Moira Goodall
©All rights reserved
Moira Goodall
©All rights reserved
Moira Goodall
©All rights reserved
Moira Goodall
©All rights reserved
Moira Goodall
©All rights reserved
Moira Goodall
©All rights reserved

Moira Goodall

Ceramicist

St Lawrence, United Kingdom

When smoke plays with clay

  • Moira creates smoke-fired ceramics inspired by natural forms and colours
  • She builds pieces with coil and slab techniques before firing
  • The natural environment of the Blackwater Estuary influences her practice

Moira Goodall crafts ceramic objects inspired by the Essex coast where she lives. Deeply influenced by the natural weathering of her surrounding environment, she imprints and embosses stones and shells collected on walks along the beach into her ceramic surfaces. Moira began experimenting with smoke firing at college, developing it over many years as her signature technique. "It is a balancing act of control and spontaneity. Many aspects such as the shape and texture of the clay can affect the outcome, and I also keep a close eye on the weather which can produce unpredictable results," she says. The combination of intent and serendipity in obtaining an even pattern is what Moira finds so fascinating in working with ceramics. "I have learned to embrace both the expected and the unexpected," she shares. Her pieces are exhibited widely in the UK.

Moira Goodall is a rising star: she began her career in 2020.

INTERVIEW

The Essex coast is an unusual place, characterised by marshland and big open skies. Having that landscape around me encourages me to really look at things closely. The colours, softness, textures and natural weathering of the environment inspire me and are reflected in my work.

I am mostly known for smoke firing. It was something I always wanted to do. I have developed my combination of different processes over the last 20 years to bring smoke firing up to a contemporary level. I use coloured slips and a masking technique that I apply just before the smoke firing to try to control the way in which the fire interacts with the piece.

They think my pieces are glazed, which I do not do at all. Burnishing makes them look glazed. Putting in little surface dimples and textures invites people to feel and touch my pieces, which are both smooth and very tactile.

I have learned to never give up. I waited a long, long time to get started, just tinkering around the edges because there was not time, but I never gave up. I knew that my opportunity would come. When I let go of my day job and my pension came into effect, I decided to go for it.