Born in South Africa.
Ché Finch is an artist working primarily in ceramics, some of which has an autobiographical element representing an internal dialogue of what memory is and how those memories change and transform us.
Fascinated by restricting the narrative as a creative approach, Ché uses this to drive her work, constantly challenging the way she sees and presents visuals. This approach stems from earlier work using African Rhythm Tree as a therapeutic tool, where structure is used to create an expressive freedom within and aimed at innovating new work and techniques.
“I love the intimacy of working with clay and the ambiguity that glazes lend my work. For me it’s very much about being there and allowing my feelings to drive and reinterpret the work”.
Ché produces richly textured vases with repeated layering of multiple glazes, stains and oxides being a signature of her expertise and work, with a focus on glaze interactions referencing a constant sense of flux. These techniques enable her to incorporate great levels of detail and texture throughout the work. Her work is characterised by raw energy and expressive style.
All vases are hand coiled, which is a process of using coils of clay to build up the vase. The clay is extruded using a Gladstone Extruder which extrudes the clay needed for coiling through cast die plates.
After designing the shape of the vase, I make a template to guide the coiling process and retain the shape, throughout this process the clay is constantly smoothed and scraped away to thin the piece and create a smooth surface. Once made the vase is left to dry until it’s ‘leather hard’ and then bisque fired to make the surface more suitable for glazing.
The glazing process can take several hours, I paint and pour multiple layers of glazes, stains and oxides onto the bisque body, scraping away areas and using several stages of resists to protect the image as its’ being created, many glazes appear white in liquid form so you need to keep the colour in mind whilst creating the work. I am particularly interested in glaze interactions and constantly experiment with layering glazes to see what new textures and colour vibrancy I can create. Underlying oxides can lend texture to a glaze and make a stain ‘pop’ and resonate, whilst glazes layered on glazes can create iridescence and depth.
After glazing, the vase is fired again at a higher temperature to render the piece hard and permanent.