Ingrid Bathe has been working in clay since 1991, almost exclusively pinching porcelain for the past 15 years. Her work is simple, yet elegant. The process of creation becomes her surface decoration: when two pieces of clay are joined she leaves the seam line, each pinched mark is left intact.
She completed her undergraduate work at Tufts University and the Musuem School of Fine Arts in Boston, then earned her MFA from Ohio University, Athens. She exhibits and sells work at galleries, studio sales and craft shows across the country. Currently, she lives and works in midcoast Maine as a potter, baker and textile designer.
Thoughtfulness is evident in the way I handle clay and necessary when viewing or han- dling my work. All of my work is formed by hand only, using porcelain clay. I mix the porcelain from dry materials and add paper fiber to increase green strength without compromising the final product. I pinch the clay to achieve the desired form and apply a thin layer of glaze on the inside. The glaze has a blue or purple tone to it depending un- der which light it is being viewed, daylight or fluorescent. The outside of my pieces usually remain unglazed. The clay is fired to high temperature, cone 10. It is vitrified, translucent and begins to flux so that the unglazed portions of the piece have a slight sheen to them and a warm feel.
The methods I use while constructing are integral to the final presentation of the work. I want the process of creation to be visible to the viewer: when two pieces of clay are joined together I leave a seam line, each pinched mark is left intact so when a piece is looked at closely my fingerprints can be seen. By making objects out of a fragile and precious material, I expect the delicate nature of the work to provoke a heightened awareness and sensitivity on the part of the viewer.