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From the journal: Chemical Science. This article is Open Access.

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Please wait while we load your content Something went wrong. Try again? Cited by. Back to tab navigation Download options Please wait Supplementary information PDF K. Article type: Edge Article. DOI: Download Citation: Chem. Pushing the analytical limits: new insights into complex mixtures using mass spectra segments of constant ultrahigh resolving power D.

Palacio Lozano, R.

Pushing the Limits

Gavard, J. Arenas-Diaz, M. Thomas, D.

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Stranz, E. Guzman, S.

Pushing the limits

When you work with pieces that are 2m high, that's not my daily work, so it's a challenge. It's a process. You start drawing, you take your time and you model it. This is what we learned and what we're trained in. Even when the Ratchaburi craftsmen do not speak any English, we had only the language of craftsmanship, but on both sides there was a deepest respect.

To create a clay or porcelain vessel requires a lot of teamwork. Each person is an expert in their field. From building to glazing to firing, each vessel took many months to complete, and all those involved depend on each other to deliver perfect results. It's the time you have already in your background to create such pieces.

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One vessel that looks like a giant teacup, for example, is almost 2m wide with only a narrow base holding up all of the weight. When I was drawing this, I was thinking to myself, 'Oh, this is a real Hering piece'.

There's zero compromise. It's just shape, and it's such an extreme shape. And when I saw it when they made it, it was thrilling.

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Even when it bends -- when the fire goes through it -- it gets even more dramatic. Working alongside and documenting everything Hering did was Wasinburee. Not only did he provide his ceramics factory for Stefanie to produce her large-scale vessels; he documented every step of the process for the sake of preserving the art. Can we see the value of these things? In the future, it might be only these photographs left, and I don't just want them to be photos.

I want people to ask, 'Oh, they had this in the past? But if we take care of [the art form] now, it might be sustained until the future.

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  • It's not a machine-produced item where you can pump out 1, plates a day. We have people behind [the scenes] and they need money to make their living no matter where they live.

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    I think that's the trickiest part for the future. It's not about the talent. It's really about society and respect for the craftsmanship.