Archives for posts with tag: Clay

Its been quite a while so here’s the summary of the last 9 months:

I wrapped up my residency at Arrowmont at the end of May and took a job as the Studio Manager/Director of Santa Fe Clay in Santa New Mexico. By the time I arrived in Santa Fe the Santa Fe Clay summer workshops were in full swing. Its been a pretty fantastic experience so far. I’ve had the opportunity to work with many notable artists last summer and am excited about this coming summer as well. I am very pleased to have been given so many curatorial opportunities at SFC and have assisted in curating a number of shows here over the last few months. Recently me and our gallery assistant, Natasha Ribeiro, co-curated 6 Under 36 which opens this Friday and is receiving some press both locally and from Ceramics Monthly. The artists included in the show are Emily Duke, Linda Lopez, Brooks Oliver, Peter Pincus, Adam Shiverdecker & Matt Ziemke. I will try to write more about the show as I live with the work once its installed. The basic premise of the show was to bring in younger ceramic artists whose work both Natasha and I found fresh and exciting.

Once I found a place in Santa Fe I was able to set up a studio and start working. While progress has been slow I’ve been able to get some work made. We recently finished a new soda kiln at Santa Fe Clay and did our first firing before the holidays. It feels good to know that I can soda fire my work once again. I will be documenting that work this week and hopefully sending it off to galleries shortly.

I am also in the process of getting a new website up. I started playing around with square space in November and then had my computer stolen and lost all of my images and portfolios. So I’ve been hunting down some of my higher resolution images from applications and residencies and am now ready to start the switch over to the new page.

When I arrived in Santa Fe I didnt have a studio to work in for the first 3 months and so I diverted my energies into glaze testing and have subsequently developed a whole new batch of glazes to add to my palate. I am excited to write about them, what I am looking for when testing, and how I evaluate the results for what I would like to turn into a article in the near future.

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I am loading and firing a soda kiln this weekend and have spent much of the week learning about decals. It was interesting watching Justin Rothshank work through his process and to see how he builds up his surfaces both before and after the firing. So now I ask myself “when is a pot done?” We talked about multiple decal firings and layering of glazes over decals or transfers to push the depth of surface even further.

I am considering luster decals now. These images are me exploring and having fun. I think that a few of them were under-fired in the decal firing and didn’t thus some of the decals take as well. Since I use so many glazes they all have differing temperatures where they will accept the decal…so I will just have to turn up the heat on them. These were fun I hope you enjoy them as much as I enjoyed making them and remember these were explorations and one of them was me seeing what all i could get one to one piece and how much layering I could do. Guess which one.

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Shot this short video today while working on some juice cups. This is the first time I’ve done anything with a time lapse app… I think next time I will slow down the frames per second. Enjoy!

Sometimes we take color and surface for granted. I think that many of us just assume that since we “know” color that we can just slap a glaze on to a pot. Unfortunately we are frequently disappointed when we do this. Glazing can take as long, if not longer, to master than the art of throwing or forming.

One of the first things I make my beginning students do is to make test tiles, take notes on the the glaze consistency and application. Then of course after the firing they must learn to look at and read the tile. Are you REALLY looking at the glaze? Are you considering the texture, opacity or translucently, glossiness or matteness, historical or contemporary context? Are you looking at and understanding how to use the glaze that just ran all over the shelf you are now cleaning? It is frequently so hard to put enough emphasis on how important consistency and good note taking is.

When I was trying to get away from one dunk solutions with my work several years ago I began using a color wheel when glazing. It is such a wonderful aid in planning what you want and what will work. I frequently use Colorschemedesigner.comor Adobe Kuler Color Wheel to help me visualize my desired outcome.

Another thing that I have started doing is drawing directly onto the bisque ware with a #2 pencil. That way I can plan out how I am going to break up the surface before I even open the glaze buckets. If you mess up or don’t like the ideas you’re putting down then you just take a damp sponge and wipe them off. This way you can be certain of your ideas before you commit to a glaze. ….Also I always have my test tiles on hand working in conjunction with my color wheel to better help me visualize my ideas.

So no more ugly glaze combos, measure twice and cut once!

***Unfortunately the videos have been removed from Youtube and I cannot find alternative copies***

(if they do resurface or you find copies of these online then please let me know and I will repost)

This short 3 part series was just brought to my attention. The series focuses on the evolution of ceramics within the UK starting with neolithic work. I have only watched the first episode thus far, which covers neolithic up to Wedgewood. I will, however, be watching episode two this afternoon. I highly recommend this documentary to anyone who enjoys ceramics or history.

Ep 1.

Ep 2.

I look forward to the third installment of the series and hope to hear your thoughts and notes on the whole series.