I wasn’t able to start installing my marble run properly until Tuesday 3rd when the positioning of my piece was decided for certain. This left me with only a small amount of time to correct / fix any parts that weren’t working. Everything had been tested individually, but I had never been able to test every part together – this needed to be done in the exhibition space. This was very nerve-racking, as I desperately wanted to make the run as fool-proof as I could before assessment. Between Tuesday and Friday, I had to work quickly to correct parts on the spot, using DIY materials. Luckily, I had already planned for this, and came prepared with a tool box packed full of all the tools I could think I might need, and all the DIY materials (string, cable ties, glue etc), which I wanted on the top layer of my run.

On Thursday, my marble run was fully functional – everything was in place and connected, but I still needed to make lots of adjustments. The balls were still getting stuck / falling off in places, and the hooks were sometimes still getting stuck. Thursday I had a very late night in the studio, which ended with the overheating of my power supply.

On Friday, I continued to make more adjustments up until the last second. By the deadline, my marble run was working the best it had been, and the marbles were running the full course without any problems.

I am very pleased with the final outcome. This project has been an ongoing challenge the whole year, and taken me through the wringer, but through trial and error, pushing myself and being determined to make it work, I have learned a whole bunch of new skills and knowledge. These are all skills I would not have learned had I not challenged myself and sought to explore and discover many new things this year.



After learning the Raku firing process, I wanted to try making some raku marbles (obviously).

Below are the pre-bisque fired raku clay marbles:

IMAG3770 copy

I then added a dash of white glaze on the tops of the marbles. I only placed it on the top, because I did not want the glaze tor fuse the marbles onto the firing surface. I also wanted to leave some of the clay bare, to allow for the smokey ashen quality of raku fired pieces.

Here is the outcome:

I fired them in a small bowl I made (specially for the firing process), because when the clay heats up it can start moving around! I am very pleased with the ‘marbled’ effect caused by only glazing part of the marbles. Although not white, these have matt and grey-tone qualities which I often look for in my work.


I would like to create artwork that has laborious, tribute-like qualities to it similar to the poetic, meaningful work of Doris Salcedo. I would also like my work this year to carry on ideas of space, Japanese ‘ma’ and minimalism that I have been exploring for my dissertation, and for it to continue with ideas and concepts I developed in my second year – making fragile materials strong, experiencing the artwork with its surroundings, repetition, renewal etc.