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    • Jennifer Harnetty

      Moderators needed!   12/08/2017

      Ceramic Arts Network is looking for two new forum moderators for the Clay and Glaze Chemistry and Equipment Use and Repair sections of the Ceramic Arts Network Community Forum. We are looking for somebody who is an active participant (i.e. somebody who participates on a daily basis, or near daily) on the forum. Moderators must be willing to monitor the forum on a daily basis to remove spam, make sure members are adhering to the Forum Terms of Use, and make sure posts are in the appropriate categories. In addition to moderating their primary sections, Moderators must work as a team with other moderators to monitor the areas of the forum that do not have dedicated moderators (Educational Approaches and Resources, Aesthetic Approaches and Philosophy, etc.). Moderators must have a solid understanding of the area of the forum they are going to moderate (i.e. the Clay and Glaze Chemistry moderator must be somebody who mixes, tests, and has a decent understanding of materials). Moderators must be diplomatic communicators, be receptive to others’ ideas, and be able to see things from multiple perspectives. This is a volunteer position that comes with an honorary annual ICAN Gold membership. If you are interested, please send an email outlining your experience and qualifications to jharnetty@ceramics.org.

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Found 14 results

  1. Burnish Gold Luster Mug

    From the album John Baymore's Clay Work

    This cup is in the invitational exhibition "I'll Drink To That" at the Eclipse Mill Gallery in North Adams, MA until August 27th, 2017. Handbuilt, woodfired, American Shino, overglaze enamel, gold luster.

    © 2017 - John Baymore - all rights reserved

  2. Pyromania!

    From the album Images For Misc. Posts

    We make pots so we can play with FIRE!
  3. JBaymore BottleForm

    From the album Images For Misc. Posts

    Image of a bottle form made from the altered clay shown in another image.
  4. From the album Images For Misc. Posts

    This handbuilt bottle form shows the marks left by Josh Query's "manmade "seashells". The mix is 50% plaster, 50% whiting, and salt water to mix the stuff up with. Josh wanted shapes of marks that were more rectilinear than what naturally happens with scallop shells. Was fired in the spring 2017 firing of New Hampshire Institute of Art's #Fushigigama. Was in the last rear stack of shelves.

    © 2017 - Josh Query -all rights reserved

  5. Stout Spiral Jar

    From the album Work

  6. Tall Spiral Jar

    From the album Work

  7. Spiral Jar With Shino

    From the album Work

  8. Some people asked me to keep some updates here on out progress. So...... here are a couple of shots of the first two days of the build: Day One Day Two More to come in this thread. Check back every day or so if you are interested. best, .................john
  9. Bidoro

    From the album Woodfire

    Lehman's slightly modified 12D clay body. Flashing, natural ash glaze, white.
  10. IMG 6771

    From the album Going with the flow

    BOTTLE KILN WOODFIRED
  11. IMG 6658

    From the album Going with the flow

    BOTTLE KILN WOODFIRED
  12. I'm looking for work at a Pottery in the UK...any suggestions please? Here's a link to my pottery page on Face Book for an idea on my pottery skills: https://www.facebook.com/CraftyIdeasPottery Thanks! Anamica.
  13. Jack Troy – Pottery Forms: Intention and Happenstance WS05 – Saturday & Sunday, 10-4pm, November 9 & 10 Fee: $200 member/$225 non-member This 2-day demonstration/discussion workshop includes presentations on Japanese teabowls as well as both contemporary and historic pots to help enlarge our approach to our persoanl work and emphasize the evolution of personal forms — pots with a unique identity. Using the cup as a take-off point, Jack will demonstrate how the cup reflects a concern for functional and aesthetic values, including surface decoration, tactile qualities, inside-outside considerations, spontaneity and control, as well as focusing attention on the cup as a whole: weight, lip, foot, body, handle. Thrown cups will be altered by faceting, carving, paddling, stamping and heavy slip application. His most recent, tactile, sculptural teabowls are altered significantly from thrown components. Jack will demonstrate extending the scale of work, and will apply a variety of altering techniques to thrown forms while addressing how and why some pieces are made specifically to be fired with wood. Pitchers, jars, and bowls of various scales with be thrown and altered, befriending asymmetry. Jack Troy's anecdotal style of information-sharing covers a wide range of topics, including technical and aesthetic issues in ceramics, personal goals, and the dilemma of being a literate potter while knowing that most of the world's best pots were made by people who couldn't read, write, or do glaze calculation. The aim of the workshop will be to meet each other and exchange ideas that help extend our personal knowledge of forming and firing so the choices we make about our work might enliven the clay we use. Participants are asked to bring with them 2 pots “lived with over time†– one made by the individual and one by someone else – to illustrate two types of “meaning†with regard to how a piece convey’s significance to us. 2013 is Jack Troy’s 51tst year of making pots. During the past year he fired 11 different kilns, including the anagama at Golden Bridge Pottery, in Pondicherry, India, in February 2013, where he taught his 230th workshop. Other events include workshops in Washington State, at Fern Hill Pottery, Brush Prairie; and Shoreline Community College, Seattle. In Maine, he held a Residency at Watershed Center for the Ceramic Arts, judged the 2012 Strictly Functional Pottery National exhibition, and received the 2012 Excellence in Teaching Award from the National Council for Education in the Ceramic Arts (NCECA). His education in ceramics has included trips to 26 countries. Having published over 80 articles in ceramics publications, he also wrote Salt Glazed Ceramics, Woodfired Stoneware and Porcelain, and Calling the Planet Home, [poems]. His work has been exhibited widely, and is in numerous collections, public and private. He has said, “I made my first pot - a wretched little bowl with a pitted glaze - in November, 1962. This simple act changed my life, leading me to believe, 51 years later, that potters may change the world for the better, one handful at a time. “We potters finish our work, but only others can complete it, through use. Pottery, then, is only finished once, but can be completed endlessly, by a succession of users, keeping it active in a variety of settings.†WS05 - Saturday & Sunday, 10-4pm, November 9 & 10 Fee: $200 members; $225 non-members Register on-line or contact Matthew Hyleck at matt.hyleck@baltimoreclayworks.org for more information. Baltimore Clayworks 5707 Smith Avenue Baltimore, MD 21209 www.baltimoreclayworks.org
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