine calcined clay I specially use gives the unglazed surface a fine texture. Transparent or colored glazes are used for the open surface which are fired at 1255 degrees Celsius giving a fine Craquele look that is waterproof.
The soft tones I use invite a combination of pieces. The refreshing ooks of AQUA and ORANGE bring vitality to the table; the NILEGREEN and YELLOWGREEN combined with a touch of ROSE create an atmosphere of tranquility and wellness. Other combinations bring their own special touch, suited to your character and mood.
The glazes SEAGREEN, APRICOT and STONEGREY intensify the handpinched surface of the porcelain dishes.
Unique pieces of hand-modelled porcelain, either NATURE coloured or hand-painted with a silky layer of finest GOLD, creating an elegant contrast with the natural porcelain.
The decorated plates and dishes are covered with a fine structure of gold; every brush stroke has been layered onto the porcelain like a golden thread.
Golden porcelain mushrooms and carrots can be used as talismans, but also lend themselves perfectly to stylish table decoration.
These luxurious pieces are waterproof and food safe.
It has taken some time but I finally achieved an ultra translucent porcelain body that can be formed by hand into the finest shapes.
The wafer thin porcelain is made from slabs of raw material that are pressed down to the desired thickness, this can then be shaped into forms for bowls, cups and mugs.
Using over-lapping wraps of material has the added effect of giving the objects fascinating light and shadow effects.
I finish the objects using transparent glazes and soft tones like Achat and Celadon.
Hand-modelled bowls and plates with floral designs. Motives such as MYRTE, ANIS, LINEA and ALLIUM have been carefully hand-painted underneath a transparent Craquele glazing in which they appear to swim.
All decor motives can be elegantly combined with each other, and with the natural coloured bowls, cups and spoons.
For this collection I sought natural harmony combined with refreshing and contrasting colour tones using Cacao, Palmgreen, Olive and Bananayellow glazes.
The wafer thin clay is made from slabs of raw material that are pressed down to the desired thickness, and is formed into dishes, cups and vases.
By firing at 1250 degrees celcius the outer face cacao tone with its smooth feel blends in superbly with the super glossy inner.
This vessels have been modelled by hand using a stoneware body. They are pinched thin by hand, which creates
a sculptural structured pattern and enwakes a feeling of bronze age craftsmanship.
The surface has a raw sensibility, and is covered with a metal skin made of copper and iron.
A puristic collection of dishes, cups, plates and bowls with simple forms which have been modelled using an oxide-coloured clay body.
Glazes of TURQUOISE, MOSS, CEDAR, ROSE SMOKE and SLATE BLACK create a shiny and atmospheric finish. The characteristic expression of the particular hand pinched modelling technique is mirrored in these unique pieces.
All objects have been fired at high temperature and are waterproof.
These objects have been fired using the Japanese Raku-firing technique. The hand painted relief glazing of the decor motives OMBRA and EDERA results in a shadow play of grey and black tones.
The decorated pieces can be supplemented to sets with cups, spoons and bowls with BLACK glazing.
Raku firing, with its origins in 16th century Japan, is a very special process to produce unique ceramics. The piece is fired briefly to 1050 degrees Celsius and then whilst still glowing hot taken out with a tongs (and fireproof gloves) of the kiln. The immediate temperature shock creates the craquele effect in the glaze. It is then placed and sealed in a container with combustible material (wood-chips or paper) in it and during the following process the carbons enter the clay as a black coating. Dependent on the size of the piece this process continues for 30 minutes to many hours.
On completion the piece to taken out and washed, the effect is a unique look. Not every attempt is successful as the extreme conditions from quick firing, the temperature shock and handling place the ceramics under extreme pressure - I count every success with pleasure.
Raku fired ceramics are not waterproof.