Iguana. From series three: The land, its perils, its wonders

'My brief was to make something about Colombus (sic), something that would appeal to a wide range of people and be understood without the use of words. After much hesitation and after reading a great many books, I decided the only way I could tackle the subject was by treating it as an unfolding story of the "first Voyage". The information for the pieces came from paintings, sculpture and ceramics of the period, but the most help came from the woodcuts in Oviedo's History of the Indies. The objects were made by a combination of coiling, slab, and solid modelling.The solid work was cut, hollowed, and rejoined. All pieces were finished with modelling and surface texture. I didn't make models or do working drawings. I carried the idea in my mind, or stuck a picture or photo on the wall to help me create the atmosphere. I found making these objects quite difficult. I usually destroy many pieces before they get to the kiln, but the time limit on the Columbus work meant I didn't have the luxury of selection. Everything had to be right the first time around. The clay used is "T" material imported from England, horribly expensive but 100 per cent reliable. I did not want to cope with unknown shrinkage problems and did not have the time to test each bag of clay. The colour was painted on the dry unfired clay and then, after bisque firing, a black stain was added to try to get a 15th century woodcut feeling into the work. The final firing was at 1260 degrees in a new Cobcraft Decagon electric kiln which I bought especially for this job.' Ann Verdcourt Treasures of the Underworld. Catalogue. World Expo, Seville, Spain. 12 April-20 October 1992.