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The Triangle Selection
Evolving Flame
Several glazes fired over a near-black body, left to react. In the kiln the top coats pull apart into pits and crawls and separate into red, amber, olive and pale blue, all of it held together by the dark ground underneath. No two pieces come out alike, and none of it is painted.
The glaze
Glaze that moves in the firing
Amber · ember · olive · smoke blue · dark ground
A dark base glaze goes on first, then lighter reactive coats over it. In the second firing those coats boil and draw back into themselves, opening thousands of small pits where the black shows through and pooling into patches of colour where they gather. The effect is closest to weathered enamel or lichen on stone.
Because the pattern is made by the firing, it cannot be repeated. Colour balance holds across a batch — the same reds, ambers and blues in the same proportions — but the placement is different on every piece, and the underside and rim usually stay dark and glossy.
A few pieces
For inspiration
Click a thumbnail to change the piece · click the large image for the view from above
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A selection, not the full range. Over 300 shapes are made in this glaze, and bespoke shapes to order.
Your dish on Evolving Flame
Send us a recipe, we'll plate it
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On the plate
Plating Evolving Flame
What it flatters
Game, mushrooms, root vegetables, anything foraged or dark-cooked. The plate already carries autumn colour, so food in the same register looks at home on it.
Contrast that works
One clear colour and one clear shape. Beetroot, blood-red fruit, white cheese, a single herb. Fussy multi-component plating disappears into the pattern.
Building a table
Use it as the statement and keep the rest plain. One or two Evolving Flame pieces per cover, dark wood or raw linen beneath, and matte black or plain white for everything else.
In service
Two dishes on Evolving Flame
Short enough to hand to a section chef.
On the pointed oval tray
Cervo Arrosto, Finferli & Frutti Rossi
400g venison loin · 200g chanterelles · 100g lingonberries or redcurrants · 50g walnuts, toasted · capers · thyme flowers · purslane or lamb's lettuce · butter · juniper · black pepper
- Season the loin heavily with cracked pepper and crushed juniper and sear it hard in butter, then roast at 180°C for six to eight minutes and rest it fifteen.
- Fry the chanterelles dry first to drive off their water, then finish them in butter with thyme.
- Warm half the berries with a spoon of the resting juices until they just split. Keep the rest raw.
- Slice the loin thick and lay it along the length of the tray, off the centre line.
- Set the mushrooms, walnuts, capers and both kinds of berry around it and finish with purslane and thyme flowers.
The long point of the tray gives the dish a direction to run along, and dark meat with red berries picks up the same colours as the glaze without competing with it.
On the leaf plate
Beetroot Linguine, Ricotta & Hazelnut
200g linguine · 2 cooked beetroot, blitzed to a purée · 150g ricotta · 50g hazelnuts, toasted and crushed · lemon zest · marjoram · olive oil · butter · black pepper
- Loosen the beetroot purée in a pan with butter and a little pasta water until it coats a spoon.
- Cook the linguine one minute short and finish it in the purée so it takes the colour through.
- Season with lemon zest, pepper and salt. Beetroot needs more salt than you expect.
- Twist the pasta into a tight nest in the middle of the plate, lifting it with tongs so it stands.
- Crumble ricotta over and around, scatter hazelnuts and marjoram, and finish with raw oil.
Deep red pasta and white ricotta are the two things this glaze will not swallow, and the leaf shape frames a single mound better than a round plate does.
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