Large ceramic objects are a hallmark of Henryk Lula's work. The artist uses plaster molds to make elaborate solids. Plaster absorbs the moisture contained in the ceramic mass. The starting point for further work is a sphere. The artist carves out two hemispheres of the negative form with ceramic plastic mass, which, after fixation, are glued together. The next stage involves attaching sculptural elements such as feathers or openwork mesh pressed into smaller molds. This technique requires great care, as the material is very fragile. After each stage of molding, the objects are retouched and dried. Following the initial fixation of the raw material, the artist proceeds to the first bisque firing. Only at this stage does the work gain durability.

In his work, Henry Lula devotes great importance to the artistic expression of glazes. The artist achieves exceptional effects by using heavy metal compounds such as copper in the mixtures he develops. Lula uses the technique of firing in a reductive atmosphere, which involves cutting off the air supply, in conjunction with copper glazes. Thanks to this technology, ceramic objects gain shiny surfaces of red, brown or green color.

Ceramics fixed during firing are usually covered with a layer of glaze, which forms an impermeable layer on the vessel. Its use, however, is not a necessity. Henryk Lula has developed a technology for working with colored clay mined in Kadyny near Elblag. Objects made using this technique are distinguished by their unique texture. After the first bisque firing, the artist hand-grinds the walls of the vessels to expose the grains and specks of light chamotte in the ceramic mass. This also gives the molds an exceptionally smooth, shiny surface.