‘Working to Scale’ explored how techniques traditional to Chinese ceramic manufacture could inform contemporary work. Aylieff focused on the decorative technique of Famille Rose enamel painting: Fencai. Aylieff’s research into Fencai included studying historical sources and object collections to understand the origins and development of this decorative technique, and the structure of imagery and patterns associated with its use. She also undertook practical investigations into the traditional means of applying and firing the enamels. This research underpinned the contemporary pieces Aylieff produced, which referenced traditional forms and surface patterns of Fencai techniques in their surface decoration.
The use of Fencai had traditionally been restricted to modestly sized vessels. Owing to its firing requirements, it was not previously thought possible to deploy it on a larger scale. Aylieff chose to innovate in this direction, a decision that entailed her having to master the demands of large-scale porcelain production. She also developed ways of applying extensive areas of enamel and complex firing cycles to accommodate the scale of the works and the multiple firings Fencai requires. Aylieff undertook the research, practical testing and manufacturing of the vessels in ceramic workshops in Jingdezhen, China. The resulting pieces were technically innovative and also created a new relationship with the viewer owing to their overall monumental quality and the extent of the ‘ceramic canvas’ each work displayed.
The research culminated in a solo exhibition of six monumental and six small vessels at Contemporary Applied Arts (CAA), London, between October and November 2009. A catalogue of Aylieff’s oeuvre was published to coincide with the CAA exhibition, funded by the Arts Council and with an essay by Ann Elliott. As a further development, two new works using this process of Fencai were acquired by the Cheltenham Museum (supported by the Art Fund, 2013).