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Idaho Potter

Member Since 26 Aug 2010
Offline Last Active Oct 10 2014 01:32 PM

Posts I've Made

In Topic: Who Needs Art . . .

06 October 2014 - 09:29 PM

This past weekend I listened to the TED radio hour (you might be more familiar with www.ted.com ) that discussed creativity from the point of view of a scientist, an educator (this was  the only name I remember--Sir Keith Robinson), and performance artists.  I will go to the TED website and look into it further.  


The main premise was that artist's brains, during the creative process, light up in certain areas like a pinball machine, but their frontal lobe actually almost disconnects at the same time.  Seems we artists need to get out of our own way so that the process can continue.  Creativity works better when we subdue our subconscious and quit worrying about failure and/or what anyone else may think of our efforts.  


We all need art.  Robinson said that education is now being operated the way a Fortune 500 corporation would handle it.  Corporations no longer hire people with only one degree they want more paperwork to flap about.  He also said that the more education leans that way, the less innovative the corporations will be because they will have eliminated any creativity that doesn't fit the "bottom line".


Boy, I hope not.



In Topic: Where Does Clay Stand In Fine Art

01 August 2014 - 03:42 PM

I happen to work in the "decorative art" of ceramics, because that's where my heart and background come together.  I would love to be able to make a teapot, casserole, or anything functional with ease that I see (or infer) in works by other potters.  I am in awe of those of you who can sit down and make six bowls that not only  look like a set, but stack one within the other. I make functional work sometimes that I'm willing to sign my name to, but not on a regular basis.


Because my background is primarily in sculpture & painting, I tend to use clay for those purposes--either as a sculpture or as a canvas for painting. I hope that there are potters who, like me, work in a narrow slice of ceramics art and fully admire those whose sense of art has broadened their interest and endeavors. Regardless of whether you consider yourself an artist or artisan I hold you in high regard for the simple fact that once you entered the art arena, you've not backed up one bit.  



In Topic: How Would You Describe This Figure?

24 July 2014 - 07:54 PM

  I missed it the first time around, but am intrigued by it.  With all the ceramic sculpture "creatures" being made today, this doesn't come anywhere close to being disturbing.  If Picasso had been working with clay during his blue or pink period, he would have done something similar.  I don't think it was done by a beginner because there are too many refinements to the clothing and the finishing touches on the stockings.  As to the small hands, I've been sculpting for over 40 years, and most people make hands & feet too small in proportion to the rest of the figure.  The main reason for this is because we observe the hands and feet moving or gesturing, so when they are still, the artist has to make the feet or hands larger than what their sense of measure would have them be.  Even if you measured the size of a hand in relationship to the size of face/head, you would have to increase the hand's size to satisfy the viewer's eye.


Check out some of Rodin's or Michaelangelo's sculptures.


Oh, yes, I find the Saturday Night Live character very disturbing.




I second Babs question.  What happened to the figurine?

In Topic: Raku - Leaving Pots In Kiln

24 July 2014 - 06:38 PM

I agree with all comments/replies to your question.  To me the most important part of raku is the post-firing reduction.  As Marcia said, a copper based glaze can give you so many iridescent  colors and luster if the pot is removed from the kiln and placed in the reduction can.  If you want to let it cool gradually, do it in the reduction can with the lid tight  so the glaze doesn't re-oxidized--'cause then you'd just have a green pot.


Also, try under-firing and/or over-firing to get different effects with the same glaze.  What a difference of two minutes either way can make in the outcome.


So, if you don't like the outcome, just re-fire (maybe even layer on a different glaze) raku is fun and surprising, so enjoy it.

In Topic: Does Your Dominant Hand Dictate Form Or Are You Ambidextrous.

19 July 2014 - 07:43 PM

Right hand outside left inside, wheel turning counter-clockwise.  Until I had a 14 year old student who could not handle those positions.  Spent several hours teaching myself to throw left hand outside, right hand inside, wheel turning clockwise.


 For the most part my left hand & arm are just there for balance when walking. Although when right hand was out of commission for most of a year, the left hand signed checks for bills.  The signature was on a par with fourth grade attempts at cursive writing.  The bank didn't care.