Jump to content


  • Content count

  • Joined

  • Last visited

About preeta

  • Rank
    Advanced Member

Contact Methods

  • Yahoo

Profile Information

  • Gender
  • Location
    Sacramento, California
  • Interests
    Cooking new things, especially vegetables I am not familiar with, starting a garden, reading, my sketchbook, writing, hiking and camping

Recent Profile Visitors

2,435 profile views
  1. David the birth of my daughter taught me not to take those comments to heart. I did not really appreciate my mom till i became a mother myself. i did of course appreciate her but not to the level i do now. which i feel sad about. the context does matter a lot. i grew up in india where i accept the compliment with a smile because talent usually means - you put in all the hard work and look how nice it looks. whereas i put in all that work and mine comes out looking like nothing. these are people who have done art and know what it means to persevere. here i just feel sad. because i feel people are missing out on so much (lack of any art education/appreciation). or the big factor. the fear thing. perfectionism. not being able to overcome the fear of underpar work. the nostalgia of wanting to create but being afraid to because of the horribleness that comes forth - in their estimate. the comment that makes me really sad is 'i can't sing because i haven't been taught to'. anyone can sing. instead of singing to their kids i see parents play their recorded music because they are not good. who cares. just sing. why read story books at night all the time? tell stories. stories of your childhood, your ancestors. so for a lot of people i feel its also nostalgia. i really feel underneath they would like to create but feel paralyzed by their inner critique. yet for me the problem is how to learn what a 'good' pot is. i can after 10 tries make a perfect technical pot - but what makes a pot a strong pot. so in their books i might be 'talented' but in my own books i am trying to figure out what kind of a pot am i?
  2. Really. You won’t drive 95 miles - a day trip to get maybe half a year if not a years supply, but you’ll spend so much more time in mixing claybodies. My circle is full of hobbyists and we do at least that much driving to get cheaper clay. The ones I know would much rather play with firing and glaze making I guess because they have found a claybody that works for them. I guess it’s more exciting playing with 10gas. Now if you are passionate and intrigued by the constituents of a claybody then it’s a whole different ballgame. I am lucky because where I live within a 100 miles lies great ceramic stores and clay companies that stock a wide varieties of claybodies.
  3. Cautionary Tale

    is this for personal education or is it for the longevity for the kiln.
  4. Atmosphere Kiln

    I am trying to understand firing with a living fire as opposed to just heat. Talking broadly here. Wood and gas including soda vs electric. Not including other firings like pit, raku... Even with the different kind of atmospheric firing are there some principles that are common to all atmospheric firing like how you get flashings if you have the right kind of clay/ slip? Would there be flashings In both wood or gas. I keep coming across flashings in soda firing and wood of course, but I don't hear the same when it's just a gas firing. I am curious what flame does to a body - glazed/ unglazed. I understand I've opened Pandora's Box. I understand there are so many intricacies to even each kind of firing. It's the flame that interests me. Including the flame that Native Americans use since I assume flame because they are not using sawdust. Is there a difference between natural gas and propane flame? Difference between firing with wood vs firing with charcoal. Could I fire a pot in my charcoal BBQ or propane BBQ. seems would be like a pit firing. What do I get with flame and air that is different than electric firing. Beyond color change. Beyond reduction. Sorry if I don't make sense. I keep thinking of cooking analogies here. They still apply. I am slowly getting to understand heat work - kinda. How it's different for a bowl vs a vase no matter what the firing.
  5. Neil do you mix your claybody for the right iron or do you go with a commercial body? Could you use iron engobe or slip or even an iron wash over non iron clay to get similar response?
  6. Totality=One Lucky Guy

    Even for partialers it was quite an experience. I had seen mine in India some moons ago so wasn't so keen in the heavens. It was everything else that was magical. The sudden drop in temperature. The different light. Like sunset in the morning - yet it was a very odd light and you had afternoon shadows and day sky. There was something different in the air around. Not sure what it was. Almost like a world I no longer knew. Very mysterious. I also noticed a stillness in the air. The dogs were unusually quiet and not many birds in the sky and no squirrels on the fence. Watched going ons on tv and NASA. It was still a very moving time for me. I was almost in tears imagining what ancient man would have gone through. I mean today we don't get that experience anymore. We usually know or get a warning. I was grateful my 14 year old was In Madras,OR with fellow enthusiasts and scientists and was moved by the experience. The worst part for her was trying to return home the same day. Nightmare. They had to go back and leave the next day.
  7. Danish Matte Glaze Recipe?

