or more than a decade I’ve been exploring the teapotin its miniaturized orm. The teapot orm continuesto challenge and ascinate me, and the idea o do-ing one thing and doing it well has been central tothe success o my proession as a potter. There are a lot o techniques involved in making these teapots, and some o the techniques require tools that I have made or mysel to suit a certain situation.Although a native o Singapore, I attended college inNorth Carolina with graduate work in Kentucky at theUniversity o Louisville. I’m inspired by my Chinese heri-tage, and particularly in the long tradition o Yixing pottery.My teapots are small and jewel-like, made o porcelain andoten fred to cone 6 in an electric kiln.
Dazzling compact forms
Teapot, 6 inches in height, porcelain, fred tocone 6. This teapot is glazed with what Choocalls his “Crystal Celadon” glaze, which is a lay-ered combination o commercial glazes (AMACOTextured Alligator, LT Series and LT 122 Dark Blue)
by Fong Choo
Center a well-wedged 1
pound lump o clay on aremovable bat. I use porcelain or my teapots be-cause it has a better color response with my glazes.
It is important not to overwork the clay, especially inthe early stages o the process. In three passes, youshould have the approximate orm.
I use a push stick to expand and redene theorm. I ollow the push stick on the outsidewith a metal rib to smooth the surace andremove excess moisture.One eature I like to add to many o my tea-pots is a “moat.” It provides not only a visualbase or the teapot, but also unctions as aglaze catch.