Posts Tagged ‘ceramics’

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Facing 2012


2012
01.09

Stoneware Mini-Mask If there is a pattern in my recent work, it is a fascination with portrait sculpture, particularly the capturing of human emotion via facial expressions. Students in Clay I constructed some really interesting, multimedia clay masks last semester while I was sequestered in a corner of the lab carving architectural pieces for this month’s show. As a testament to the influence of learning communities, I must confess that those masks were an influence in the mini-mask direction that you see here.

I still refer to Philippe and Charisse Faraut’s book, Mastering Portraiture- Advanced Analyses of the Face Sculpted in Clay, on a regular basis. There is so much great information on the art and anatomy of portrait sculpture illustrated in the book, I consider it a must-have companion when sculpting clay faces. I am still hopeful that this summer’s travel schedule will not conflict with an opportunity to study directly under Philippe at a weekend workshop somewhere close.

A full-scale portrait sculpture still takes me all day to complete, but these hand-sized studies can be pinched from a fist-sized ball of clay and completed in about three hours. It does get a little easier to do with practice…and a review of the first of these with the last of these seems to tell me that I am making progress. Ultimately, I envision 5-7 of these little guys displayed together in some sort of installation…that’s not a completely original concept, but it is new to me.

So, here I am facing 2012…and looking forward to the adventure!

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Kiln Opening


2010
11.18

Wall Hung Ceramic Musical Instrument SculptureI have read numerous articles in the ceramic magazines floating around about celebrations and sales associated with the opening of a freshly fired (and cooled-down) kiln.  Personally, I know the excitement and anticipation as a kiln cart is slowly and carefully pulled free, and shelves full of shiny pots suddenly appear to emerge from their firebrick womb. That experience is amazing.  It is rarely what the artist envisioned completely, but there are generally surprises that elevate the spirit even when everything isn’t just perfect.

This past week’s firing was a success. There are a number of keepers and a bunch of glaze testing tiles that show promise for the next round.  The kiln opening was rather bland, however…just a couple of people tugging at a heavy cart without fanfare, but at least with a few instruments for future fanfares.

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Sew & Throw Circus


2010
10.17

Debbie and I enjoyed a gorgeous weekend at Cedars of Lebanon State Park with a full campground of folks who had the Fall weather in mind as much as we did. By the time we arrived at the park, all of the prime camping spaces were occupied. We were grateful to find even one, reasonably level space to park, even if it meant that we’d have very little privacy due to the nearby entry drive.

Paul at the Potter's WheelOur plan was to take some time to play with our toys. For Deb, that meant a sewing machine on the park provided picnic table. For me, that translated into trying out a potter’s wheel that I purchased several months ago but had not found a time (or place) where I could make a big mess at the house. The Sew & Throw Circus was a success although neither of us set any world records for production.  What we did produce was entertainment and conversation for many of our fellow campers as they walked by…and stopped by.  I probably mentioned before that making ceramic musical instruments in a state park draws a crowd, but this time we seemed to draw a lot of conversation.  People are fascinated with folks who do strange things in campgrounds…probably like some people are entertained by shoppers at Wal-Mart.

I count myself as one who is still fascinated by  potters who make things on a wheel, and make it look so effortless.  I am not part of that effortless fraternity, but I do have fun with it.  As it turns out (no pun intended) there are people who seem to enjoy watching someone who is giving it the ‘ole college try. To all those new friends, we say Thank You!…and be sure to catch the circus the next time it passes through a campground near you.

Making Progress – Ready to Fire


2010
09.27

Mugs DryingThe first batch of wheel-thrown wares that resemble something usable are nearly dry enough for a bisque firing.  The bare mug forms from a previous post, now have some surface treatment and the stamp that I use on most of the MugPhlutes.  I’m thinking that a dark blue glaze on the interior that caries over to cover the lip area with be the principal color. Red iron oxide will be washed into the textured areas and shadowed lightly below…after that, a simple clear glaze will cover the handle and all of the outside (except for the lip).  Three of the mugs will be used to test other glazes.  The six that are close enough to call a set will be glazed consistently.

The ware boards on my shelves seem to be filling up with new work.  I hope that is a sign that my technique is improving. The next assignment for class is 20 bowls. That shouldn’t be a huge deal, but I have other projects that keep pulling me back to some interesting sketchbook work…I guess that’s progress.

To ‘Turn’ or to ‘Throw’


2010
09.20

The choice of terms for potters is probably just semantics.  Whether a pot is thrown or turned implies a mechanical pottery wheel of some description either way.  What appears to be a trend is that crafts people tend to throw pots and artists prefer to turn clay.  There may be something in the marketing world that subliminally tells us that turned ceramics are somehow more valuable than thrown ceramics.

The expression, wheel thrown,  makes a lot of sense to me considering the mechanics of the device and the physics (centrifugal force) of the clay spinning on the wheel head.  On the other hand, turned pieces bring images of a craftsman working at a lathe…where pieces seem to emerge from within a solid block of wood. There are some economics to the word turned that I like as well.  Calling something ‘wheel turned’ seems redundant…and turned could easily concatenate what happens on the pottery wheel with what often happens on a banding wheel during construction and decoration.

Six Inch Tall MugsTo fan the flames of the artist-craftsman feud, perhaps turned requires verbalization with the head kicked back slightly, the nose pointed skyward, and the word sung as if it is a very long, one syllable word.

All that being said, I’m turning mugs this week.  For the most part they will become test pieces for glaze experiments and exercises to help me improve my throwing skills.

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First Pots – Let the Wheel Throwing Adventure Begin (Again)


2010
09.04

Stoneware - Test CylindersAfter a couple of hours or working on a potter’s wheel for the first time in years, my body reminded me of several parts that are ill-prepared to do this without practice and attention to form (mine, not the pots…well, maybe the pots too).  As a mental break from writing and research, signing up for a clay class looks to be one of the better decisions I have made.  It is fun. The class is full of students plus an great instructor, all young enough to be my children.  I have had more than a few curious looks from my fellow students as I played in the mud the first session or two.

I do have a few ulterior motives.  There are things that a skilled potter can do on the wheel that would make great pieces/parts for ceramic musical instruments…and some of my older sketchbooks attest to the fact that those ideas have been fermenting for some time in the back of my head.  The class also provides me access to a great gas kiln to do reduction firing…a method that produces great color in glazes and from the clay bodies alone.

These practice cylinders are my first.  I suspect that they will end up in the slop bucket, but the picture is a reminder of my first steps back into the (wonderfully addictive) world of wheel-thrown ceramics.

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Four Hole Ocarina Magic


2010
07.16

I am not sure why I decided to do this. It may be simply the challenge to make an ocarina that plays a full octave with only four finger holes. Perhaps it is the frustration of carving out 8 to 12 holes and constantly fighting the airway in order to achieve a reasonable tone. Regardless, John Taylor’s English system for a 4 hole ocarina is the challenge I made for myself while taking some time off from the craziness of the office:

It will be a while before I am confident that I can play using this system. The permutations and combinations of fingering is quite an adjustment from what I learned as a second grader playing a song flute in one of dad’s music classes. There are a few tricks and tips that I need to pry from some of my ocarina building friends, but I am thrilled to better understand the magic of how 4 finger holes in a simple clay instrument can produce a full octave scale.