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Found 25 results

  1. Thank you Marcia for doing the QOTW for me for the last 2 weeks! I am back from Taiwan (horrible Internet connection in the hotel) and prepared for my next trip, but first I want to ask you if you drink your morning coffee/tea out of a self made mug, a mug that a friend made, or a bought one? Until my time in Barcelona this fall I used a bought one (shame on me), but at the Symposium in B. one of our participants, Ester Beck from Israel, made tea bowls for all of us, and since then I always use that one. I will take a picture of it tomorrow and show it to you. Do you show us the one YOU are using? Happy week to all of you! Evelyne
  2. Dear friends I thank Pres from all my heart for taking over the QOTW for me for the time I was abroad. I had a good time in Spain, but 3 days into my Symposium in Barcelona my mother-in-law died in Switzerland, and the good times were saddened a bit. I am back now and my question for you is: are you looking into a mirror while throwing? For checking on the shape of the object you're doing? Mirror or no mirror is a very personal thing I've learned. I myself am throwing without mirror, but my neck sometimes is hurting from bending my body to the right.... What about you all? Love from Switzerland Evelyne
  3. Hi my friends, summer is almost over here in Switzerland. Already cold winds and lots of rain.... I was chatting with another potter the other day via email and a great QOTW came up. Here goes what the fellow potter asked: QOTW: "Most of the potters on this forum and on similar websites everywhere else seem to be female. Yet, the majority of "well known" potters seem to be male. Is that true, or just my own interpretation? If true, what is the cause"? Something to think about in earnest.... What is your opinion? Happy week to all of you! Evelyne
  4. Good summer morning / afternoon / evening my friends! My this week's guest is Joseph Fireborn. He was reflecting lately on the following: "I have been working on making a new look for me and it has proved challenging on functional pots for food and drink. So I started making flower vase and it hit me that this was a great place to explore decoration on and off the wheel. So now I push the limits on the vase then take that same approach but dial it down on those functional pots for obvious weight and handling reasons". What form do YOU make and/or use to explore a new technique in decorating or developing a new aesthetic? Joseph will be here with me to discuss your new approaches... (thank you bunches, Joseph!). Evelyne
  5. .... yes, indeed! What can we find this week ON your table? Please show us what you are currently working at.... Here is my carved Bi-disc. I have to clean it still some more....
  6. Hello friends, I am back from Korea. Many thanks to Pres for the 2-weeks stand-in. He did it so well, I think I am going to Korea again (or elswhere).... When I asked after NCECA Kansas City what you would like to discuss in the QOTW of the coming year, Joel wrote: " I like questions that get into other peoples studios". Ok, here's a challenge: show us what's under your table in your studio (no, no, don't go and tidy up before taking the pic!).. I will post my pic tomorrow.... Have a happy week! Evelyne
  7. My dear friends, this is the second to last QOTW I am moderating. Next week Wednesday, during the Potters Council meeting at NCECA, we will discuss who is doing the "Question of the week" next. What I wonder now is: which of the topics we had since last NCECA was the most popular for you? Do you have ideas or wishes we could include in the future QOTW? I am so looking forward to Kansas City. I hope to see one or the other forum member there! Cheers, Evelyne
  8. Good day to you my friends. This weeks question is one that is bothering me already for years. You all heard about (or saw) that famous Chinese artist demolishing an ancient vase in front of a camera, "just because he can". He is rich and can buy rare antiques. He also is famous for painting such ancient vases with house paint. Even if he want to make a point (what point?) or provoke, may he do that? If you buy a piece of art, may you do everything you want to it, saying "I bought it, now it's mine"? I wonder..... .... what your oppinion is in this matter. Have a great week! Evelyne
  9. Boy, how time flies! Want to help shape what the Potters Council is going to do? We are now accepting nominations for a chair-elect position, a full board member position, and a student potters council board member. Did you already fill out the nomination form? No, this isn't the QOTW, but it is important! Think about it! QOTW is: are you doing what you want to do, or are you still trying to find out what your dream would be if.... Please interpret my topic question as widely as possible. Evelyne
  10. When I had my carpal tunnel surgery last Friday I had to sign a lot of forms beforehand. On one was written what (maybe, eventually, not sure etc.) could happen during surgery. Among other things: perpetual damage of the hand nerves. Means one cannot use their hands again as before. Maybe not at all. That made me think! What would I do if I couldn’t work with clay anymore because my hand is damaged? Ha! I don’t know. I really don’t know what I would do (except getting very depressed). What would YOU do if something in your life went really wrong and you couldn’t work with clay anymore? Do you have a plan B? Evelyne PS: writing this text one handed (well, one fingered) took me the greater part of half an hour (big grin).
