Saturday, November 5, 2016

WindowPane

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.

Tuesday, September 20, 2016

Bisqueware



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.


Distance Makes the Heart Grow Fonder


I found a even dozen cups hidden in the bottom layer of a forgotten box. There's a bit of a mess surrounding the photo booth in the basement. 
Out-of-site, out-of-mind and all...


I made this round as part of a batch that was intended for the 2015 Akar Yumoni Invitational and it got boxed away as soon as it came out of the kiln. 

I wanted muted surfaces and I really liked what came out, but... (It's always the buts that get me though ) I didn't think they would play well with all the other work that would be posted around it in the show. I was guessing that it was going to be a strong show and I can't say that I wasn't wrong.


But I do really like these. 
They came out pretty much how I was originally hoping. It was just what I had in mind didn't fit the need at the time. Admittedly, they seem even better now that there's distance from the original expectation.  


Distance always makes the heart grow fonder, (at least it's acceptance is easier).