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Mudslinger Ceramics

Member Since 16 Apr 2010
Offline Last Active Yesterday, 07:23 PM
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#56170 Warping In Paper Clay.

Posted by Mudslinger Ceramics on 06 April 2014 - 06:34 PM

Hi Babs

 

sorry, yes,..... longitudinal struts running parallel to the spine, I'd use 4 struts spine to page edge, decending height for 3 spine to before very edge strut then 5mm increase for last one for the 'flicked up' curl that happens with book pages (or not, if you prefer page edges to lie in decending height from spine to edge)

 

Irene




#52738 You Know You're A Real Potter When....

Posted by Mudslinger Ceramics on 17 February 2014 - 02:01 AM

..................when I open the kiln door and...'IT WORKED !!!'

 

 

(preparing for exhibition next week, many seconds, NOT feeling like a 'real' potter!)

 

Irene




#52685 Told To Get A "real" Job

Posted by Mudslinger Ceramics on 16 February 2014 - 12:42 AM

Mmmm, yes, the 'real' job..........

 

Wanted to go to art school since I was 17, had immigrant parents and told to get a REAL job, ended up working for our federal public service in Taxation, Defence and Social Security....you can just imagine the 'joy' this dry administrative work bought me.......

 

40 years old, one child, a dead marriage and a well deserved mid-life crises saw me walk out of a very secure job and into art school......... art degrees fed my mind and engaged a deep excitement in the joys and frustrations of creating my own visual statements in the world..................yes, much, much poorer but, without lie, each day in my studio energises me more than my well paid job did.............

 

My own caution encourages my son to pursue an engineering degree but his acting classes each week are absolutely essential, they bring him an animated joy that no amount of 'real' work will provide.......

 

a bit esoteric maybe but is a REAL job only measured in money?    ....or might it be in the engagement and excitement at what we do?  If a REAL job is measured by happiness and not money then I AM doing it!

 

Financial advisors are like take-out meals.........food poisoning once, never go back...........

 

Irene

 

P.S. Had an intereseting conversation with a potter of  +20 years 3 days ago who talked about becoming 'real' artist!!!  (see painter!)

 

We have spaces in a multi-disciplined art studio complex and our conversation was around the perceived value of ceramic works in comparison to painting works in our society ..... for a regular potter 1 week + equipment/materials + expenses yeilds a pot of $25-150 (??) and for a painter/painting $650-$10,000 !!!!

 

Maybe the 'big guns' ...Min, Mark C, John, Marcia, Chris, et al....might be able to talk us through that perception!




#51932 Self Glazing Cone 04 Porcelain

Posted by Mudslinger Ceramics on 07 February 2014 - 07:47 PM

Really good read all of this. Enjoyed reading your posts especially Norm.

 

I remember reading something about a self glazing clay that while it was drying it had some water soluble flux that was brought up to the surface. This then went onto turn the outer layer of clay into a glaze.

 

Have I just been confused in my reading or is this a different technique? This way seems to be making a clay that is 100% glaze/clay hybrid.

 

 

The  'soluble salts rising to the surface during drying' sounds like this is an Egyptian paste recipie you may be thinking of, which is a low firing self glazing body (often coloured turquoise though white and other colours may be had) the salts form as the 'glaze' layer over the form.  This body is used for smaller decorative pieces rather than functional ware.

 

Weblinks are:

http://ceramicartsda...yptianpaste.pdf

http://www.ceramicst...cles/092501.htm

http://www.amywaller...ery.com/faience

 

 

Anna's query is the 100% clay/glaze hybrid body.




#51148 Self Glazing Cone 04 Porcelain

Posted by Mudslinger Ceramics on 27 January 2014 - 05:58 PM

Hi Anna

 

I only threw with the clay twice and yes it wasn't very plastic, was a bit better for smaller handbuilding shapes but couldn't hold its own wieght in taller forms.

 

I used it for slip casting and got variations on off-white or cream depending on the kaolin/ball clays used but for some things the warm colour was quite beautiful. Don't know the Australian/US equivalents of the clays so can't recommend one.

 

The high frit content meant some of the forms would soften a little in the firing especially if thin cast and/or when pushed to to ^03 (1100C) and in some cases when pushed to ^02 would gently collapse in on themselves looking like soft fabric folding....very beautiful for sculptural applications I thought.

 

Hope your experiments are going well, post some pictures!!

 

Irene




#50867 Self Glazing Cone 04 Porcelain

Posted by Mudslinger Ceramics on 23 January 2014 - 08:01 PM

Hi Anna

 

Was experimenting with this during my undergrad about 12 years ago......

