Saturday, June 21, 2008
not so fast
I was excited that the problem had been discovered, repaired and I was back in business. But again my kiln cut off mid-way through the firing again last night. The test fire, empty kiln, ran through the complete cycle. But the following re-fire, loaded again, shut off before any movement of the cones. How terribly discouraging. My service man suggests that the fault is the breaker and that I should replace the one I have. I think I should also get a higher amperage breaker--if that is possible. As one of my favorite literature characters would say, "Oh, what a bother."
Thursday, June 19, 2008
kiln update
Tony, our most knowledgeable kiln repairman, came to our house today to check out my kiln (bless him!) He checked the kiln from tip to toe. It is a relatively new kiln and it checked out very well. The only 'possible' trouble maker that Tony could find seems to fall into my lap--you remember that I bragged a bit about changing out the elements on the kiln. Well, Tony thought that perhaps we had not crimped the connectors tight enough thereby creating resistance that caused the tripping of the breaker. Since I really don't understand electricity, electric current and such I may be misrepresenting what Tony said! Right now I am running a test firing--empty kiln. If it completes the cycle, tomorrow I will reload the pieces that did not get fired earlier. I will report back in later. Keep your fingers crossed for me!
Later update: The kiln just completed a test firing successfully! Yeah, tomorrow I will re-load the kiln with the un-fired ware and hope it gets fired this time!
Later update: The kiln just completed a test firing successfully! Yeah, tomorrow I will re-load the kiln with the un-fired ware and hope it gets fired this time!
so discouraging
I mentioned that the last firing was terminated before it completed the cycle. I thought perhaps running the dryer tripped the breaker (even though they are not on the same circuit). So, I loaded the kiln for another glaze firing on Tuesday--determined to have some samples for our 'Cone 6 Club' meeting Wednesday evening. I fired overnight to insure there was no competition for the current supply. But when I check the kiln Wednesday morning, it had been terminated again and this time none of the cones had moved at all. So now it has caught my attention and I spent a good deal of time talk in the manufacturer trying to determine the source of the trouble. They recommended a local kiln serviceman--who I am waiting for now. I know NOTHING about this kiln except how to turn it on and program the firing schedule. And I am learning that that is a mistake! Margaret Brampton wrote today about all the non-clay jobs a potter must perform--and I am poorly prepared for most of them!
We moved here in January and I've been gradually getting the studio set up--for me and for my son to share. It has been a funny process. I have all this 'stuff' to organize in the space--equipment, tools, books, etc--and that was not too hard to do. But then as I began to work I discovered that I needed to have arranged for 'processes' too. So at each stage of production I have to stop and figure out where that process will take place and what I need to have at hand. I think I have worked through most of that now (still waiting for someone to put in a counter and install the small spray booth). But I have now realized that in all my planning I have no place for finished work! I have a rolling cart for greenware and one for bisque ware--but nothing for finished ware! Back to the drawing board!
A small group has been meeting to discuss our experiences with cone 6 glazes for almost a year now. We fluctuate in size from 3 participants to 8 at one time. We have not accomplished a lot but we have enjoyed the society of the evenings. Originally there was some resistance to having any goal or structure but gradually there have been frustrations expressed regarding too much chit-chat. So we are trying to move toward a bit of focus. Currently we select a color to focus on and each member brings samples of their work in that color. We share recipes where requested and discuss problems and solutions. Last night we focused on 'blue'. There was a small turnout (only 4 of us) and we wondered if that was caused by the price of cobalt these days! I am interested in trying to find a way for us to focus on the materials. Comparing similar glazes with one significantly different material. Haven't figured that out yet. We have not had luck making assignments. Everyone is so busy with the rest of their lives that being required to make up a defined test has not worked. It seems we can't dictate where there will be a bit of extra time to meet outside demands. So we stay pretty loose and enjoy the time to talk about glazes, pots and ceramic experiences.
We moved here in January and I've been gradually getting the studio set up--for me and for my son to share. It has been a funny process. I have all this 'stuff' to organize in the space--equipment, tools, books, etc--and that was not too hard to do. But then as I began to work I discovered that I needed to have arranged for 'processes' too. So at each stage of production I have to stop and figure out where that process will take place and what I need to have at hand. I think I have worked through most of that now (still waiting for someone to put in a counter and install the small spray booth). But I have now realized that in all my planning I have no place for finished work! I have a rolling cart for greenware and one for bisque ware--but nothing for finished ware! Back to the drawing board!
A small group has been meeting to discuss our experiences with cone 6 glazes for almost a year now. We fluctuate in size from 3 participants to 8 at one time. We have not accomplished a lot but we have enjoyed the society of the evenings. Originally there was some resistance to having any goal or structure but gradually there have been frustrations expressed regarding too much chit-chat. So we are trying to move toward a bit of focus. Currently we select a color to focus on and each member brings samples of their work in that color. We share recipes where requested and discuss problems and solutions. Last night we focused on 'blue'. There was a small turnout (only 4 of us) and we wondered if that was caused by the price of cobalt these days! I am interested in trying to find a way for us to focus on the materials. Comparing similar glazes with one significantly different material. Haven't figured that out yet. We have not had luck making assignments. Everyone is so busy with the rest of their lives that being required to make up a defined test has not worked. It seems we can't dictate where there will be a bit of extra time to meet outside demands. So we stay pretty loose and enjoy the time to talk about glazes, pots and ceramic experiences.
Thursday, June 12, 2008
long time, no posts
It seems that each step takes so much longer than before--even the r&r takes more time! I am amazed to see that it has been 10 days since my last post.
The last firing had some hitches. I had planned to make this a 'red' firing--everything would have my 'red' glaze because that glaze requires a special firing schedule that other glazes don't profit from. However, we had the children's hand-print plaques that had to be fired right away so the firing was not exclusively 'red' and I had a set of test tiles to fire that do like that kind of schedule. Otherwise it was all 'red'. I get excited about my red glaze--but it is frequently pointed out to me that I don't really have a red glaze--I have a brown glaze! I know what my critics are talking about--but to me it is a gorgeous red--OK brick-red if you insist. At some point during the firing cycle the circuit breaker was tripped turning the kiln off early. I don't know how early. I know that the kiln did reach the top temperature and start back down. The schedule calls for a soak at 1880 F for 30 minutes. I checked the kiln as it was about to reach the 1880 F point. When I next checked--a couple hours later--the kiln had been shut off. So I don't know how much of the soak it got, if any. It seemed to me that I did not get as good a 'red' as I have in the past.
