A sculptor-painter and ceramicist-scientist strive to develop a glaze palette. Never has the rift between materiality and language seemed so great — words about wants are so multivalent, the chemistry can be unpredictable, and the turnaround time of mixing, sieving, applying and firing glaze tests severely limits our iterations. Clay as ground (as on a canvas, apart from being earth); the folly of trialing delicate, translucent color on a brown ground (HM: oops, should have suggested we start with porcelain); glaze as inseparable pigment and varnish; the methodological gulf between coloring a made form and making with colored materials…