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Dinah

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About Dinah

  • Rank
    Advanced Member
  • Birthday 01/07/1942

Contact Methods

  • Website URL
    http://www.dinahsnipessteveni.com
  • Skype
    DinahSteveni

Profile Information

  • Gender
    Female
  • Location
    North of Seattle, WA.
  • Interests
    Potting, painting.
  1. Workshop to be held at Anacortes High School, Ceramics Classroom. Saturday, Sunday, Monday: July 20,21,22. $165. Please contact June Haddox, Cascade Clay Artists Workshop coordinator junehaddox37@msn.com, or 360-708-7731. What to Bring sheets distributed when you've signed up. Anacortes is located an hour's drive north of Seattle; and then 1/2 hour's drive to west. Lots to do if family accompany you whilst you're delving into engobes, terra siglliatas, slips, surface impression and manipulation, sgraffito and layering. Whale watching expeditions, hiking, sailing, fishing, Deception Pass, excellent Anacortes Farmers Market on Saturdays. Vince Pitelka's reputation and accomplishments and contributions to ceramics are plentiful and legendary. This workshop has been organized by Cascade Clay Artists, and I'm President of this 70+ member group. Dinah
  2. is a studio potter living in Mount Vernon, WA., just north of Seattle.

  3. I flew from Seattle to Tokyo to attend Opening Reception for International Ceramics Festival in Tajimi City (Mino), Gifu Prefecture in 2011. In March of 2011, the horrific earthquake/tsunami had devastated areas of northern Japan. I told myself that if I got through the remaining two out of three remaining juried stages I'd make every effort to attend and participate. I did and I did. I met and enjoyed spending time with many exciting Studio Potters amongst them Christina Bryer( Infinite Interpretations, Ceramics Monthly April 2013); and Ann Van Hoey, Emerging Artists, Ceramics Monthly May 2013. Ann may be emerging in the USA, but is one huge presence in Europe on the Continent and in the UK represented by various top galleries.
  4. We all have entered juried shows and are elated when we're notified to participate. The flip side of the coin is will my entry fee be akin to burning $35 bucks in the middle of the road because they've only got room for 35 potters. How does one plan and determine one's fate? For me it's been about even odds the past few years. But, because of what I deem The Tingle Factor, applying to International or Regional juried shows, one just does. Is it just a lottery or aside from squeakingly good images of work, reading through the application form about 4 times to glean each nuance and stipulation, and Googling the Jurors to see if one's work will resonate :lol:/> , what else is there to do? It's so crucial to keep one's Resume fresh and up-to-date with peer approval. What do you do?
  5. cracking platters

    You throw a very big and to your mind a thick piece. A bowl or a platter. You wire it off. Right after throwing. Or, if it's wet and sloppy, no wiring off. Leave. Use a propane flame to tighten up if you're pressed for time or a heat gun. Come back after several hours, or overnight, and continue to throw and refine, then wire it off. You...when it is drier, flip piece over onto another bat. Richard Phethean, a UK potter with a couple of books out there, has the best explanations of throwing, perhaps for more advanced, I've ever come across. In the meantime, put a piece of upholstery sponge you've trimmed to fit depth onto the receiving bat. Or a folded towel. Just check the depth. I have made bats from marine ply and used spar varnish to finish. I've also bought bats from Seattle Pottery Supply and Clay Arts in Tacoma. All work beautifully. Then, when piece is drier, you can turn foot ring. If it's that big a piece you'd be doing yourself a favor by turning a double foot ring.
  6. Thanks for getting this workshop off and flying. It will be such fun.
  7. Super. Hank Murrow. Tatsuo Tomeoka. Boy. A stellar line-up which would be awesome. Ask Wally Bivens at Pacific Northwest Studio to host a workshop. I'd be there in a shot!
  8. Admittedly, I've fast scrolled through comments. And seem to be a bit New Year-ish in my attention span! So be it. Etsy, and other online craft sites demand a very high price from potters in that our shipping costs are buttock-clinchingly high. Sooo. Solutions. Create a line of work which can be mailed which is not sucking up those crazy mailing costs. It will be separate in the main from your usual suspects. I have to acknowledge some of you do post on FaceBook etc. with your successes and well done to your arm! We're all terrifically envious and would you please have a think and post to this Forum some of the thoughts which drive you and your business? Much appreciated. I often see you on FaceBook but not on Potter's Council Forums. Ways Forward: Have a very close look in your area and get involved with local Farmer's Market craft section. If you've a decent product and a good record of community involvement you might get yourself a weekly stall. Be careful what you wish for because it does get demanding during the run of the market season. Another strategy might be to volunteer to become a FM Board Member. Get your legs under the table. One way or t'other! I really do apologize for not taking into consideration previous replies and horning in willy nilly to the conversation. But I do pride myself on a decent imagination. ;)/> Always welcome your reply and continuation of this discussion online or off. You know how to contact me. I am also a Potter's Council Board Member. Happy New Year. And as Simon Leach says: Keep on Practicing.
  9. is gilding / gold leafing food safe ?

