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About LeeU

  • Rank
    Advanced Member
  • Birthday 07/14/1947

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  • Gender
  • Location
    New Hampshire
  • Interests
    In addition to clay, I'm interested in painting, photography, and writing. Recently retired from 30 years in behavioral health services, just getting back to enjoying and making art. I have a BFA in ceramics from VCU's School of the Arts (Virginia Commonwealth University). I recently completed setting up a small in-home studio.

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  1. My basics list is the same as everyone else's basics list, pretty much. In addition, my essentials include a variety of wood sticks (chopsticks, skewers, round/square/triangular rods, pieces of thin decorative molding etc.); also scalpels, dental tools, and, mostly, my fingers.
  2. My all time favorite-John Baymore. June 16-19 John Baymore (is) “Headed off to South Korea ...in a week for an exhibition, then (the vessel with the neck will go) into a public collection. The container is my single favorite piece of all things made of clay that I have seen to date. John says " It is not done yet. Next it gets overglaze enamels."
  3. During drying, clay particles draw together and shrinkage occurs. During firing the matrix densifies and shrinkage continues (source: Digital fire). The clay body you are using will have a certain shrinkage rate, which you can look up from the supplier, usually. The ranges can go from maybe 4% to 13% depending on the cone number and type of clay--for example, porcelain shrinks more than stoneware, generally. 11% is fairly common for cone 6 stoneware. When I am going to use the nichrome/kanthal rods for beads, pendants etc., I either wax the inside of the hole before glazing or run a pipe cleaner through it to be sure no glaze is in there to fuse to the rod. For jewelry, when calculating the likely shrinkage, be sure to measure the wire width of the bail or attachment that will be used for the finished product so the hole will be big enough after shrinkage. Best to test.
  4. This potter is not active on the forums anymore, but maybe if you message a moderator maybe they can put you in touch. She went by "The Guinea Potter" but I think her name is Sarah. Try contacting Pres. 

  5. I make myself wait 'til 200. I'm too antsy to risk anything over a few hours of impatience! Mostly this with regard to with New Hampshire winters, which are very cold, for a very long time, and my kiln is on an unheated back porch.
  6. I would just add that it is worth the money to get the leather welder's gloves that are rated for the highest temperatures and also get the longest sleeve that you can.
  7. DUDE!!!! YA THINK??? What you've accomplished is amazing, and inspiring.
  8. That's a dynamite color! All I can offer is encouragement--I think what you're doing is rather exciting. Others will be more knowledgible about native clays and the innards of pug mills! Welcome to the forums! Do you know anything about the geology of the region it is found in-what it is comprised of etc? Just curious.
  9. One suggestion is to get a basic book on working with clay, unless this is a one-shot deal. Processes, terminology, chemistry, techniques etc. etc. are all essential to have a working knowledge of, whether you are dabbling for fun or seeking to enter the world of ceramics. One basic terminology correction: clay is fired, not baked. When you say "an existing object", what exactly is it and do you know what the clay is? Is the object still "greenware" (dried hard, not fired yet)? Welcome to the forums. No need to apolgize for what you don't know--if you're interested, you will learn, and this group has a wide variety of skill/experience levels.
  10. That is just perfect!! U R 2 funny! I will be bringing the suggestion to the next meeting--we need some promotional hooks!!
  11. I have to chuckle. I was a successful business owner (Shoestring Graphics Plus/NYC) and did indeed continue to drive an old Chevy Nova (kept it in Jersey-Manhatten was out the budget for parking). Driving that instead of spending the moola on a Benz got me other things that were a higher priority---like an apartment in the city. I was just making a point, using hyperbole---why you pickin' on my poor ole' car LOL????
  12. Yep---they also can be broken up and used in the bottom of planters, or if you're not fussy, for simple non-uniform glaze tests. They'll last until they don't. Welcome to the forums!
  13. I'm not sure that a contemporaneous period, or movement, is possible to be named and categorized while still unfolding and in motion. History, to me, is an amalgam of hindsight with a mix of alleged and actual facts shoring it up. It is always a bit twisted---sometimes very, very twisted. I don't see art history as being exempt from the ways in which history (formed from records, opinions & observations, critiques, all kinds of analysis, supposition, explanations, and relational interpretations) may be, and has been, "used" as a political, cultural, socioeconomic, even religious, dynamic that affects entire populations and subgroups, sometimes quite negatively (think post-Soviet actionist art). There are deep roots and reasons why the general U.S. population was initially disgusted with and fearful of the emergence of "abstract" art. People had to be taught how to be "the viewer", how to enter a new visual reality, how to participate in the dialogue, how to "appreciate" what made no sense to them. Once history has blessed an art movement/period with the names of the identified heroes and generated enough money to give it credence, even the most impenetrable or nonsensical works, the most blatantly naked emperors, get to assertively confound us with challenges to our discernment of what is art and what is artifice. Most of us can't tell 'em apart, but once we slap a label on the period or movement in question, it's pretty well settled. One hopes that there is a strong core of intelligence and benign creativity when articulating an art movement or period and that art historians may bless us with insights and context, and not leave us in the dark (think of Ai Weiwei and the urn--you have to understand it to understand it). Yep.
  14. Knowing the percent of FT potters selling pots for their sole income tells you exactly nothing. That does not tell you anything about the people's quality of life, income-related levels of personal satisfaction, whether they have a new Mercedes they can count on, or an old Chevy Nova that craps out twice a month. It tells you nothing about the standard of living. As a group does that sole income provide for good health care or does a percent of the percent go without? Does making an income from selling pottery assure that they have excellent dental care or is there a high incidence of no dental care at all. Percentages tell you nothing useful about all the other variables of personal situations. Even if a numeric value could be determined with any validity, that would still not shed any meaningful light on your personal odds of "making it". I'm not being critical or trying to be funny--just interested in what it is you are getting at. So the question, to my mind, is what is the real question?
  15. Trust me on this: if you have any intention of ever using that photo in your promotions, be sure to get a proper Release first. You can find sample ones online and simplify them or even just get an email saying it's OK to use this helps. Feel free to PM me for some guidelines on releases if ever needed; publishing people's pics without permission can come back to bite you, in ill will if nothing else. My website has the essential few carefully researched and carefully worded policies that address some of the issues for you and the online customer.
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