The pierced pieces are a signature feature of Cochrane’s work, where he masterfully creates small perforations through the vessel wall, often in complex geometric or organic patterns. These pieces are not simply about surface embellishment but are deeply rooted in the interaction between form and light, texture and shadow as well as suggesting a structural component. As decorative motif Cochrane enjoys how the three dimensional patterns physically integrate into the form. 

His works, which range from functional vessels to sculptural objects, are highly refined in their execution, showcasing the artist’s exceptional craftsmanship and understanding of the material’s possibilities.

Bruce Cochrane’s surface relief pieces are a skilful  exploration of texture, form, and surface. Similar to the pierced work, the surface projections on these vessels serve as embellishment that is integral to the structure of the form as opposed to simply a two dimensional surface marking. The clay wall in its firm state is cut through and pushed outward then filled in with narrow slabs of clay. The interior of the form will show the negative spaces of the exterior reliefs. The interplay of organic and geometric shapes, combined with the atmospheric wood fired surface, results in works that are rich in depth and complexity. 

The ceramic collaboration between artists Zsuzsa Monostory and Bruce Cochrane combines their distinct artistic styles to create innovative and dynamic works. Monostory, known for her organic, sculptural forms, and Cochrane, who emphasizes minimalist, precise shapes, blend their approaches to explore new methods of form, surface treatment, and glaze techniques. This fusion of bold, expressive designs with clean lines results in pieces that are both visually striking and tactilely rich, pushing the boundaries of traditional ceramic art. Their collaboration celebrates the versatility of clay, merging their unique perspectives to create works that are greater than the sum of their parts.

The low fire earthenware pottery started in the late 1980’s and was the main focus for five years. It was during this period that the round symmetrical forms from using the potter’s wheel gave way to more complex wheel thrown then altered vessels. The foundation for these new functional objects was based on the thrown bottomless cylinder from which oval, rectangular and irregular forms can be constructed. These utilitarian pots initially were treated with a white majolica glaze with cobalt and copper overglaze decoration. At some point the majolica glaze was replaced by a terra sigillata coating which was fired to cone 04 in a gas kiln in a  slightly reduced atmosphere. This firing process exposes a rich tonal variation in the clay surface and exposed  the finest details in the forming of the work.

Both the plates and boxes are made with a combination of clay slabs, molded sections and thrown elements. The majority of this work is fired in the wood kiln to 2300 F. A white slip is used in contrast to the darker clay body and is applied to visually breakup the form into geometric sections. The  overall form has a sense of mass and weight as a result of the enclosed volume.

The use of plaster press molds has allowed me to think about form beyond the symmetry and altered symmetry of the wheel. One, two and three part plaster molds are taken from clay models. Slabs of clay are pressed onto the plaster molds. These pressed forms are then completed with the addition of thrown elements such as feet, collars, lips and raised details. This combination of technique offers many variations and endless possibilities.

These lidded forms are meant for storage, serving for special occasion and everyday use.  The double walled pierced pieces are funerary urns.  While serving as  functional pottery they can also have the presence as decorative objects.