When I take photos of the pieces in the studio they look VERY red. But that is the camera/lights/settings/computer? And I don't know how to adjust it.
Here are some of the pieces--but remember they don't really look this red:
This vase (remember the punch'ong design from long ago?) is more the color of the baking dish--not so red as in this photo.
The last firing had some hitches. I had planned to make this a 'red' firing--everything would have my 'red' glaze because that glaze requires a special firing schedule that other glazes don't profit from. However, we had the children's hand-print plaques that had to be fired right away so the firing was not exclusively 'red' and I had a set of test tiles to fire that do like that kind of schedule. Otherwise it was all 'red'. I get excited about my red glaze--but it is frequently pointed out to me that I don't really have a red glaze--I have a brown glaze! I know what my critics are talking about--but to me it is a gorgeous red--OK brick-red if you insist. At some point during the firing cycle the circuit breaker was tripped turning the kiln off early. I don't know how early. I know that the kiln did reach the top temperature and start back down. The schedule calls for a soak at 1880 F for 30 minutes. I checked the kiln as it was about to reach the 1880 F point. When I next checked--a couple hours later--the kiln had been shut off. So I don't know how much of the soak it got, if any. It seemed to me that I did not get as good a 'red' as I have in the past.
When I take photos of the pieces in the studio they look VERY red. But that is the camera/lights/settings/computer? And I don't know how to adjust it.
Here are some of the pieces--but remember they don't really look this red:
This vase (remember the punch'ong design from long ago?) is more the color of the baking dish--not so red as in this photo.
Monday, June 02, 2008
shaping up
Things are beginning to shape-up here. I made a small square baking dish following Ron's instructions--looks good to me.
But most things look good while still green!
I am about to make up a bunch of glazes in test batches so I've made up about 3 dozen test tiles--so irritating not to have test tiles ready when you need them! I rolled out some slabs to cut out numerals for our house numbers--they are still green, too.
But the most fun was making "Father's Day" gifts with 2 of my youngest grandchildren. It was their mom's idea--make plaques with the little ones hand prints stamped in the wet clay. Reed is about 3 and a half and baby Jack (the leap-year-day baby) is 3 months old. We had lots of fun. But it was surprising that no matter how are we pressed the little hands into the clay we could not get a good heel-of-the-hand print--the fingers came out great but you can barely see the end of the palm.
Of course, Reed loved the whole adventure--Jack was patient at first, but quickly lost enthusiasm!
But most things look good while still green!
I am about to make up a bunch of glazes in test batches so I've made up about 3 dozen test tiles--so irritating not to have test tiles ready when you need them! I rolled out some slabs to cut out numerals for our house numbers--they are still green, too.
But the most fun was making "Father's Day" gifts with 2 of my youngest grandchildren. It was their mom's idea--make plaques with the little ones hand prints stamped in the wet clay. Reed is about 3 and a half and baby Jack (the leap-year-day baby) is 3 months old. We had lots of fun. But it was surprising that no matter how are we pressed the little hands into the clay we could not get a good heel-of-the-hand print--the fingers came out great but you can barely see the end of the palm.
Of course, Reed loved the whole adventure--Jack was patient at first, but quickly lost enthusiasm!
Tuesday, May 20, 2008
shibui
Robert Genn, a Canadian painter, emails out a newsletter twice a week on subjects related to art. I especially enjoyed the one I received today so I am posting it here in its entirety.
"Shibui is a broad term that can mean irregularity of form, openness to nature, roughness of texture, and the naturalness of daily life. Also known as Shibusa, it refers as well to the Japanese "Seven aspects of being," which are simplicity, implicitness, modesty, silence, naturalness, roughness and normalcy. It's seen in raku pottery, architecture, folk crafts, haiku, gardens and painting. Shibui is worth thinking about no matter where you are or what your art.
Fact is, perfection is boring. Shibui allows viewer participation in the artist's art. It's particularly valuable in an age of highly finished and sophisticated machine-manufactured products. Shibui comes naturally, shows the hand of the maker, and triumphs gesture and the vagaries of process. While there are hundreds of ways to bring shibui into your life, if you think you might include the idea in your painting, here are seven:
Use the whole brush--right down to the ferrule.
Have more than one colour on the brush at one time.
Hold the brush well up on the handle.
Work freshly and let intuition be your guide.
Feel the energy and direction of your subject.
Be not uptight, but relaxed.
Quit when you've connected and while the going is good.
In a way, the making of raku pottery is a good metaphor. In the fiery arms of the kiln god, work takes on a form of its own. Think of yourself as a kiln rather than a labouring artisan. Under the smoking straw of passion, work shapes itself and becomes its own statement. Shibui is all about trust--trust in your materials, trust in your instincts, trust in yourself, trust in the kiln. Shibui transforms frantic work into calm joy and subdues the creator with relative contentment. As well, viewers get a strong feeling they are looking at art.
In shibui, sheer ease is a virtue. Hours fly by as the creator becomes lost in process and the gentle curiosity of outcome. You never know what you're going to pull out of that kiln.
Best regards,
Robert
PS: "Austere, subdued and restrained are some of the English words that come closest. Etymologically, shibui means 'astringent,' and is used to describe a profound, unassuming and quiet feeling." (Bernard Leach, "A Potter's Book" 1940)"
You can subscribe to Robert's newsletters by visiting his web site:
http://www.painterskeys.com
"Shibui is a broad term that can mean irregularity of form, openness to nature, roughness of texture, and the naturalness of daily life. Also known as Shibusa, it refers as well to the Japanese "Seven aspects of being," which are simplicity, implicitness, modesty, silence, naturalness, roughness and normalcy. It's seen in raku pottery, architecture, folk crafts, haiku, gardens and painting. Shibui is worth thinking about no matter where you are or what your art.
