Friday, October 24, 2008
Saturday, October 18, 2008
I had 33 pieces go through the firing and I managed to not loose any pieces this time! Not only that, but everything came out fantastic! The optical effects of the GhostBlue and White Liner glazes is ammazing on this kiln load. The neighborhood florist promptly confiscated 6 of the vases, 3 cups have already been pulled for gallery submissions, and the rest of the ware is either for the local Potters Guild fall sale next month or for posting on Etsy.
It's more of the same next week, I can't wait! Gosh I love this job!
Friday, October 10, 2008
This is the recipe for the MoonCrater White cone 6 oxidation glaze that I use in my electric kiln. It's a fairly standard white satin matte glaze that I ran across in a February 2003 Ceramic Monthly. The only change I've made was switching out Tin Oxide for Zircopax as a opacifier to give me a softer white.
Gerstle Borate 31.6%
Kona F-4 Feldspar 19.8%
It's faults are what makes this glaze so interesting . When it's overfired on a cone 5 clay body, the glaze develops a rich creamy semi-translucent white satin matte that's inclined to develop patches of wonderfully textured orange peel effects that often transition into shallow open soft edged craters. This is a pleasantly usable texture glaze.
High octane liquid potential.
I have to thank Sculptor and professor Gary Carlos for letting me help with these pours at Delta Community College in Stockton.
I had done a pretty good job putting out of my mind how much I enjoy the experience, but I think that's been blown... I'm hooked again. Damn!
Thursday, October 9, 2008
These are gorgeous!
I started pushing a load of small teabag trivets through the studio again. I was surprised at how well these were
Tuesday, October 7, 2008
I really hate shifting gears like this, I'm still a novice at managing this multi-media juggling act and it takes me a day or 2 longer than it should to committ to creating something elce that isn't schedualed and prepped for.
Sunday, October 5, 2008
I've never been too thrilled to toot this particular horn, but hey... So while I'm waiting for parts for the kiln to finally to show up, and the rain to stop...here we go.
I was born in late sixties in Cedar Rapids Iowa, a beautiful, agrarian city nestled along a river and among farm fields and old oak forests.
It's a community that traditionally thought with its hands. It's a community that values and takes great pride in its laborers, thinkers, craftsmen, and artists and it still raises its’ children with the belief that much of life’s wisdom is found through the handle of a shovel and through encouraging a curious exploration of the natural world.
As a 16 year old, I was encouraged to begin formal art training and left home to attend Memphis Academy of Arts to study drawing, sculpture, and silversmithing. By the age of 20, I had established the beginnings of a private silversmithing studio for ongoing personal nighttime studies and had accepted my first position as a technical foundry artisan in an arts foundry in Arizona. The next decade was spent working with groups of artisans providing technical assistance to professional artists in producing bronze works for private collections, museums, and large public art works for display throughout the southwest, west coast, and pacific rim countries.
In 2000 my wife and I moved our growing family to Stockton, California. I really needed a few years to relax and begin a new creative path in ceramics and gardening while we began raising 2 young children.
Over the past 3 years, most of my personal studio activities has been focused on creating personal silver and ceramic work for the FetishGhost collection and serving my local community through my new studio, RedGate Ceramics. Through RedGate I create a distinctive high quality body of domestic ceramic wear that speaks specifically to my local markets, and is beginning to cater to a handful of regional galleries. I really enjoy my new path in ceramics and my work keeps improving as I push forward. The best part is having a artistic vehicle that allows me to interact closely with my community.
But... it's my affair with FetishGhost that's drawn the most attention though. For over the past 20 years, I've generally been known for my unique approach to handcrafted sterling macabre. The silversmithing studio is firmly anchored in the past. I use a mix of traditional preindustrial silversmithing and jewelers skills to create my Gothic SteamPunk designs, eschewing any premade or mass produced parts or findings. I've been dancing with this muse since 1988
and I love making subtle and noodlely detailed work done in a heavy & stylized motifs of the North American Southwest Macabre (now part of a developing Southwest Goth aesthetic). Lately I've started to enjoy realizing more of my rather “operatic” designs. These are designs, that while they are made to be sensuously experienced by the wearer, their obvious intent is to project the wearers chosen personality.
something new is always bound to happen. Now that the children are getting older, things could get really strange.
Thursday, October 2, 2008
So... this post is about lids.
I know a lot of potters hate throwing lids, I hear professionals and students alike grump their way through this chore. I've been lucky, I've really enjoyed developing my approach to throwing this type of lid. It's taken a few years and a few hundred lids to work out most of the kinks, but the time spent was well worth it.
Let it dry to leather hard before trimming....
I throw a fresh trimming chuck to softly hold a green lid and slowly enlarge it as I work though a lid series.
To get a feel for the entire process, check this out.