Every plate begins on the same kick-wheel Hedi turned in 1947 — one rhythm, one wrist, one foot of red Cap Bon clay.
Tin glaze laid over bisque, peacock teal brushed before it sets, then sealed at 980° — the colour is the surface, not a coat.
Negative space is drawn first; the brush goes around the lily, never through it. What we leave bare carries the design.
The maker's mark stays underneath in cobalt — the plate belongs to the table, the name belongs to the kiln record.