Fact is, perfection is boring. Shibui allows viewer participation in the artist's art. It's particularly valuable in an age of highly finished and sophisticated machine-manufactured products. Shibui comes naturally, shows the hand of the maker, and triumphs gesture and the vagaries of process. While there are hundreds of ways to bring shibui into your life, if you think you might include the idea in your painting, here are seven:
Use the whole brush--right down to the ferrule.
Have more than one colour on the brush at one time.
Hold the brush well up on the handle.
Work freshly and let intuition be your guide.
Feel the energy and direction of your subject.
Be not uptight, but relaxed.
Quit when you've connected and while the going is good.
In a way, the making of raku pottery is a good metaphor. In the fiery arms of the kiln god, work takes on a form of its own. Think of yourself as a kiln rather than a labouring artisan. Under the smoking straw of passion, work shapes itself and becomes its own statement. Shibui is all about trust--trust in your materials, trust in your instincts, trust in yourself, trust in the kiln. Shibui transforms frantic work into calm joy and subdues the creator with relative contentment. As well, viewers get a strong feeling they are looking at art.
In shibui, sheer ease is a virtue. Hours fly by as the creator becomes lost in process and the gentle curiosity of outcome. You never know what you're going to pull out of that kiln.
Best regards,
Robert
PS: "Austere, subdued and restrained are some of the English words that come closest. Etymologically, shibui means 'astringent,' and is used to describe a profound, unassuming and quiet feeling." (Bernard Leach, "A Potter's Book" 1940)"
You can subscribe to Robert's newsletters by visiting his web site:
http://www.painterskeys.com
Saturday, May 17, 2008
oh, my gosh
I am having a blast. Last night Ben, my youngest son, mentioned a library cataloguing program for the Apple computer: Delicious Library. Jim and I have said we would like to catalog our books so today I looked for the program on line, found it, and downloaded it. It is 'delicious'! So fancy--and so easy! You can scan in the ISBN number or type in the name and the program goes on line to download all the information about the book--all the technical data--and book reviews. It creates a record of the book with a image of the book cover on the book's icon! It lets you make a record of books you loan out--with the borrower's name from your address book and marks the book's icon with a tab, "OUT", stretched across the upper right had corner . I've spent a couple hours scanning in my pottery book collection! Maybe I am just a frustrated, wanna-be librarian, but this is too much fun!
Next week I AM going to do a bisque firing. Then I am going to get serious about glazing! I have really been out of it lately. But I AM, I AM going to get focused on my pottery work. I AM.
Next week I AM going to do a bisque firing. Then I am going to get serious about glazing! I have really been out of it lately. But I AM, I AM going to get focused on my pottery work. I AM.
Saturday, May 10, 2008
Thursday, May 08, 2008
time flies
I don't know where, exactly, but I look up and it has been quite a while since I have posted.
I guess I've been distracted. Jim is fine and the car should be ready this weekend. The insurance is paying for the repair (~8,000).
Kenny has had several falls, nothing serious--but, since it is such a challenge for 'us' to get him back up on his feet, he and I both stay anxious over the next fall. The last was at 1:30 am night before last. 'We' (the we is Kenny and me since Jim is out of town) tried our best to get him up off the floor onto the bed but could not do it. So I called EMS. The firemen were here in minutes--and always so gracious--but I hate calling for their help. This morning Kenny called from the shower where he was desperately hanging onto the grab bar trying not to slip down to the floor before I got there to grab onto him. We made it! When 'we' make it sucessfully, he usually ends up laughing (out of relief, I'm sure) and then tells me how much he loves me!
Each morning, after breakfast, we go out to the studio. That might be 9:30 or 10:00 before we get there. Then Kenny is through for the day at noon and ready for lunch. I intend to return after lunch to do some more concentrated work--but frequently don't get out there again that day. Good thing I'm not trying to make a living out of my clay work!!
This house had extensive plantings when we moved in. And, fortunately, it had a water system. Unfortunately, it is not working properly. I called for repair work but it seems it may be cheaper--and better--to put in a new system instead of trying to repair this very old system. I have been waiting for an ‘estimator’ to come see what I need and what it will cost—but he has been unavailable. In the meantime, I am spending a good deal of time watering by hand as I don't want to loose the plants that are dependent on the system. To make things worse, because of the installed sprinkler system, there are NO hose outlets anywhere near all these lush plants.
The terrace plants seen from the studio door.
The terrace plants seen from inside the living room (see my computer on the table in front of the window--no wonder I spend so much time browsing the web.)
I am NOT whinning or complaining--I am just reporting in!
I guess I've been distracted. Jim is fine and the car should be ready this weekend. The insurance is paying for the repair (~8,000).
Kenny has had several falls, nothing serious--but, since it is such a challenge for 'us' to get him back up on his feet, he and I both stay anxious over the next fall. The last was at 1:30 am night before last. 'We' (the we is Kenny and me since Jim is out of town) tried our best to get him up off the floor onto the bed but could not do it. So I called EMS. The firemen were here in minutes--and always so gracious--but I hate calling for their help. This morning Kenny called from the shower where he was desperately hanging onto the grab bar trying not to slip down to the floor before I got there to grab onto him. We made it! When 'we' make it sucessfully, he usually ends up laughing (out of relief, I'm sure) and then tells me how much he loves me!
Each morning, after breakfast, we go out to the studio. That might be 9:30 or 10:00 before we get there. Then Kenny is through for the day at noon and ready for lunch. I intend to return after lunch to do some more concentrated work--but frequently don't get out there again that day. Good thing I'm not trying to make a living out of my clay work!!
This house had extensive plantings when we moved in. And, fortunately, it had a water system. Unfortunately, it is not working properly. I called for repair work but it seems it may be cheaper--and better--to put in a new system instead of trying to repair this very old system. I have been waiting for an ‘estimator’ to come see what I need and what it will cost—but he has been unavailable. In the meantime, I am spending a good deal of time watering by hand as I don't want to loose the plants that are dependent on the system. To make things worse, because of the installed sprinkler system, there are NO hose outlets anywhere near all these lush plants.
