glazenerd
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Posts posted by glazenerd
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My personal favorite- Taxtile Doat. - most crystalline glazers count him as the godfather of this speciality glaze.
http://history.ucpl.lib.mo.us/results.asp?search=Doat%2C+Taxile+Maximin%2C+1851-1939
check out the 4 foot wide porcelain bowl he threw in 1910. 2 assistants turned the wheel.
Help found the University Pottery (University City, Mo.) 1910. Proceeds funded the Woman's' Sufrage Movement.
Teachers - he also wrote some of the earliest curriculum for Art Ed.
Have toured what is now called: University Museum.
- Marcia Selsor and terrim8
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Saw this artist on the History Channel a year back or so.
Anna Coleman Ladd was a porcelain sculptor who used her skill to make porcelain prosthetics for soldiers who had facial disfigurements after WW1. There was another woman from New York that made them for Civil War soldiers.. forgot her name.. sorry!
https://hyperallergic.com/314255/the-sculptor-who-made-masks-for-soldiers-disfigured-in-world-war-i/
Tom
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My process started with and continues with research. You would have to accept clay formulation as an art, to understand my passion for it. I see the chemical manipulation of a clay body ranking up there with the most expressive thrown or molded form. I have been working on a plasticity calculator for awhile now; having sent out test bodies for review. I have been testing bodies that specifically react to salt and wood firings. Then again, I also believe that clay is as much relative to the design and function of a piece; as any forming technique or glaze. My process most would find boring and mundane, but the results are gratifying. Galleries and museums would be empty if someone did not take the time to formulate the paint.
T
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After reading through the responses for the second time I noticed a trend: " when I touched" or " felt the clay" I was hooked. Sensory beings that we are.
Knowing what I know now about clay- my response to the Ghost throwing scene: Ease up on the water lady, it's going to slump.
Tom
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Min:
i was curious to see how the glaze broke on the ribbing. Nice job.
Tom
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Just now, liambesaw said:
I was being sarcastic, but I'm the same way. Natural curiousity is one of the greatest teachers.
My wife bought me a ceramic plaque decades ago: " Blessed are the curious, for they shall find adventures."
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Just now, liambesaw said:
Sounds more like an journey of self-punishment. I thank you for your sacrifice though, I've learned more than a little from your explorations posted here on the forums.
Liam:
it might sound that way so perhaps I should add: I had no interest until my order arrived and I was hooked. Secondly, much has to do with my thirst to learn new things ( within limits.) I read dictionaries for leisure, I find them much more interesting than novels. Except of course for the old stuff..Steinbeck,Dickens, and Harper Lee.
So far the responses have been interesting insights.
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I was in a high end antique store in Williamsburg, Va. In 2007 admiring a Dresden vase. On the next table was a vase with floret looking shapes that caught my attention. The clerk had no idea what kind of glaze it was. I spent almost an entire year searching for a similar glaze: then one day I typed in " crystal glaze", because that was the appearance of it to me. The first website was William Melstrom from Texas; lo and behold I had been looking at crystalline glaze. I had no prior experience with or interest for that matter in pottery, although I did help my wife glaze bisq ware some 20 years prior.
After doing some research, I ordered the kilns, rollers, and sundry items required to make this speciality glaze. So I jumped into the rabbit hole from the outset, and here I am ten years later. I noticed early on that crystals formed differently on different clay bodies; although I made no changes in recipe. Those differences lead to extensive research over the last five years trying to understand why. And now I know why.....
Tom
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While the chemistry of pottery always interests me: I always enjoy the back story. For me it was Williamsburg, Va. 2007. I was in a high end antique store admiring a Dresden vase. On the next table was a large vase with this brilliant glaze ( rest of the story later).
When, where, what, or who influenced you to begin your journey into pottery?
If you care to share: what was it exactly about pottery that drew your interest?
t
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Israel:
I see your friend favored nickel and titanium reductions. See a few copper red reductions here and there. There was a man in the USA who retrofitted electric kilns with propane burners and oxygen sensors. ( Fallon) I believe was his name; and if I recall his kiln conversions were called Fallonators? Most crystalline junkies reduce in electric kilns using alcohol drips. ( please do not try this at home) the trick is to run a couple of oxidation firings between reduction firings to keep the elements oxidized.
Tom
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Crystalline glaze: cut my teeth on it. My obsession with clay came because of it.
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The Scarab Vase by Adelaide Robineau 1911. ( current value $1,000,000.00 )
https://www.pinterest.com/pin/28006828910403644/
this link has some of her other work. To me a piece of art, to others........
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Ah yes, the age old discussion arises again!