    I had similar questions and got involved in a bit more research than you seemed to have done. I contacted johanna.demaine.org who was extremely generous with her time and information. I just kept on researching images of potters who use gold in their work. Following from < to > a quote from Demaine's reply to me follows. <1. Rosenthal uses gold lavishly on rims of domestic glass and pots and the EEC has the most stringent guidelines for ceramics production in the world. 2. For those of us who can afford it, dentist [sic] still use gold for fillings. 3. Gold powder/flakes are sprinkled on food and eaten.> Gold leaf is used on the inside lid of carved ivory (Oh. Please. Don't start an elephants/walri/unicorns are slaughtered needlessly thread, and frankly if the vast warehouses of confiscated ivory could sell it all off, illegal poaching might come to a temporary closure. Might....) tea caddies -- to muffle the tink sound of the lid, so as to not disturb the flow/moment in Tea Ceremony. Many, many potters use gold leaf on the inside of tea bowls and sake cups. Resinate gold, or platinum luster features in much of my current work. Have a look at Ueba Sasumi's work. You would do well to have a look at the various styles and shapes of both tea bowls and sake cups to see which shape seems to encourage various decorative techniques. Some outside techniques would never consider a gold interior. Talk to Johanna. Be humble. Her work is incredible. She walks the walk, and talks the talks with the gold issues. Enjoy your area of exploration! Many reading this thread would adore having the time and space, inclination, talent, techniques to follow your thread towards a body of work. Please do continue to share your explorations and images of progress on this forum. Always available to help. And I know many others will chime in with their take on this topic.
  10. Your writing is very informative and so professional. I greatly enjoy your ceramic art as well.

  11. Hi All, Trying to keep up with Mentee Requests and Mentor Matches. It's a little bit of a process. I've just this last weekend put together 7/8 folks. I hope it works. I know that we all have particular wishes and desires. But from my own experience, and from hearing from others -- thank you, a discussion ensues. You call/email and say Howdy/Hi and you're off! Doesn't make any difference if you're wanting marketing experience and so you're hitched up with someone who's been making a living for 30 years from their work. What makes this so deliciously ironic is that Mentor has said they've no marketing experience. Go Figure!
  12. I bought The Pot by Edmund De Waal last year. If you don't have this in your book shelf, shame on you! Don't waste money on crap How To videos or some such. Buy this book. Also, check out De Waal's conversations with curator at The V&A Museum, London, UK. Looooong interviews. And I recall a lovely interview on BBC World Service a couple of months ago. Revelatory. Inspirational. You will find yourself wanting to be more articulate and knowledgeable about your subject matter. And why not? No excuses. Nobody respects the tongue tied inarticulate artist/maker living in a garret. [Please, not mocking anyone who has issues.] His Hare with the Amber Eyes is also a must read. Puts EDW into context. I'd also like to pass along in a totally random golly I like these UK potters: Robert Cooper with some incredible tea caddies. Weep and learn. Yoko Sekino-Bove with some wonderful glazes; and Fliff Carr with just some lovely designs. That's it. Always happy to get your ping back with your offerings too.
  13. Brian has organized some of us up here in the top left hand side to participate in a workshop with Simon Leach in May 2013. Kudos to Brian Reed. I want to add on here that a really super connection for Mingei/wabi sabi object d'art can be found at the Glenn Richards Gallery in Seattle. Also, Tatsuo Tomeoka has shops in Seattle area which sell tea, contemporary crafts and vintage crafts; and an expert on Mingei ceramics. Happy to talk to your group. His online lineup of contemporary makers of chawan is pleasingly gorgeous and inspirational. He is a super chap, and sent me on my way to connect with wonderful areas/people when I went to Japan in 2011 to participate in Mino International Ceramics Festival.
  14. I've changed techniques as time goes on and I get smarter. I use a sponge now to help pull. And I'm on record here for using the slap stack Japanese method of throwing a large vessel. I use a metal kidney to clear slurry from outside of tall work. I use a rubber kidney to clear slurry from outside of tall work as well. Depends on the body I'm throwing. And its condition. I have a sponge wadged and whipped onto the bottom of a long stick to clear the inside of a vessel. Actually, using a sponge to assist throwing the past couple of years has been revelatory. Nice surface emerges. At various stages of throwing and turning. I used to just use hands. In and out. Didn't know better! :lol:/> But, I've always used a scrap of chamois inserted and knotted into a bead or cork to clear off/help form a rim/lip. Sorry to enter discussion so late.
  15. trying to get a better look at the pot on your avatar. Looks interesting.

    Marcia

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