The terrace plants seen from the studio door.
The terrace plants seen from inside the living room (see my computer on the table in front of the window--no wonder I spend so much time browsing the web.)
I am NOT whinning or complaining--I am just reporting in!
Saturday, April 26, 2008
an interesting week
Monday I did a glaze firing. Nothing very exciting in it--mostly bowls for Empty Bowls--but the 'plate/bowl' that I made for Kenny turned out well. It is hard to tell that it is not a pie plate! But he used it last night and gave it a thumbs-up! So that was good.
Wednesday night our little Cone 6 group met here for the first time. It is such a nice group of people and I really enjoy getting to spend a whole evening talking about pots and glazes with fellow potters. The evening seemed much too short. I wished for more time with the group. We meet once a month and alternate meeting in the home or studio of one of the group.
Thursday Ben and I had a date to visit the ceramic collection of a friend of mine. Ben is my youngest son and the one with the most interest in ceramics--mine and the greater ceramic world at large. I had heard about my friend's wonderful collection of ceramics and had asked if Ben and I could view his collection sometime. What a collection! I think he has pieces (not just one) of every well-known potter I know anything about--and many I was not yet acquainted with. He really is serious collector and has wonderful taste in his selections. That was a real treat to see 'up close' those wonderful pots but even more special to get to pick them up and feel the weight and balance of each piece! We also got a tour of his own studio. Both Ben and I came home with beautiful pots made by our host! Wow, what a great experience.
Friday Jim was driving home from his week in Santa Fe. We knew he would be getting in late, expected to arrive around 9:30 pm, so we did not wait dinner for him but did have dinner waiting for him. At about 8:30 I got a call from Jim which began, "First, I'm OK." Well, I knew that was not the opening to a good news message! He then described the accident he had when a deer landed on the windshield of his new car while he was driving about 70 miles and hour! He was just west of Junction, about 110 miles from home, and needed a ride! I drove to Junction to pick up Jim and his paraphernalia from the trip. We got home about 1:30. He had not eaten since breakfast so a light dinner was in order before we turned in for the night a little after 2 am.
What a week!
Wednesday night our little Cone 6 group met here for the first time. It is such a nice group of people and I really enjoy getting to spend a whole evening talking about pots and glazes with fellow potters. The evening seemed much too short. I wished for more time with the group. We meet once a month and alternate meeting in the home or studio of one of the group.
Thursday Ben and I had a date to visit the ceramic collection of a friend of mine. Ben is my youngest son and the one with the most interest in ceramics--mine and the greater ceramic world at large. I had heard about my friend's wonderful collection of ceramics and had asked if Ben and I could view his collection sometime. What a collection! I think he has pieces (not just one) of every well-known potter I know anything about--and many I was not yet acquainted with. He really is serious collector and has wonderful taste in his selections. That was a real treat to see 'up close' those wonderful pots but even more special to get to pick them up and feel the weight and balance of each piece! We also got a tour of his own studio. Both Ben and I came home with beautiful pots made by our host! Wow, what a great experience.
Friday Jim was driving home from his week in Santa Fe. We knew he would be getting in late, expected to arrive around 9:30 pm, so we did not wait dinner for him but did have dinner waiting for him. At about 8:30 I got a call from Jim which began, "First, I'm OK." Well, I knew that was not the opening to a good news message! He then described the accident he had when a deer landed on the windshield of his new car while he was driving about 70 miles and hour! He was just west of Junction, about 110 miles from home, and needed a ride! I drove to Junction to pick up Jim and his paraphernalia from the trip. We got home about 1:30. He had not eaten since breakfast so a light dinner was in order before we turned in for the night a little after 2 am.
What a week!
Tuesday, April 08, 2008
studio work
as opposed to clay work.
My style of settling in here has been to set up one room at a time by moving all the boxes and furniture that do not belong there into the next vacant space. Well, I did that big time in the studio--pushing buckets, boxes of fired ware, and boxes and packing materials into the room next to the studio--Jim's workroom. So I got the studio set-up to the extent that we could move around and work in there. This weekend Jim began to tackle that space and pushed all the pottery overflow back into the studio! So much so that Kenny could not walk through HIS space with his walker! So yesterday Kenny stayed in his room setting up an area to draw in while I worked at getting the studio ordered again.
Now that I have the kiln wired and working--one bisque firing under my belt--it is time to glaze. But the glaze room is a jumble of glaze chemicals and tools. The glaze room is really just a closet with 2 doors--it is also the hallway between Jim's workroom and our studio. I am going to have a small--table-top--spray booth with strong vent and a little counter space for mixing up my glazes. Most of my glaze chemicals are stored in plastic shoe boxes and fill a tall shelf. I have a few large containers (pet food)under the counter for the chemicals I buy in bulk . It is really tight but I think it is going to work well. As I am looking for "my style" in my pottery work, I am also searching for 'my palette of glazes'. The result of those searches is that I am drawn to every style of pottery making and every kind and color of glaze--and have at hand everything I need for that search. I imagine that when I finally get there I can eliminate all the excess and focus on just what I love to do. But the truth of the matter is probably that I will always be searching and experimenting--and stuffing more stuff into our little studio--because that is what I love to do!
My style of settling in here has been to set up one room at a time by moving all the boxes and furniture that do not belong there into the next vacant space. Well, I did that big time in the studio--pushing buckets, boxes of fired ware, and boxes and packing materials into the room next to the studio--Jim's workroom. So I got the studio set-up to the extent that we could move around and work in there. This weekend Jim began to tackle that space and pushed all the pottery overflow back into the studio! So much so that Kenny could not walk through HIS space with his walker! So yesterday Kenny stayed in his room setting up an area to draw in while I worked at getting the studio ordered again.
