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JBaymore

Member Since 06 Apr 2010
Offline Last Active Yesterday, 11:56 PM
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#74060 Pregnancy And Working In The Studio?

Posted by JBaymore on 25 January 2015 - 12:26 PM

FYI....... Our stock policy at the college is that it is 'not recommended' and that the person should themselves talk with their OB-GYN physician and take the toxicology handouts we provide and copies of the MSDSs of the materials they work with to the conversation.

 

best,

 

.....................john




#74044 Artist Statement

Posted by JBaymore on 25 January 2015 - 09:35 AM

Came back to also say something I missed above but I think is important......

 

The Artist's Statement is a "two way street".  What you make of course influences your artist's statement... but in writing and editing and constantly updating artist statements... that action helps to clarify your thinking and hence will greatly impact the making of your work. 

 

Writing an artist's statement is part of developing your work.  Developing your work is part of developing a strong artist's statement. 

 

You can repeat that last pair of sentences for the rest of your life. ;)

 

best,

 

........................john




#74043 Artist Statement

Posted by JBaymore on 25 January 2015 - 09:10 AM

I would take a workshop on writing an artist statement.  As it stands I don't apply for shows because I don't have one and don't know what I would say.  I've searched online and have also clicked the links in this thread and nothing I've found so far helps me to write one or feel remotely comfortable knowing where to start.  I have artist statement block!

 

Start writing about what you do and why you do it.  Stream of consciousness.  No one is going to read THIS piece but you.  It can be 50 pages... whatever.

 

Then start using the strikethrough type face and edit OUT stuff that does not sound clear... and retype in something that says that better in a red or blue typeface .

 

Then start taking out what is not the MOST important stuff to YOU.

 

Like working in the studio....... just get you hands into the clay...and it all starts to work.

 

Eventually it will package itself up.  As you are getting closer to the end..... have others read it and make suggestions.

 

best,

 

.......................john




#74014 Dealing With Allergies?

Posted by JBaymore on 24 January 2015 - 07:24 PM

you could always be a real pain to everyone and put a copy of whatever government regulations apply on the desk of someone who would see to it that the studio is cleaned properly.

 

Anonymously, of course.  ;)




#73966 Dealing With Allergies?

Posted by JBaymore on 24 January 2015 - 10:17 AM

Wow... just saw the "floors only cleaned once" comment as I was typing.  The heck with mold....... you want to look into airborne SILICA monitoring!  Walking on dirty floors is a HUGE issue for getting a LOT of stuff airborne.  Silica dust is nothing to fool with.

 

best,

 

..............john




#73965 Dealing With Allergies?

Posted by JBaymore on 24 January 2015 - 10:15 AM

I think the first step here is that you should talk to your primary care physician (hopefully now you have health insurance) and get a referral to an occupational health specialist; they are skilled at figuring out this kind of stuff.... whereas general practitioners are not at all.  An allergist might not have the perspective on the occupational side of the matter....... you might need them to "team up".  You may be making some assumptions about what is aggravating your "allergies" that are incorrect.  First you have to know what is happening with your body for SURE. 

 

Have you had a formal allergy testing series run to know to what you are allergic?

 

For example... metal fume fever has symptoms that mimic flu.  It comes from zinc fume.  Also known as "welder's flu" (welding galvanized metals).  Note that a "fume" is NOT some sort of gas... it is tiny, tiny dust particles.  If you are firing lots of glazes with zinc oxide in them... and the kilns are not vented properly...... it is possible zinc fume is in the studio.  If cleaning is not done well or often enough....... those crazily tiny particles get RE-airborne really easily.

 

If you are employed (covered by OSHA workplace standards) and there are physical plant issues that are creating a bona-fide mold issue there (or some other issue).... then the employer needs to take care of that for not only you but all the employees.

 

Sustained wetness/humidity facilitates mold growth. Look to places that remain damp for long periods.....slop buckets, reclaim areas, damp boxes, and so on.  Repeated applications of bleach are the "standard" layperson approach.  Bleach becomes ineffective with exposure to air over time so treatment has to be refreshed regularly.  However for certain molds...... you have to use nasty commercial crap that is the province of the pros.  If the dampness can be controlled...... then the mold can be controlled.  In some parts of operations....... it would be a losing constant battle.  There it has to be contained and ventilated.

 

best,

 

..................john




#73893 Wabi-Sabi: Good Books?

Posted by JBaymore on 22 January 2015 - 04:30 PM

If I may say so, not at all controversial from my point of view, Tyler.  Shows you have a good understanding of it.

 

To actually understand the concept of wabi-sabi .... you are entering a LONG (but interesting) journey, Judith.  You really cannot grasp it without understanding a LOT of Japanese cultural history (in addition to art history) at a pretty decent level.  It actually has its roots in China........ and the core came into Japan along with Zen Buddhism.

 

It's been a 40+ year journey for me (so far) including spending over 2 years living IN Japan.  I'm still learning and digesting.  It encompasses broad aspects of "life" and being, not just art.  You'll need to look into Buddhism and Buddhist philosophy ....and in particular the Zen sect.  And Confucianism (from China).

 

For example, it took me beginning to formally study Iaido (Japanese swordsmanship) to add weight to an element that is of significant import in the genesis of that concept.  In studying Iai we soon learn how incredibly quickly (and horribly) we can die by the sword.  That gut level understanding of living with the transience of life (and hence the significance of both life and death) on a daily basis was a part of the samurai class's impacts on the early evolution of the wabi-sabi aesthetic as it is know today.  Anyone in the military or police forces that has been in a serious combat situation in which death loomed very close.... has a bit of a "leg up" in understanding wabi-sabi.