  11. As some of you already know, I am in Belgium at the moment. At the 17th Chawan Expo in Hemiksem. That’s approx. 400 miles away from my Swiss home. At the opening ceremony I got to know artists who travelled to Belgium from all over Europe, from Taiwan, or even from Australia. That’s impressive! So tell us, how far would YOU travel for a show of your work or for an interesting exhibition or event, or for a workshop etc.? Evelyne
  12. There're are so many options for workshops. What would the ideal workshop be for you? Marcia
  13. While we are just beginning the Tuscany Tour 4, many here are looking for reaffirmation and expansion of their artistic directions. Talking with several of the people in our group, art and nature in various forms be it inlaid precious stones or sculptural compositions, we are seeing great work of awe inspiring significance. What have others been inspired by while on travels? Share some of your experiences. Marcia
  14. What have been your most valuable learning experiences. Actually testing your own ideas? In school? at workshops? in books? the forum? you tube? CAD videos? Where have you come away with great learning experiences that pushed you forward? Marcia
  15. Glazing is not everyone’s favorite step in the process. Do you have any tips for organizing the process? Is it assembly line or a painters palette? How do you do it?
  16. Have you ever seen a ceramics show that has stayed vividly in your mind...or special pieces from it the have struck a chord with you? I saw the Recent Discoveries in China at the Smithsonian in 1974 and a small spittoon with a sensuous celedon glaze was my favorite piece from the show. Marcia
  17. Do you use reflecting on historical work to improve your own work? How do you do it? Think function or form? For example, when I was teaching I kept a book, an International catalogue on cooking on the bookshelf in the pottery studio. It included braseros, tajins, and all sorts of casseroles, steamers. etc. Do you put the flange of a casserole on the serving pot or the lid? One way keeps it from boiling over. What is the difference between a summer tea bowl \ / and a winter tea bowl | | . The function of the form is the same as the difference between a broth based soup bowl | | and a cream based soup bowl \ / . The open form releases heat faster. The more closed form or straight walls, holds the heat better. Just something to consider. What considerations are you using in designing your work? Marcia
  18. Do you focus on form, texture, surface design, glaze? What is the ultimate concern or focus when you begin working to the final product? Do you go through transitions as the piece goes through stages? Marcia
  19. We draw upon all kinds of sources when making our work, nature, stories, and history, for example. Is there someone in the past that you look to for inspiration? Who is the historical figure that has influenced your art the most?
  20. As a collector of pottery, would you prefer to have a set of a potter’s work, ie. dinner set or many pots by different potters? Why? Post an image of a sample of your collection.
  21. A lot of potters are tool hoarders. I love to try new tools, but often I find myself using the same old favorites, over and over. For throwing, I tend to use a homemade 45, a wire tool, a needle tool, a rib made from a hotel keycard and an eggcrate sponge. For handbuilding, I love my rib with a serrated edge. Which are your most frequently used tools and how do you use them?
  22. Many potters I know are cooks. Would you rather be making a pot to cook or in or cooking in a pot that you or someone else made? Is there a particular pot that you like to cook in? Why? While I like to make cooking and serving pots, I really like to use other people's pots. It's nice to think about the person that made the pot, even if I don't know them. I have a tagine from Morocco that I love to cook tagines and stews in. I don't know who made it, but I love that I am using a pot that is so common in a culture different from mine. Also, I love to make stews and such in colder weather. There is something so homey about making a delicious tagine or stew when it's cold outside, and knowing that people all over the world feel the same way.
  23. Which artist would you love to work beside in their studio for one week? Who and why? Add a photo and/or a web link! I actually have two people I would love to work with: Beatrice Wood, for her expertise, her stories and to learn how to grow old gracefully. My other choice would be David Shaner, for his skill, expertise, and to learn how to make work that touches others as much as his touches me.
  24. If you could have three people from the ceramics world, living or dead to dinner, who would you choose? Why? This could be a potter, sculptor, critic, writer or anyone associated with ceramics. What would you want to talk about?
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