Now that I have the kiln wired and working--one bisque firing under my belt--it is time to glaze. But the glaze room is a jumble of glaze chemicals and tools. The glaze room is really just a closet with 2 doors--it is also the hallway between Jim's workroom and our studio. I am going to have a small--table-top--spray booth with strong vent and a little counter space for mixing up my glazes. Most of my glaze chemicals are stored in plastic shoe boxes and fill a tall shelf. I have a few large containers (pet food)under the counter for the chemicals I buy in bulk . It is really tight but I think it is going to work well. As I am looking for "my style" in my pottery work, I am also searching for 'my palette of glazes'. The result of those searches is that I am drawn to every style of pottery making and every kind and color of glaze--and have at hand everything I need for that search. I imagine that when I finally get there I can eliminate all the excess and focus on just what I love to do. But the truth of the matter is probably that I will always be searching and experimenting--and stuffing more stuff into our little studio--because that is what I love to do!
Wednesday, April 02, 2008
for Andrew
When I was in Japan I met someone who had worked with Shimaoka. My acquaintance had acquired some shards from Shimaoka's BIG pots that Shimaoka thought not of the quality he wanted and so had destroyed. My acquaintance gave me one of the shards which has the classic rope inlay design. I've tried to make photos of the work to show you--but the quality is not great (my camera or my skills with the camera?) The shard measures 3" X 2".
I turned off the flash in the following because of the reflection, but it did not help much.
The shard is very thick--it measures a full 3/8 inch. But then he was making BIG pots!
There is no texture from the rope inlay--there is a lot of texture to the piece but it is from the clay not the design.
I turned off the flash in the following because of the reflection, but it did not help much.
The shard is very thick--it measures a full 3/8 inch. But then he was making BIG pots!
There is no texture from the rope inlay--there is a lot of texture to the piece but it is from the clay not the design.
Wednesday, March 26, 2008
I have these lovely orange lilies in the living room that lift my spirits each time I walk through the room. The pleasure these flowers give me stimulated me to make a tall, heavy bottom vase to hold an arrangement of tall flowers without toppling over. After the vase was thrown, I decided I would try using the punch'ong stamps I bought at NCECA last year. I love the work made with these stamps but so far I have not mastered the use of these stamps. The stamps are of small flowers--like little daises. Slip is applied over the stamped area and after the slip has firmed up a bit it is scraped off the high areas leaving the slip only in the recessed area formed by the stamp. My clay fires to a very light grey so I used a red oxide slip. After I had painted the slip over the stamped area I thought I might use leave it that way--the trouble I've had using the stamps int he past is in trying to remove the slip from around the stamps.
Then I realized that I was treating this project as "too precious" for not wanting to follow through on the process. So I have gone back scraped away slip between the flowers. So we'll see how this works after it is bisqued and glaze fired.
With the help of a friend, I did get new elements into my kiln so it is ready to fire and I have a batch of dried pieces ready to be fired. Feels good to be back in the swing of the studio.
Monday, March 24, 2008
no more boxes
in my living room! Yeah! It has taken 2 months and lots of intermediate steps but we finally got the last of the boxes out of the living room. Not that we don't still have boxes (mostly books now) but they are not piled up in the living room. I can see now how depressing that was for me. I feel like shouting every time I walk through the living room--it is so wonderful!
I was planning to spend the morning replacing the elements in my kiln today with the help of a friend--but at the last minute she had to change our get-together to next Thursday. I have an accumulation of bowls to fire--but really no rush to do so. Some of them are for the Empty Bowls project of the guild which will be held in May. Others are just for playing around with glazes. The studio is working very well for us. It is a pleasant place to be in. Kenny functions very independently there--we are still working on improving his easel set-up but he manages with it as it is. I am beginning to remember where I put things in the studio--takes a while and sometimes lots of searching.
This move has been so arduous that I have a HUGE repulsion against saving anything that I don't have an immediate use for--which is very much against this family's standard-operating-procedure. I got an email from Sarah Susanka's "The Not So Big Life" that really fits the situation:
"The questions we need to ask ourselves today are: 'When do we know we have enough?' and 'What could we do with our lives if we weren't so focused on acquiring more?' Or in my case, 'What could I do with my life if I weren't spending so much time searching for where I put it?'
I was planning to spend the morning replacing the elements in my kiln today with the help of a friend--but at the last minute she had to change our get-together to next Thursday. I have an accumulation of bowls to fire--but really no rush to do so. Some of them are for the Empty Bowls project of the guild which will be held in May. Others are just for playing around with glazes. The studio is working very well for us. It is a pleasant place to be in. Kenny functions very independently there--we are still working on improving his easel set-up but he manages with it as it is. I am beginning to remember where I put things in the studio--takes a while and sometimes lots of searching.
This move has been so arduous that I have a HUGE repulsion against saving anything that I don't have an immediate use for--which is very much against this family's standard-operating-procedure. I got an email from Sarah Susanka's "The Not So Big Life" that really fits the situation:
"The questions we need to ask ourselves today are: 'When do we know we have enough?' and 'What could we do with our lives if we weren't so focused on acquiring more?' Or in my case, 'What could I do with my life if I weren't spending so much time searching for where I put it?'
Wednesday, March 12, 2008
in the studio
with Kenny. We had a little set-back last week which kept us out of the studio till today. Our time in the studio today was pretty brief but at least we got out there and got some work done. Kenny is working on a painting of cars from the movie, "Cars". His first show was a series of cars from his childhood--which I thought were terrific. He has always had an unrequited love affair with cars!
In the photo you see Kenny in his corner of the studio. His easel is not working well for him--it was made for someone to stand at but he has to sit--there is no room for his feet under the easel so he is back too far from the canvas. Back to the drawing board for that one!
Other views of the studio:
This is my little nest (my wheel surrounded by tools) looking out onto the terrace.
This is a wonderful worktable that the contractor made for us out of a cabinet that we had removed from one of the bedrooms. One side (this) is low for Kenny to sit and draw--or for me to sit and draw!
The other side is high for me to work at standing. I can wedge clay at one end and have lots of handbuilding tools and paraphernalia at hand. In the cabinets below, just behind my chair at the wheel, are my bats, trimming equipment and wareboards. I am loving this work space!