    felipe what exactly do you like about the look. the matte? the colours? the grainy mix...? were you looking to make dinnerware or vases/show ware? have you ever thought about stains? what do you think about the surface of Pippin Drysdale? http://www.pippindrysdale.com/she even explains her technique i think in a vimeo video. her process is fascinating.
  8. Michael Cardew Techniques?

    oly that piece reminds me so much of persian pottery. i love drawing. i love textures. i am trying to figure out abstract or representational myself or do i have to choose? havent decided philosophically. i do combinations. persian designs in slipware. persian is not slipware but usually RIO drawings. its the shape of the bowl. i love that shape and i have not been able to perfect that shape. i wonder if the first is a metal bowl. i came across a few books (couple really old) on persian pottery (mostly bisqueware because only ten percent of pottery was glazed) and i was smitten. its the form i really want to get. i cant really figure out the depth of the michael cardew piece. but i have an imagined idea coz of it being called a charger/ bowl. i'd love to get a shallow bowl to use as a plate bowl where i could use a knife to cut. its the U that i really like. i think the V&A have an exceptional collection of persian ware.
  9. raising my wheel

    neil do you throw standing tall or do you rest against a wall like john glick did/ K keiffer does?
  10. joseph its one of my favourite form too. from my limited research i always saw that traditionally it has been two pieces. do you want to know what a moon jar is today or what they traditionally were. because i think these days if you call it a moon jar then it is a moon jar. i think Hsncheun Lin made a sodium silicate moon jar. ive seen them made with stoneware and coloured glazes too. i've only been able to successfully make them in one piece with a heat gun. however the ones i really like are the ones made in two sections. there is so much character to the form in trying to join them. they look like a woman's belly after giving birth. the wabi sabi offness in the middle. in other words i dont really know what a moon jar is. the only commonality with traditional and break the moonjar norms are the foot and neck ratios and a rounded belly. but come to think of it, i have never seen a moon jar covered in crystalline glaze.
  11. Contemporary Ceramics

    aah john. NICE!!! lucky you. it is one of my dreams to see a grayson perry exhibition on opening day and meet him there too in all his glory. more than peter voulkos it was Perry who made me think of pottery in a different light and the ability to see pottery as a canvas and journal. just thinking out of the box. so i was delighted to discover Lugo on our side of the pond.
  12. Pkqw: Week 22

    2 (I am guessing here because of the tradition) 4 - cracking of the pot due to the stress between the contraction of glaze and clay is that dunting? 3 (what is a slip glaze? using the slip as a glaze and letting the ash from the kiln settle and create the shine or did they add ash into the slip?) 2
  13. Will Ilmenite Work At Cone 6?

    Or you could just buy speckled buff clay which has ilmenite in it. At 04 bisque it looks pink no specs. At 6 you will see the specs. I think speckled buff is the same price as b mix. However the specs do a number on your hand. But in a couple of days your palms and fingers stop catching on things. Also important use a rib at the very end to burnish the clay so the the specs don't stick out.
  14. Flashing Slip

    Oh this is so much fun. Sooo much to learn. I've also been emailing Richard Hotchkiss and learning sooo much. Clay folks are sooo generous like all of you unlike most other mediums. There are so many more questions this is creating. I love slip. Most of my experiments are with slip. Thanks John. Dick said they don't use slip on bisqueware. So I will be discovering without slip philosophy. I've tried the buncheong style of dipping in slip (forgot the term) with an extra fire which taught me about thickness of slip. Tyler that was exactly what I was looking for. Thanks Marcia for the recipes. I found some from the kazegama site. I am just going to use my simple slip. I'm trying to not go all over the place - because I always try a whole bunch. I want to focus on clay body, And organic form this time. There's so much information out there. I'm trying to be more specific about short fires. You all are my go to people where woodfire is concerned. My new prof does not really know much of woodfire. But we will be learning and doing soda fire o my new alternatefiring class. So exciting. Do the same principals apply to soda firing (I think it's gas) about flashing and alumina and color? How Fire changes surface?
  15. Flashing Slip

    Tom that was very helpful. For once though I was looking for a very scientific answer. But the idea what is not there blows my mind. Aaah Mea! That's helpful too. I was going to mix clays to see what happens since I recall in my first ceramics class the prof saying he mixed his red and white clays. I would imagine them if it's color theory then I should not wedge too much. I have 4 different categories of color. I hope one day I am able to take a wood firing class from mark lancet at a community college two hours away since he mixes his own claybody.