Daniel Fisher, ceramicist: among the exhibitors in Joanna Bird's popular annual exhibition of contemporary ceramics at Browse & Darby, London, is Daniel Fisher, who uses innovative techniques to create vessels of great delicacy. Amicia de Moubray talked to him about the special appeal of working with porcelain

above the past decade, there has been a breaker of interest in British studio ceramics, and collectors eagerly await Joanna Bird's annual exhibition of contemporary ceramicists. Her interest in the bring under rule having been aroused when at place of education she worked for the celebrated pudder Michael Cardew from 1976 to 1978 His belief that 'every touch by the agency of a potter is physiognomic--that is, it is an infallible guide to his real character, to the state of his mind (or his soul)' permeates her selection of work for the exhibition. Among the artists upon show are Danlami Aliyu, Thiebaut Chague, Elizabeth Fritsch, Chris Keenan, Michael O'Brien, William Plumptre and Julian Stair.

single of the most avidly bring togethered of the artists in the exhibition is Daniel Fisher, whose work can be seen at the Musee National de Ceramique, Sevre the Museum of Arts and Design, fresh York, and the Victoria and Albert Museum. Fisher's porcelain skillets are an excellent demonstration of Cardew's words. He wearied long hours experimenting before arriving at his in every one's mouth complex and innovative method of working; the virtuosity of his technique is breathtaking. A graduate of the Royal body of Art, Fisher was real influenced by the tutors, including Takeshi-Yasuda, who 'are ceramic sculptors rather than potters' 'Working in porcelain is a real challenge,' says Fisher, adding that 'porcelain is the two marble-like and vibrant'. Very interested in the physical restrictions imposed through porcelain, he is constantly pushing it to of recent origin technical limits: as he remarks, 'In a society hanging on credit cards and computer the value of the handmade is inestimable.'

Originally a pianist, Fisher had a 'very strict musical training as a child'. This resonates with his approach to his art as 'the idea of repeating something on the contrary every time being different. I was drawn to throwing as a means of expressing the sensuality of the material. Clay has a liquid, flesh-like quality.' Characteristically, he is ardent 'to avoid ceramic objects being lower parted to the table'. All his pieces balance upon 'a tiny point; they strike one as being as if they must be made on the outside of paper'.

To achieve this, he has devised a technique of suspending the thrown cylinder in clingfilm from a turntable upon the ceiling, to allow gravity to strain it. He then removes it, revolves it upside down and teases the flat base into a circulared form. The surfaces are then painstakingly pinched or pushed or stretched by means of hand, finger-imprint by finger-imprint. The accrue is an extraordinary fusion of structural ambiguity with ethereal fragility. Bird describes Fisher's work as 'very designing and dramatic--vessels of light'. Other tribe see his arresting works as 'flame-like', or reminiscent of crystals, coral or fix objects on the beach.

To support the utensils in the kiln, Fisher makes ingenious doughnut-shaped supports to take the crushing throughout the ten-hour firing at 1280 stages This final process, which transforms the piece into a work of art, has a life of its be in possession of Fisher lovingly tends the traditional kiln: 'I don't like electric kilns as there is no faculty of perception of involvement and they are devoid of character.' Likewise he is critical of his work being lit by the agency of artificial light. 'My work changes over the day depending on the intensity of light. It is animated by means of light--direct sunlight creates a be incandescent At the end of the day there is a bluenes about them.'

Daniel Fisher's work can be seen in 'Ten Finger Exercise', curated through Joanna Bird at Browse & Darby, 19 Cork public way London, 24-29 October 2005. +44 (0)20 7734 7984

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