Art evokes an emotional response. In pottery; art is the combination of form, color palette, and proportion. Although, in some select cases I have seen texture create interest. The Scarab Vase by Adelaide Robineau would be a prime example of art. There are pieces at the University Museum ( formally the University Pottery 1908-1915) that also qualify. ( Taxtile Doat ) I have seen pieces on this forum I would be willing to pay premium prices for. I drink coffee out of hand crafted mugs.
Just now, Pres said:For me, there is that thing which is lower than craft, and this time of year we see a lot of it. I consider the glued together, tossed together stuff of decorative glitz used for the seasons, especially fall and winter
The imported flea market filler I would agree. I have also seen a diverse level of quality that I do not lump into that category. As I have also seen pieces on this forum that simply reflect where the potter is presently at on the learning curve.i have been here long enough to see those same potters make noticeable progress in skill sets. My early adventures certainly qualified for road fill. Actually some of my recent thrown pieces qualify as well; but fortunately my pugger is nearby.
i think the common thread for both art and craft is personal preference and interpretation. Where else besides here are you going to find lengthy threads on " the perfect handle." There are pages on how runny the perfect glaze run should be. I recall a lengthy thread on what constitutes the perfect lip on a mug. So I can easily see why the lines between art and craft get blurry.
Nerd
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Not sure this question really rests within the parameters of formal or informal education, but rather in the persons desire to learn. Just as the reactions to formal or informal education is based more in access and means, rather than desire. I did not receive a formal education in pottery, mostly because when starting out my goal was a diversion from life. Although I quickly learned that some basic education was required to achieve any level of successful outcome.
It took very little time for my personality to inject itself into my hobby: my curiosity, my thirst for truth, for fact, and for knowledge quickly took hold. Knowing what a motor does is not good enough for me, I have to take it apart and know in detail what each part does. I spent several years reading and studying books written before the 1980's by the major PHD's of ceramic and other related fields. So while my education was not in a formal setting, it was gleaned from those who were formally educated. I found internet searches useful, as long as the resource material was from credible sources. From every credible source I found, I found ten that were not.
After 7 or so years, I finally decided to mingle with other potters for the first time: which landed me here. Some of the information I found here confirmed what I held to be true: while some of it challenged it. The two years I have been here has taught me many things, less about pottery and much about personalities. There is something to be said about knowledge, but experience is what puts that knowledge into motion. Gaining knowledge through a formal or informal setting will provide you tools, but only experience will teach you how to use them. I do not regret my informal education, or the journey that it required, but I am also aware that a formal education would have saved me from the numerous potholes I managed to step in.
T
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Callie:
articulated with such clarity!! If I have a weakness, cleaning would be it. However, my creative solution includes pouring a 10 x 10 concrete pad on the side of my detached studio. I have already built a stand for my pugger on 600lb wheels for easy moving. Install an exterior plug, and the big dust bomb will be outside when I dry mix. Also plan on throwing out there when the weather is pleasant. I find the wooded view and the natural hymnals being sung rather inspiring. Now all I need is the time to actually work with clay: which has been in short supply since last October.
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LeeU
in the last 44 years of working, I have spent a few days standing and staring at walls. Then again I build walls, then stand them up. Energy does produce energy, I agree. The Hillybilly, country expression is: push through it. Motivation is part of the work ethic, or from my perspective it is. A singular truth about self-employment: if you do not discipline yourself to produce: then production simply will not occur. So to differing sides of the question: can the same discipline needed to produce work be focused to create new ideas for work? I will post my response later.
T
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Denice:
Recently Pres. Posted some pictures of some chalices he had made. My throwing skills are still at the beginner level, but the pictures inspired me to try something new. I have made three attempts, and failed three times: but I am enjoying it. One of the joys of owning a pugmill: open lid, insert failed attempt- start over!
T
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So far the remedies appear to be: step away from clay and distractions. Although I am familiar with the soothing hum of the pugmill.
Crystalline glaze: cut my teeth on it. My obsession with clay came because of it.
QothW: As a potter/ceramic artist, Do you think you have helped, or been helped by more people in the flesh, by forums, You-Tube, or other printed or digital media?
in Int'l Ceramic Artists Network (ICAN) Operations and Benefits
Posted
Primarily books written from 1950-1975. W.G. Lawrence, A.F. Horton,- Buttons, Brownell, a Ougland, Brindley.
Crystalline Glaze: Peter Issley- Diane Creber.
Few professors from various universities across the world. And special thanks to Ron Roy. Frank Tucker.
An interesting discussion with Tony Hansen via Email a few years back.
and the interesting exchanges through this forum.