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These ideas stem from the nature of the material, forms that can grow from the potter's wheel, the process of firing and a sense of adventure with light and space.
I am researching and developing porcelain lights that can be industrially produced for domestic, and large scale commercial interiors, and continue to produce my individual studio works.
Margaret O'RorkeMargaret O'RorkeMargaret O'Rorke
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Margaret O'Rorke
Oxford, United Kingdom
"Light maker in fine porcelain and manufactured bone china"
The translucency of fine high-fired porcelain has led me to throw forms which give light.These ideas stem from the nature of the material, forms that can grow from the potter's wheel, the process of firing and a sense of adventure with light and space.
I am researching and developing porcelain lights that can be industrially produced for domestic, and large scale commercial interiors, and continue to produce my individual studio works.
Wescover creator since 2019
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Q&A
How do your pieces come to life? Tell us one interesting thing about your creative process?
"My lights come to life when the kiln is cool enough to open after the firing to 1,300⁰C. Holding each piece to the light I can see the translucency for the first time. Only then do I discover what I’ve actually made. The light really does breathe life into the form and transmits the feeling my hands have given."
Margaret O'RorkeQ&A
What do you want people to do or feel when they encounter your creations?
"My hope is that like a candle when lit up, my works transmit light, filling the space around and creating a feeling of calmness. People will first of all relax, and then will go on to enjoy and sense the pleasure I myself derive from working in porcelain."
Margaret O'RorkeQ&A
What funny moments, unexpected surprises, or obstacles have you encountered?
"I like to experiment with firing, and on my wheel, I had combined both bone china and porcelain and thrown them together into a global form. In the kiln at 1,300⁰C the form literally melted and flowed over the side of the kiln shelf, looking almost like a draped silk shawl. It was amazing to see how the materials had been transformed into something I’d never seen before - but I don’t think I’ll be investigating this permutation further."
Margaret O'Rorke