It’s really a great mix when everything works…(Bad picture, amazing glaze!)
Thursday, August 20, 2009
Tuesday, August 18, 2009
The other canister seems to have been claimed by Nico (my resident shaved monkey of a six year old) she gave it a big huge wet lick to lay an arguable claim to it. She and her brother already are planning wishes to fill it on Halloween this fall.
That’s what it’s for!
Saturday, August 15, 2009
Here's a quick peek at 4 from last nights load. I've got another 30 plus going through tomorrow night. It's a been good week... knock knock knock.
I love how this ribbed form has been developeing over the course of the year.
I'm a bit taken aback when I realize that it was January that I started experimenting with not only the ribbed and swollen forms, but the crawling glaze too.
I guess there's a lot to be said for jumping off the cliff.
For better or worse,
It definitely instigates change.
Tuesday, August 11, 2009
Luckily, working in clay is a study of mistakes, (that’s probably why it takes so many of us decades to get where we think we are going with our work), so I know I’m not alone.
This last firing is a great example of me not listening to that tiny voice of reason that plagues me in the studio. As the voice suggested, I had sieved all of the glazes I was getting ready to use for the firing, well I thought I had… I noticed my white liner had small flecks in it. The little voice said I should stop glazing and sieve one more time, just in case… my thought, of course, was “it’ll melt”…
Well I was WRONG!
Of course the entire kiln load came out better than I was aiming for until… you look at the interior. None of the flecks melted, leaving a rough surface on the interior of every single piece. Now I get to try my hand at getting a nice thick reglaze on the interior without that making an even bigger mess of it.
Here are a few before and after shots using the texture and crawl glaze showing differing thicknesses in application. It’s pretty thin on the cup, but you can see where the unfired glaze starts cracking up at the plane changes at the ribbing.
These will crawl a lot unless a compatible glaze is used under the crawling glaze. Over the past few firings, I’ve been learning to use my Blue Hares Fur glaze to act as a stabilizer at these severe crawling points.
With the large canister, the whole thing is a sever plane changes, so the whole canister has been given a coat of the Blue Hares Fur before the crawling glaze was poured over the top. Too thick and it’ll peel right off as it dries. I needed a heavy separation on this piece so I kept spritzing down the glaze as it was trying to pull away as it was drying.
Sunday, August 9, 2009
Saturday, August 8, 2009
Tuesday, August 4, 2009
As I’ve alluded to before, this is a sociologically complicated media for me… (we go way way back). I’ve been joyously flirting with my silver studio again, but this is not a simple choice for my wife and me. I tend to lose myself in this media and she know it. The simplest way I can describe this feeling is to ask you imagine meeting up with an old mistress that enjoyed giving you everything you ever dreamed of, and still, she asks for more…. It’s really all of that and more.
That’s a huge problem.
I am soooo going to enjoy this until someone makes me stop again.
Sunday, August 2, 2009
What a fantastic day! Everyone had a blast to watching both of these amazing artists sharing many of their insights on throwing large. Admittedly though... I'm still finding a guilty pleasure in a long day spent listening to older more experienced studio artist's retelling their personal stories from the past 30 years of first hand art history. Oral history has always been a very decadent pleasure for me, but I'm beginning to see it as an "US Magazine" kind of thing. (I'm a total sucker for the old Volkus stories). There is so much West Coast history that you just can't find between the covers of Ceramics Monthly