In her quiet studio in the beautiful country grounds at the Harley Foundation in Welbeck making is a risky, involved conversation for Kyra involving long hours, obsessive marking, erasure and chance. The bowl is the source of a lifelong fascination as a circular and abstract form that has no singularly determined view point; it becomes a canvas, a structure with which to push against and a horizon to explore.
Less decoration or representation, the lines that are fused onto Kyra’s work are a translation of landscape and absolutely an inherent part of the character of each piece. Every line or mark is made in relation to the previous, a definition of space that endeavours to capture the sense of shifting light or falling rain.
Kyra’s process is first and foremost one of a dialogue between herself and the materials with abstract drawing as the foundation of her vocabulary, beyond words and into a complex layering of sgraffito and oxide lines. It is a constant back and forth adding and responding to what comes out of the kiln, until the vessels have a voice of their own and are ready to exist independently. Surfaces built up through multiple firings and often completed in the meditative dark hours of the night when her concentration and rhythms are at their height, retain a lightness of touch and a spontaneity that speaks of her incredible skill and material understanding.