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Found 6 results

  1. I imagine we've all had that moment. At some point we look at our work and see, sometimes rather suddenly, that we have decided to go in a direction very different from the one we've been pursuing. The moment came for me a few firings back, when I unloaded the kiln and realized I liked a lot of the pots better than I liked the stuff I had been doing before. And then, I had to think about why I liked them better. Those new pots existed, in all honesty, because I had an order for a bunch of bowls and I had to get them out quickly. I decided to use some surface techniques that I had been experimenting with to some extent. These techniques involved the use of sprayed slips and incising through layers, and then using a simple but active glaze that reacted strongly with the slips to create somewhat random surface effects. This was a decidedly unfussy approach, and I have often become mired in fussiness in my work. Except for the first few years of my career, when I was intentionally imitating the great Asian pottery traditions, I have relied heavily upon my ability to draw. I was a painter before I was a potter. I saw that potters who could draw were a minority, so I tried to exploit that skill, in a lot of different ways. If you check my gallery of older work, the emphasis is pretty obvious. But at the same time, my favorite contemporary potters are not people who can draw, or at least that skill is not something that they make heavy use of in their work. These perceptions were strengthened a couple weeks back when I went to a Tom and Elaine Coleman workshop. Tom is not a draftsman. He was also a painter before he was a potter, but it seems obvious to me that he was likely an abstract expressionist, because his wonderful pots are decorated in an abstract and spontaneous manner, with marks made in a very free and unstudied manner. Elaine's work is very different. Not only does she draw extremely well, but she is also a brilliant pattern maker. At any rate, I realized that I was not as interested in the drawing as I was in the pattern making, and this further impelled me along my new path. So, what large changes in direction have you had, and what occasioned them?
  2. Hello, and apologies for such a basic question. I'm just starting out and trying some handbuilding at home before my next lesson next week. I painted a piece with black slip, a commercial slip straight from the pot (from potclays) last week, and it was very thick to brush with. I am wondering if I can dilute it or will tht cause problems with it 'fitting' the clay body? thanks, Linda (Also I have saved my profile pic to correct size but site still doesn't upload it?)
  3. Cavy Fire Studios

    Overcoming Insecurity

    So... I am a FREAKING AWFUL pariah towards myself. Seriously. I constantly criticize my own work and compare it to the works of others. I'm really insecure. The wheel and I were NOT FRIENDS in the beginning. If words could kill, the wheels at Spokane Falls Community College would look like they were thrown in a car crusher from the evil that spouted from my dirty rodent mouth. I.e., lots of this: $@#&*^#@*)/!!!!!! After about five years, I can finally pull things off the wheel. They aren't necessarily FABULOUS things, but... they are functional. I was also thankfully blessed with another ability that not a lot of potters have... I can draw. And, I can draw WELL. I sadly live in an area where ALL ARTISTS ARE STARVING. I make barely enough money to scrape by, but I just cannot work a traditional job because of my spinal injury. Clay is physically taxing, but... well? So is life. I deserve to make a living wage, even if my production pottery isn't perfect. My forms are simple, because I want the main focus to be the illustration. For me, clay is just another canvas. I gotta just keep telling myself that my work isn't crap because of whatever reason... This is a piece of greenware I finished underglazing last night. I have to say that I love it... those grayish muted outlines will be glorious, inky black when fired. It's micaceous redart with white slip I'm gonna fire to ^03. I also included one of my graphite drawings, just for fun. :3 So, yeah... Anyone else have my problem? The self-criticism and insecurity part... >.<'
  4. Cavy Fire Studios

    The Terracotta Thread!

    Okay. I have seen some dee-lish-us and positively drool-worthy stoneware and porcelain work on this forum, but I'm kinda wondering something... Where are all my terracotta-luvvin' buddies at?! I feel kinda by my lonesome here! Give a shout and post some pics of your iron red glory! Here's a mug I did with white slip and underglaze. Fired to sitter ^03 to make it a wee more vitreous. ♥ What's your favorite thing to make with terracotta?
  5. Dear All, The Art Students League of Denver will be hosting a slide lecture and two day demonstration/hands-on workshop with Julia Galloway (www.juliagalloway.com) on developing forms, surfaces and ideas for pottery on February 7th-9th, 2014. Julia is a potter who creates utilitarian work, and is a professor and Director of the School of Art at the University of Montana-Missoula. Please join us! For more info see the attached flyer. To register online go to: www.asld.org or call 303-778-6990. Spaces for the hands-on portion of the workshop are limited so please plan to register early. Thank you! Shelley Schreiber Ceramics Studio Manager -------------------------------------------------------------------- Art Students League of Denver 200 Grant Street | Denver, CO 80203 303-778-6990 X1106 | www.ASLD.org Direct: 720-638-7325 Master_Class_Julia_Galloway_02_2014.pdf
  6. Hello all I'm after some advice: I'm slipcasting some porcelain baubles and want to stamp coloured names on the front of them (a bit like the words on these). So I bought some rubber letter stamps and some stain and borax frit, thinking I could mix stain with frit and a drop of water and use it like ink on the soft cheese stage greenware. What I ended up with was a smeary blotch on my bauble, which was also dented out of shape by the pressure when I applied the stamp. Does anyone have any tips or advice on how I can achieve crisp, clean, coloured lettering? Many thanks in advance! Kate
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