Watching Kenny struggle to get his food on his fork or spoon I imagined making a plate with a 'pusher' side. But when I tried to make something like that I ended up with a plate with a standing rim that makes a nice pasta bowl! It might be a bit small for him--or for a real pasta bowl but it is a beginning point. I've made good notes on the amount of clay used and size of the plate/bowl wet so I will know where to start from when I decide how I need to adjust it. The bowl here is ~9 inches wide and 1 1/4 inches high at rim. The picture does not show the depth of the plate/bowl.
In the photo you see Kenny in his corner of the studio. His easel is not working well for him--it was made for someone to stand at but he has to sit--there is no room for his feet under the easel so he is back too far from the canvas. Back to the drawing board for that one!
Other views of the studio:
This is my little nest (my wheel surrounded by tools) looking out onto the terrace.
This is a wonderful worktable that the contractor made for us out of a cabinet that we had removed from one of the bedrooms. One side (this) is low for Kenny to sit and draw--or for me to sit and draw!
The other side is high for me to work at standing. I can wedge clay at one end and have lots of handbuilding tools and paraphernalia at hand. In the cabinets below, just behind my chair at the wheel, are my bats, trimming equipment and wareboards. I am loving this work space!
Watching Kenny struggle to get his food on his fork or spoon I imagined making a plate with a 'pusher' side. But when I tried to make something like that I ended up with a plate with a standing rim that makes a nice pasta bowl! It might be a bit small for him--or for a real pasta bowl but it is a beginning point. I've made good notes on the amount of clay used and size of the plate/bowl wet so I will know where to start from when I decide how I need to adjust it. The bowl here is ~9 inches wide and 1 1/4 inches high at rim. The picture does not show the depth of the plate/bowl.
Monday, March 03, 2008
a leap-year-day baby
My new grandson, Jack, was born smack in the middle of February 29! So for 3 years out of every 4 he will celebrate his birthday with his dad on the 28th. Just think, he could graduate from college when he is just 5 1/2 years old. But I guess he would have to forfeit all those between-leap-years birthday parties!
Oh, and BTW, I did work in the studio over the weekend and have it pretty much ready to start back to work there. I need to call for help to replace the elements before I can fire--But I am eager to get back at the wheel and it is ready to go! I am not ready to post a video tour of our studio--Have you seen Ron's tour?--but may put up some snap shots soon.
Oh, and BTW, I did work in the studio over the weekend and have it pretty much ready to start back to work there. I need to call for help to replace the elements before I can fire--But I am eager to get back at the wheel and it is ready to go! I am not ready to post a video tour of our studio--Have you seen Ron's tour?--but may put up some snap shots soon.
Thursday, February 28, 2008
life with Kenny
What a great greeting to start the day, Ron, thanks! (see Ron's comment to last post) I really miss being active in the pottery-blog exchange and hate the thought of people going to my blog and finding no activity--perhaps it will change soon. Ron is such a conscientious blogger, I'm seldom disappointed when I check into his blog. Ron's current exploration of new clay, glaze, slip and firing temperature is very inspiring. It is hard for an artist who has achieved success to venture out into new realms--I think it great (and healthy) that he is doing that.
I've thought of changing from a pottery blog to "Life with Kenny" since that is the defining activity of my life right now. Not that he is demanding, but it is an adjustment having someone to look after a bit and prepare meals for and such. But more to the point, living with Kenny again after 25 or so years is an incredible experience. Of course, I've stayed in touch with him all these years but I have not been close enough to know what living his life is like. He is amazing. Everything he does, must do, is a challenge, is very hard to do physically. Yet, he does it. He has an incredible drive to be independent in spite of his dependence. And never complains. An amazing person. (See comment section February 11 for a little of Kenny's background.) I could write a whole book about him! But I won't!
Today is dedicated to putting the studio in order. We have basic order in the house--though there are still boxes to unpack but they don't dominate the scene. I hope to stay in the studio all day and to have basic order there by the end of the day. It will be a landmark day when I turn the wheel back on and slap a chunk of clay down on it and pull something up!
I belong to a small group of potters here who meet once a month to share/compare experiences around Cone 6 glazes and firings. We meet tonight and I look forward to going--I have missed the last 3 meetings--maybe 4.
So, all and all, it seems that I am getting close to getting back on track! Seems it has been a long detour. I remember when the windows went into the studio and I was excited about my new studio home--that seems a very long time ago. I had no idea then how far away that new studio really was.
I've thought of changing from a pottery blog to "Life with Kenny" since that is the defining activity of my life right now. Not that he is demanding, but it is an adjustment having someone to look after a bit and prepare meals for and such. But more to the point, living with Kenny again after 25 or so years is an incredible experience. Of course, I've stayed in touch with him all these years but I have not been close enough to know what living his life is like. He is amazing. Everything he does, must do, is a challenge, is very hard to do physically. Yet, he does it. He has an incredible drive to be independent in spite of his dependence. And never complains. An amazing person. (See comment section February 11 for a little of Kenny's background.) I could write a whole book about him! But I won't!
Today is dedicated to putting the studio in order. We have basic order in the house--though there are still boxes to unpack but they don't dominate the scene. I hope to stay in the studio all day and to have basic order there by the end of the day. It will be a landmark day when I turn the wheel back on and slap a chunk of clay down on it and pull something up!
I belong to a small group of potters here who meet once a month to share/compare experiences around Cone 6 glazes and firings. We meet tonight and I look forward to going--I have missed the last 3 meetings--maybe 4.
So, all and all, it seems that I am getting close to getting back on track! Seems it has been a long detour. I remember when the windows went into the studio and I was excited about my new studio home--that seems a very long time ago. I had no idea then how far away that new studio really was.
Wednesday, February 20, 2008
routine vs spontaneity
Today, as I was helping Kenny up the ramp to the (soon-to-be) studio, I experienced a wave of 'well-being'. It is the first such experience I've had in quite a while. Earlier in the day I had been thinking that I am going to have to very disciplined in my daily schedule if I am going to get to have much time in the studio--there is going to be a lot of housekeeping and caretaking required around here. But it seems to me that discipline (routine) is deadening. It seems that those sparks of well-being come when I step out of the familiar. How can I maintain a routine and still allow or promote some spontaneity in my days? These days are very irregular--being still in the setting-up-of-the-household stage. Perhaps I am moving from being overwhelmed by the move to fear of losing my self in my responsibilities. Looks like I am getting addicted to worrying and feeling overwhelmed. Gotta do something about that!
