Tuesday, April 3, 2018


Spring Starlings

Spring Starlings


Been experimenting more and more with shifting to micro editions of stencils. Cutting billets of 8 to 12 sheets of paper at a time instead of 27 to 32. It still makes for small swarms of 7 or so separate cut-stencils used for each design, but the design run is limited to just a handful before I run out. The big up-side is that it's easier to move on to the next design rather than linger. With time being in such short supply, the time on hand is better spent exploring. I can always return to a design later if I like what comes out of the kiln, (or if the kiln eats all the work that goes in).
Freshly hand cut foot
I've been putting to good use the hand cut feet that Jessica Fong taught me how to cut last summer. I don't really know what others think of them, but I absolutely LOVE the character that it brings to the ware. 
A shelf of freshly stenciled and cobalt slipped greenware waiting for the bisque kiln.
Cobalt slipped greenware waiting for the bisque kiln... The birds are singing songs of spring. 
Jess calls them "Spring Starlings"... It fits nicely.

Saturday, November 25, 2017

Beta Testing the FetishGhost Storefront

Well here we are again... Another quiet offering of a cash of work, and a secret storefront to use as a gallery. It's not a back alley, but it'll do in a pinch. We are really proud of what came out of the kilns this year. It wasn't an easy year for us studio wise, but we feel that what got made is unique and beautiful. 
I'd like to invite everyone to click in, visit, and see for yourselves. 


PS... This is a beta test of the Square storefront space. Any and all feed back (preferably pointing out troubles and flaws in the workings of the site ) are appreciated. 

Saturday, November 5, 2016


Looking back to before and after shots in an attempt to piece together what led up to the results.

The piece was one of three thrown in a reclaimed cone 5 Laguna Hawaiian Red stoneware. The same clay body was reduce down to a slip to be used over a old and relatively weak (3% cobalt carbamate) cobalt slip that was brushed on the entire surface.

Experimentally, the red body slip was thinly applied over the stencils, and consequently, the absence of dramatic plane breaks in the stenciled surface didn't translate through the textured glaze layer.

The texture and crawl glaze was mixed thinly as well to see how it would effect the readability of the design.

The result was an extremely muted surface that's not easily readable in anything less than full sunlight.

Friday, November 4, 2016

Dem Bones

Crap shoot

One thing is set down on to the shelf in the kiln. It's not completely a total crap shoot. There's a plan. A pile of choices. Use this clay. Make this slip. Use a wash? Which oxide? Choose a liner. Choose a glaze.What kind of kiln? Where is it set in the kiln? Seriously. There's a plan. 
Still, One thing is set in the kiln. Another thing is taken out.

Dispite the plan, it becomes evident that even when all things are equal. That while it's not a complete crap shoot...it's still a crap shoot.

Same clay.
Same slip
Same Glaze
Same kiln
Different levels in the kiln

This is one of the fundamental attractions to ceramics for many of us. That despite our need to be control freaks, at some point we have to let go and let things happen. The work that goes into the kiln does go in with a plan, but I we do our job right, it's Christmas when the door opens.

Sunday, September 25, 2016

Cut Flowers

More greenware heading to kiln at The Art and Ecology Project. 

Really enjoy both. 
The first is dynamic and busy. 
The second has a nice Matisse blue cutout feel. It's comforting.

We'll see how the fire plays with these.