Whilst working within the English slipware tradition, Miranda began looking at other slipware traditions across the world. The Chinese Northern “Sung” wares were held in her highest esteem.
She noticed the Sung potters were drawing and carving through the slip layers at a later stage. These pots became her inspiration. This gave her carving a crisper cut, and showed the freehand drawing in a more defined way.
Then by firing the iron rich slip in a reducing kiln, and coating it in a Chun glaze, the smoke in the kiln transforms the rust layer to a range of rich blacks and browns. Sometimes, the iron is lustrous highlighting the edge of the carving. On the carved away areas the Chun glaze is a deep olive celadon, and where it pools, an opalescent blue. No two pots come out of the kiln alike. These have become Miranda’s signature pieces.