Tuesday, February 19, 2008
on the other hand
"Future shock [is] the shattering stress and disorientation that we induce in individuals by subjecting them to too much change in too short a time." - Alvin Toffler
Monday, February 11, 2008
finding my way
I've read that a powerful personal development tool is to give up/change habitual patterns. (I first encountered that idea when reading the work of an Italian psychologist and then found it again recently in "The Not So Big Life.") The goal is to keep oneself more alert, more alive in the present moment. Well, let me tell you I am in the midst of one heck of a big change--and I am sure counting on it to pay off! It is not the amount of work that has to be done--it is the trying to figure it all out that is killing me--or waking me up! I had imagined putting things into boxes (big job), moving them to the new home, and taking things out of boxes and putting them into their place. What I did not realize is that NOTHING has a place until I figure it out. Nothing here corresponds to what we had before. I remember when we moved into our new home in 1979 being amazed at all the storage space we had--especially in the kitchen. I thought I'd never need all that space. Well, of course, I filled it all up and then some. Now here in 2008 there is not nearly enough space and I am stymied trying to figure out where to put each thing. I'm dreaming of a huge garage sale in the near future--though I hate putting my belongings out for public review.
Kenny arrived with all his boxes last Tuesday. By Thursday he had unpacked and put into place everything he brought with him. I was impressed! And once he was settled in I've felt more inspired to get myself settled in also. Jim and I got some planning done over the weekend while he was home (recovered mostly from his bout with the flu) and that seems to have opened things a bit for me to move forward. The contractor is trying to finish up the 'details'--though his list of things still to do looks a lot more significant to me than 'details'. The longer he takes finishing up, the more we find for him to do extra!
I am so eager to set up the studio and get some clay on the wheel. I am not there yet--but getting closer every day! Our guild is having its annual juried exhibition this month--I probably won't even get to the opening. But soon...
Kenny arrived with all his boxes last Tuesday. By Thursday he had unpacked and put into place everything he brought with him. I was impressed! And once he was settled in I've felt more inspired to get myself settled in also. Jim and I got some planning done over the weekend while he was home (recovered mostly from his bout with the flu) and that seems to have opened things a bit for me to move forward. The contractor is trying to finish up the 'details'--though his list of things still to do looks a lot more significant to me than 'details'. The longer he takes finishing up, the more we find for him to do extra!
I am so eager to set up the studio and get some clay on the wheel. I am not there yet--but getting closer every day! Our guild is having its annual juried exhibition this month--I probably won't even get to the opening. But soon...
Tuesday, January 29, 2008
making connections
The mailman brought me a special package yesterday. It contained a catalog from an art exhibition in Austraila. The exhibition was a collection of the work of the Japanese artist, Rengetsu (1791-1875). She was raised in an well endowed family and received an exceptional education--especially in all the arts. Yet her life presented many hardships for her to overcome. Rengetsu was married twice and gave birth to several children--none of which survived infancy. When finally she found herself totally alone she became a Buddhist nun.
Here is the connection I am leading up to. To earn a little money she began making pottery--mostly for the tea ceremony--which became very popular. She was also a well respected poet, calligrapher and artist. She wrote her poems on her pottery in her unique calligraphic style. Her work reminds me of Elaine Spallone's grieving vessels. The work of both these artists is very inspiring to me. I am certain I will try my own version of this when I finally get back into my studio.
The catalog is lovely with several essays about Rengetsu and her life and photographs of her work.
Here is the connection I am leading up to. To earn a little money she began making pottery--mostly for the tea ceremony--which became very popular. She was also a well respected poet, calligrapher and artist. She wrote her poems on her pottery in her unique calligraphic style. Her work reminds me of Elaine Spallone's grieving vessels. The work of both these artists is very inspiring to me. I am certain I will try my own version of this when I finally get back into my studio.
The catalog is lovely with several essays about Rengetsu and her life and photographs of her work.
Sunday, January 27, 2008
working hard
We have been sleeping in the 'new' house for week and a half. I can't believe how hard I've worked trying to 'settle in" yet it still looks like our first day here. My sister-in-law stopped by today and was amazed to learn that we had been here for a week and a half and still were in such disarray. I try to blame it on our contractor who has not finished his part of the work. But it seems to be more than that. I was slow getting ready for the move because I was trying to be very organized about my packing: eliminate every thing that we don't need to keep and have everything clearly marked so I know exactly where it goes. Yet it did not go like that. There is a pile of boxes in the living room with designations of every sort. Each room is filled to capacity with furniture and boxes in great disarray. I don't understand why. We tell ourselves that it is because the contractor has not finished his projects so we can't finish ours. We had hoped that he could be finished with the floors before we had to move but that did not work out. So there are areas we can not use for sorting out and unloading into. On the other hand, each day I think...today I can sort out one room or another...but as soon as I start there I am led into another room that needs the same attention. In the end none of them are checked off my list. If I could just clone myself into 5 parts and each part could attack one area we would get there. As it is I am not sure we will ever get settled in.
Our contractor is great. He is working as fast as he can and is so responsive to our needs. For example, the refrigerator did not fit in the space designed for a refrigerator so it was sitting in front of the window looking out to the street. Jim's solution was to take out a small, dumpy desk area and put the refrigerator there. He asked our contractor about that and immediately the desk area was gone and refrigerator was put in place and leveled! In the space designed for the refrigerator we will build shelves to overcome the inadequate cabinet space. We keep telling ourselves that it will bel great--but it is an act in process--and in the meantime we live in chaos.
The studio looks great on the outside. But on the inside it is a pile of studio paraphernalia next to lots of equipment belonging to the contractor. I tried to sort it out today but made no headway. I did clean the windows of dirt, grim and paint residue. Seems insignificant in view of all that must be done. But you gotta start somewhere! And today was a great day to do outside work--75 degrees and sunny. Starting tomorrow it will be cold and rainy and I will be happy to be inside sorting boxes. Maybe..
