Saturday, November 25, 2017
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.
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
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.
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
Tuesday, September 20, 2016
Still prepping a few small pieces for the salt kiln in October. The stained and sanded surfaces are really nice in the hand. The dark and muted surface surprisingly does it for me. It's getting tempting to keep the glaze to a minimum, just give the interior a loner and let the salt do its job.