CM: To what extent do you map out the surface decoration on your work ahead of building the forms (both vessels and figures), and how does that process affect the combination of vessels and figures?
KGR: The surface decorations of my pieces, whether figurative work, a vessel, or the two combined, are typically not pre-conceived. Once the form is built, I try to work intuitively—stream-of-consciousness, if you will—and let the surface unfold naturally, looking for whatever is right for the piece.
After it is bisqued, I almost always use washes to emphasize the markings and drawings, and then begin to layer various glazes, often custom mixed, sometimes commercial. Usually, I’ll fire a piece more than once in order to achieve the depth, the textures, and the colors that I want.