Our contractor is great. He is working as fast as he can and is so responsive to our needs. For example, the refrigerator did not fit in the space designed for a refrigerator so it was sitting in front of the window looking out to the street. Jim's solution was to take out a small, dumpy desk area and put the refrigerator there. He asked our contractor about that and immediately the desk area was gone and refrigerator was put in place and leveled! In the space designed for the refrigerator we will build shelves to overcome the inadequate cabinet space. We keep telling ourselves that it will bel great--but it is an act in process--and in the meantime we live in chaos.
The studio looks great on the outside. But on the inside it is a pile of studio paraphernalia next to lots of equipment belonging to the contractor. I tried to sort it out today but made no headway. I did clean the windows of dirt, grim and paint residue. Seems insignificant in view of all that must be done. But you gotta start somewhere! And today was a great day to do outside work--75 degrees and sunny. Starting tomorrow it will be cold and rainy and I will be happy to be inside sorting boxes. Maybe..
Wednesday, January 23, 2008
a vocabulary conundrum
When we were packing and I was trying to eliminate the non-essentials Jim would want to keep something because of its 'story'. I told him everything in our house had a story and some of which must be sacrificed anyway. Among the things we packed for our move with a story are these JUGS Jim and his grandfather found in an old still in an abandoned shack many years ago. They had been fishing and took a break to walk in the woods where they came upon the shack and found in it a large number of these jugs. They had been used for "moonshine" during the days of prohibition. These are three of the many (27?) 'little brown jugs' they brought back from their fishing trip. This is what comes to my mind when I hear someone speak of a 'jug' so I am always set back a bit when Doug Fitch calls one of his beautiful slip-ware pitchers a 'jug'. I think these simple jugs have great integrity. Their simple, strong form is very appealing. There are no markings on any of the jugs. The two in back are the same size and hold EXACTLY the same amount--just over 2 liters. The jug in the front holds about 1.5 liters. The picture does not show the size variance very well.
I thought about going through the house with my camera for this post to show you the incredible mess I have created. But it would be too depressing for you and too embarrassing for me. We are sort of stymied while waiting for the floors to be renewed and the storage area to be completed so that we can begin unpacking all that we did not eliminate. I can't set up the studio until construction is over because it is full of the worker's tools. I do have my bed set up and it is very welcoming at the end of a long day of hauling everything around. I know there is an important lesson here--hope I can learn it--Jim hopes I can learn it as well. I am amazed and grateful at how well my body has held up to the stress I have put it through.
It took us a week to move after all the packing was done. I have thought about the families that were given an hour or so to evacuate their homes ahead of fire or flood. I have wondered how I would manage if I was given only a few hours to evacuate my home! I guess it shows the extent of my attachments.
My fingers are itching to get hold of a ball of clay!
I thought about going through the house with my camera for this post to show you the incredible mess I have created. But it would be too depressing for you and too embarrassing for me. We are sort of stymied while waiting for the floors to be renewed and the storage area to be completed so that we can begin unpacking all that we did not eliminate. I can't set up the studio until construction is over because it is full of the worker's tools. I do have my bed set up and it is very welcoming at the end of a long day of hauling everything around. I know there is an important lesson here--hope I can learn it--Jim hopes I can learn it as well. I am amazed and grateful at how well my body has held up to the stress I have put it through.
It took us a week to move after all the packing was done. I have thought about the families that were given an hour or so to evacuate their homes ahead of fire or flood. I have wondered how I would manage if I was given only a few hours to evacuate my home! I guess it shows the extent of my attachments.
My fingers are itching to get hold of a ball of clay!
Monday, January 07, 2008
thoughts while packing
I am sure I've already told you that I think this packing is for the birds--or maybe I said something stronger--well it was not strong enough! But I'll let it go at that. A friend came to help me pack today. She left saying, "Oh, poor Gay." I told her it was karma at work--I bought it/collected it so now I have to pack it!
I had some other thoughts too. I have been an enthusiastic practitioner of several crafts through my life. The first was sewing--I've made most of my clothes since I was in high school. Then after marriage I got into cooking--a necessity but for me it became a creative expression. Then I tried my hand at several arts for brief periods until I encountered clay, which became an almost overwhelming passion. In each of these endeavors I've enjoyed collecting all the paraphernalia. Sometimes I wonder if it is the equipment and tools of the trade that attract me more than the craft. Well, you see that is what I am having to deal with now. I have everything you could use in the kitchen, I have all the sewing equipment and supplies one could imagine. And I have left-over collections of pens, inks and papers from my calligraphy affair. I have more dishes that some restaurants. And the tragedy is that I don't want to give any of up. So here I am packing up all this stuff--you would not believe how many trips I've made to buy boxes! It seems to be too late to change--so I'm stuck packing, storing, finding space for it all.
I am excited about my 'new' studio. But it is only a 2 car garage and I don't think it is going to hold all of my pottery equipment, tools and materials. I'll report in after we are settled and we can see how it is all going to fit.
I had some other thoughts too. I have been an enthusiastic practitioner of several crafts through my life. The first was sewing--I've made most of my clothes since I was in high school. Then after marriage I got into cooking--a necessity but for me it became a creative expression. Then I tried my hand at several arts for brief periods until I encountered clay, which became an almost overwhelming passion. In each of these endeavors I've enjoyed collecting all the paraphernalia. Sometimes I wonder if it is the equipment and tools of the trade that attract me more than the craft. Well, you see that is what I am having to deal with now. I have everything you could use in the kitchen, I have all the sewing equipment and supplies one could imagine. And I have left-over collections of pens, inks and papers from my calligraphy affair. I have more dishes that some restaurants. And the tragedy is that I don't want to give any of up. So here I am packing up all this stuff--you would not believe how many trips I've made to buy boxes! It seems to be too late to change--so I'm stuck packing, storing, finding space for it all.
I am excited about my 'new' studio. But it is only a 2 car garage and I don't think it is going to hold all of my pottery equipment, tools and materials. I'll report in after we are settled and we can see how it is all going to fit.
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