 

In your research, search these terms in the Kanji form also ( it is wabi sabi): 

 

 

 

That is the actual Japanese for the terms.  Yes, it will bring up a lot of stuff in Japanese (and Chinese).   But you might find some English stuff that is keyed to them that a search of "wabi sabi" will not. 

 

best,

 

...........................john




#73749 Community Challenge Idea

Posted by JBaymore on 21 January 2015 - 08:59 AM

I have to play Devil's Advocate on this. (I personally probably should have a membership)
The Potter's Council is a body largely (but not exclusively) for professional development.
There are a number of Forum members who are not professionals, or would not get sufficient value out of a membership.
$52 a year is a lot of money to participate in a fun challenge.

 

Not at ALL.  We have the survey data. The VAST majority of Potters Council members are avocational and hobby potters. It seems that a lot of them find value in their membership...... our annual retention rate is very high for such membership organizations... and iof I am remembering correctly from the last Board meeting...... that percentage is increasing.

 

If you subscribe to Ceramics Monthly and Pottery Making Illustrated, and but a book or DVD (depending on which one) a year.... your membership is basically free due to the discounts.  For a lot of folks that alone is the "deal maker".  And the shipping benefits for example could extend outside of solely the "business"...... so if you send of packages for something like Christmas..... the discount there applies as well.  Look into the info on the Council...... you may find it is not what you think it is.

 

The "Challenge" being discussed here has nothing to do with the Potters Council.  It is something that is being proposed, organized, and developed by the participants involved in posting on the Ceramic Arts Daily forums.  The CAD forums are NOT the "Potters Council".  Separate and different.

 

best,

 

.......................john

 

best,

 

...................john


  • GEP likes this


#73726 Community Challenge Idea

Posted by JBaymore on 20 January 2015 - 10:58 PM

If you are considering joining the Potters Council (or are already a member) and are attending the Providence NCECA....... please join us for the Members Reception.  It is open to prospective members too. 

 

Watch for announcements of the exact times and festivities and how to get involved.  Please also note that there will be an RSVP aspect to attending it.... we need to know roughly how many folks will be there to facilitate planning. 

 

And you will NOT need to have an NCECA paid pass to attend that event.  If you are just hanging out in Providence and doing some "gallery hopping" and are not an official NCECA attendee.... you can still stop by the reception.

 

Thanks for the unsolicited "plug"  there Mark.  In addition to my past 2 years as President and then 2 years as Vice President ("Chairperson" name change technically happened after I was in the position of VP ;) ) I'm a Charter member of longstanding.  Another couple "big picture" aspects of being a member of Potters Council is the networking and the sense of community, and also an important one....... helping to "support" the broader field of promoting and maintaining studio ceramists.

 

best,

 

..............................john




#73658 When You Throw, What Do You Aim At?

Posted by JBaymore on 20 January 2015 - 09:45 AM

I think there are three broad general categories of approaching making with an eye toward doing it professionally.

 

1.)  Find out what the market wants and make that.

 

2.)  Make what you love and find the market for it.

 

3.)  Split the two approaches above in half, and do that.  (Known as the "some and some" rule....from Tony Clennell, I think)

 

 

You can certainly have sub-groupings a bit within those categories....... but I think those are pretty decent categorizations.

 

best,

 

.......................john




#73597 Does Your Body Clock Have A 'creativity' And 'productivity' S...

Posted by JBaymore on 18 January 2015 - 09:46 PM

 

And, I bet you walk 10 miles to the studio everyday, barefoot in 6 feet of snow, etc.

 

 

Yup.... uphill both ways. ;)




#73579 Why Do The Fluxing Molecules Only Have One Oxygen Atom

Posted by JBaymore on 18 January 2015 - 04:04 PM

We can keep going into this deeper....... BUT... I want to point out here before we do for those OTHERS maybe reading this ..........

What is being discussed here is important and is actual core scientific concepts..... and that is certainly "good stuff"...... but this level of understanding is NOT a necessary component of understanding glaze chemistry effectively enough to work on it as a potter and also to utilize glaze chemistry software like Insight to help you in your studio work.

I don't want to "scare off" some people from potentially looking a little more into the world of "glaze chemistry" when they look at this kind of discussion.

This is "Glaze Chemistry III" stuff. ;)

 

best,

 

.......................john




#73559 Does Your Body Clock Have A 'creativity' And 'productivity' S...

Posted by JBaymore on 18 January 2015 - 11:44 AM

Are you all working in the studio 7 days a week?

 

No, I only do 10 days a week and try to limit it to about 36 hours per day. ;)

 

best,

 

..................john




#73556 Firing of pots with cracks made with Sodium Silicate

Posted by JBaymore on 18 January 2015 - 10:02 AM

I've been using the sodium silicate business for probably 30 years or so now.  On a lot of work.  Someone from Japan or Korea first taught it to me.... but it is so long ago I can't remember who.  Tons of ways to work with the general concept.  It can be used on slab work also (think about it.)

 

The key here is to think of it as a path to an end... not as an end in itself.  It's a slick trick to create a (what used to be unique) surface.  The question is how do you mesh that technique and that surface into your own particular aesthetic expression.

 

I use up my photo file size allotment here on the anagama construction pictures I posted a short while .... so can't post any more here..... but in my gallery are a number of pieces that use that technique as a PART of the whole expression of the pieces.

 

Here's one:  http://community.cer...urd-shape-vase/

 

best,

 

........................john




#73456 Ceramic Fiber Body

Posted by JBaymore on 16 January 2015 - 01:25 PM

Katas,

 

I think you might be thinking of Keraflex Porcelain sheets.  http://www.keraflex.us/

 

best,

 

..................john