David White was dedicated to his work but he never showed the slightest desire to be part of the ‘art world’ – he was a most uncommercial man. He was the inveterate experimenter who revelled in the fact that no two pieces would ever be quite the same and for those who followed David’s work, the sheer unpredictability of his output was part of his great attraction as a potter. The late 1980s and early 1990s however, saw the advent of colour and experimental technique in David’s work.
| 1988 | David finds a Moroccan plate glazed in the majolica method promoting a vast majolica glaze output at Brier Hey until the early 90s. His work became abstract and vivid. |
| Late 1980s | David perfected the “wax resist” technique, again enhancing his work in a colourful and unique way. |
| 1993 | David began experimenting with “lustre” using metallic compounds over a glazed surface. He started to generate the “spiky platinum” pot pieces. |
| 1993 | Also saw David accepted at the Workshop of Ceramic Art in Tokoname, Japan where his refined and delicate fluidity of brushwork flourished. |