 

Pick up a copy of Sue Peterson's 'The Craft & Art of Clay'', page 381 gives a recipe for ^04 low fired porcelain and page 152 has a recipe for a ^04 Irish 'Belleek' style porcelain.......both came out as a warm white, glassy body with a soft satin sheen. 

 

Being a 2nd year student and not that interested in formulas I used the frits I had on hand, in my case lead bisilicate, but the recipe can also use ground glass which I got from a bottle recycler.

 

Hope this helps.

 

Irene




#46755 Poor Instruction And The Cost

Posted by Mudslinger Ceramics on 27 November 2013 - 06:36 PM

 I have pottery experience but took social classes with a friend, at a community college because I had no studio at the time......I did not need the teacher's attention other than some questions about glaze or firings so that I could fit my making into the accepted practices, I focussed on hand building at the time.

 

By the end of the first 3 or so classes I did not like this man at all......although an excellent thrower he only ever sat at the wheel 'demonstrating', he smelled of old red wine at 11am, told stories and dropped 'names' at every instance, sleazed at the younger women while re-enacting pottery scenes from 'Ghost' and avoided giving time or attention to other students including the quadraplegia disability student whose marvelous carer built her forms for her as she instructed him.....I knew this because I was at the same table as these students and helped out ocaissionally with their questions after he told them he would speak to them 'later'.

 

There were many quietly spoken comments and complaints in the room about the behaviour but nobody complained because they were 'frightened' of the possible outcomes or didn't want to be seen as complainers. My friend, a male and interested in learning to throw, acknowleged the behaviour but was the one of the teacher's favourites because of his eagerness to learn throwing. I was looking around for my own studio at the time so I so was not going to 'get involved' but was very unimpressed.

 

During session 11 while walking back into the building I saw a small sign at the top corner of the notice board outlining the centre's complaints and quality improvement policies......without a moment's pause I took down the sign and walked with it into the administration office and had that 'neutral' conversation that S. Dean outlined above.....came back to the table and told the others that if they were not satisfied then step up and speak up.....2 got up immediately heading for admin.  Sometimes it just takes one person to act first.....

 

By the end of session 12 the teacher was announcing to the class that someone had complained about him (while looking at me) and that he was being transferred to the advanced throwers class and a new teacher would start the next 12 week term......which in truth was a good outcome for us and him really!!

 

Chantay.....you are the person in that class seeing and hearing the teacher, we are not, if you think she is genuinely 'unstable, weird, and sometimes out right mean' then step up and speak up ......sometimes it just takes one person to act first....

 

Let us know how it goes

 

Irene




#46349 What Will An Archaeologist Say When They Dig Up Your Shards Or Your Pots? | S...

Posted by Mudslinger Ceramics on 22 November 2013 - 05:56 AM

With my growing backyard rejects pile it will be.......'OMG, did this person know ANYTHING about pottery???'




#41039 Natural Talent....

Posted by Mudslinger Ceramics on 18 August 2013 - 11:22 PM

You labour on a piece of work, you strain yourself and spend hours,

then when you think you have really done well ...

... you see someone else who made a similar thing, only vastly better, with no effort and in no time ...

:(

 

 

 

 

Frederik,  you make me smile.....I have felt that many times........and yes, especially with the release of each new edition of the pottery magazines!

 

Yet......in moments of self doubt I remember a moment 8 years ago when I stood in a ceramics gallery, my then 12 yo son next to me, looking at someones work and lamenting that mine was never going to be 'good enough'.

 

My son turned to me and in complete exaperation said   'Ohhh, Muuum!!! There's 4 million people in Sydney and 23 million people in Australia!......SOMEONE'S going to like it!!!   

 

There is that saying about 'out of the mouths of babes' - it was a humbling and startlingly defining moment to say the least, one that puts things very much into perspective....the outcome of that ego slap was my commitment to my ceramics work where I have now enjoyed many compliments and this year I was invited to join that very same gallery I 'knew' I would never be good enough for.

 

My goodness, don't we LOVE our kids??....when homework, staying out late or putrid laundry is not involved of course...

 

Irene




#38721 What Do You Do With Your Pottery 'seconds'?

Posted by Mudslinger Ceramics on 12 July 2013 - 07:33 AM

Hi

Many thanks to the people who answered on topic......seems the consensus is 'Smash more, salvage less!'

Okay......the hammer is out!!


Irene