Studio Process: Glazing Large Ceramic Sculptures

May 13, 2026

About the Artist Wanying Liang: https://shop.wanyingliang.com/pages/about-the-artist

Creating a large-scale ceramic sculpture is an exercise in meticulous control. From engineering the internal honeycomb supports to carefully monitoring the drying process, the building phase is entirely about managing the physical limits of stoneware clay.

But once the piece survives the bisque firing, that control must be surrendered. Glazing is where science meets absolute unpredictability.

The Challenge of Glazing Sculptures

When working on standard functional pieces, like my Yukon or Spring Dawn mugs, I typically rely on the dipping method for a perfectly even coat. However, when glazing a large, heavy, and intricately carved sculpture like "You Grow Up When I Sleep," dipping is physically impossible.

Instead, I have to adapt my application methods to the specific curves, cutouts, and textures of the sculptural form.

A Multi-Method Application

To achieve a rich, dynamic surface on large pieces, I utilize a combination of three different glazing techniques:

Pouring: For the large, sweeping interior curves of the sculpture, I use pouring. By carefully ladling liquid glaze over the form and letting it cascade down the sides, I can create beautiful, organic drips that highlight the verticality of the piece.
Brushing: For the intricate botanical details—like the modular leaves I fire separately—I use specialized glaze brushes. Brushing allows for precise application over textured areas, ensuring the glaze doesn't pool too thickly in the recesses and obscure the carved details.
Dipping (for modular elements): While the main body cannot be dipped, the smaller, modular elements designed to be attached post-firing can be safely dipped to ensure a smooth, uniform finish.

A Tolerance for Chaos

Firing a fully glazed sculpture in a top-loading kiln is nerve-wracking. Even with the help of my partner to carefully disassemble and reassemble the kiln rings around the heavy piece, the actual melt of the glaze is out of our hands once the lid closes.

Glazing requires a tremendous amount of patience and a high tolerance for chaos. The kiln environment—the atmosphere, the exact cooling rate, and how the different applied glazes interact with one another at Cone 6 or Cone 10—will fundamentally alter the final piece. I am continually practicing this surrender. Ultimately, it is the unpredictable nature of the melt that makes the final reveal so deeply rewarding.