2020/21

Simons recent porcelain pots made in Hay-on-Wye remain on a small intimate scale designed to fit into the hand and have a function or a number of uses. The images below show thrown pots waiting to be glazed and then a group recently unloaded from the kiln.

He is currently making bottles, jars, cups and brush pots in porcelain with a range of semi matte and gloss glazes. 

The images below show the scale and typical glaze finishes of the collection. Also the potters mark a small star.

2018/19

From Jingdezhen: Simon Hulbert’s Porcelain Collection

Jingdezhen has been a centre of porcelain production for over 2000 years. Over the past decade Jingdezhen has been part of a vibrant ceramic renaissance, with local and international ceramic designers traveling to Jingdezhen to study, learn, research and collaborate with artisans and craftsmen and women in order to create new exciting work. Simon has studied on four residencies in JDZ researching and learning about this remarkable material  from arguably the worlds centre for porcelain.

    Hand engraving into onglaze enamel        Production thrower using porcelain

Established ceramic artist Caroline Cheng felt so inspired by the “Porcelain Capital” that she opened The Pottery Workshop in one of Jingdezhen’s ancient ceramic factories. A beautiful space designed and originally managed by UK potter Takeshi Yasuda that houses design studios, workshops and galleries.Simon first visited in 2015 and has returned each year until Covid shutdown.

Simon Hulbert’s Porcelain Collection - Jade White / Copper Red

Simon’s Jade White and Copper Red Porcelain Collection was created during residencies in 2018/19  at 'The Pottery Workshop' in Jingdezhen.            

Simon was 'hooked' after his first visit and over the next few years made multiple trips to Jingdezhen and gradually developed a range of small porcelain pots, a complete contrast to his normal production of large scale terracotta he makes in Hay-on-Wye.

Chinese porcelain has very beautiful and particular qualities which Simon enhanced with the use of glazes and graphic brush strokes that capture the energy of traditional Chinese calligraphy.

The work he produced was in two styles. The soft super smooth and intense jade white porcelain with powerful sometimes abstract brush marks and the red stamps referencing the typical signatures found on Chinese art and calligraphy.
With smooth minimal contours and a soft overall finish the work exudes a subtle, understated sense of intimacy and the tactile experience is intrinsic to appreciating the work.

 The second series used a different porcelain and the surfaces were decorated with impressed and raised stamps with appropriated Characters such as 'double happiness' or a simple Chinese star. The surfaces are deliberately undulating and show marks and 'throwing lines 'from the making process. 

This is emphasised by the rich copper red glaze which in this case is unique to Jingdezhen.

Image Source: Brook Street Pottery