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Wyndham

Member Since 07 Apr 2013
Offline Last Active Today, 10:15 AM
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#60742 10 Cool Trends In Contemporary Ceramics

Posted by Wyndham on 13 June 2014 - 12:02 PM

The  face jugs in the article were of a different style than what the potters of NC & SC make.

Traditional face jugs are ash glazed using fired cones for the teeth and porcelain shards for eyes.

Now if we look at the cultural history of the face jug, we find it's use as a way to keep the social group, morally aware of the consequences of doing evil to one another.

When a person died, a face jug was placed on the grave. If the person were a good person in the community, the face jug would remain intact for a year, then broken to let the soul rise to heaven.

If they were evil in the sight of the group, the jug was broken before the year was up and this condemned their soul to hell.

Folk potters, trying to get a leg up on the competition, decorated the whiskey jugs in distorted faces to attract more jug sales.

Contemporary potters saw that the older pieces were being collected as art, so they began making their own collectible versions and so on....

Most collector in this area, want the traditional style ash glazed face jugs.I doubt if the ones featured in Artnews would sell here but if this were to be a worthy trend, I'm sure some potters here would take note.

As in the "Garlic Plate" thread, if people want them, we'll make them.

The question becomes,what  percentage of ourselves are we, potters for ourselves or potters for the marketplace.

Wyndham




#60704 Why It Goes Off Center?

Posted by Wyndham on 12 June 2014 - 08:30 PM

As others have mentioned, the clay is over worked. Study other youtube videos that show proper pulling and collaring. The shoulder of the pot has become fatigued and can't support the upper neck and rim.

You're doing fine, just work on the basics.

Wyndham 




#60617 10 Cool Trends In Contemporary Ceramics

Posted by Wyndham on 11 June 2014 - 02:38 PM

If this is going to represent us as ceramic art in the cultural centers of the future, we have the same of chance of having a thriving pottery craft future, as the dinosaurs surviving their apocalypse.

Wyndham

 




#60457 Throwing Straight Out Of The Pugger-Yes

Posted by Wyndham on 10 June 2014 - 11:40 AM

It's worth getting use to, like going from a kick wheel to electric. Now if I could only find the recipe for self centering clay :)

Wyndham




#60036 Noob Seeks Advice Building Kiln On The Cheap

Posted by Wyndham on 05 June 2014 - 08:40 AM

You need to learn what clay that's local can do. Some of the most beautiful ceramics are based on low (1800 deg f) clay bodies that are pit fired. Learn what the locals are doing, where they get their clay and how they prep it, then how they fire it. Just because it maybe tourist cr@#@#$p doesn't mean it's not good workable clay, though at a low temp.

Learn how they make their slip for decorating and what wood they use for the firing.

If you look up pit firing you'll see what beauty can be achieved in low temp ware.

After that you can develop your own expression in clay and there maybe other clay beds that can go to higher temps.

Most of the world still uses low temp clay bodies for everyday uses and can be better than higher temp stoneware for certain uses.

Wyndham




#59954 Anyone Else Interested Or Know Anything About Firing Leopard Spot Shinos?

Posted by Wyndham on 04 June 2014 - 08:42 AM

Check out this link.

http://mudfireclaywo...ry-teacher.html

Wyndham




#59110 What Made Plates Break?

Posted by Wyndham on 23 May 2014 - 03:41 PM

Refiring too quickly will crack/break/ screwup  pieces.

You've got too much heat too quickly and the fired piece can't relieve the stress the heat puts on the piece. There is a temp range between 900-1200 deg f that the glaze.glass and the claybody go through quarts inversion. This is the critical temp but there are other temps lower to consider.

Wide plates & uneven temp will also bust'em up

Long and slow 200 deg/hr to 900 deg then 100 deg/hr till 1200 then back t0o 200deg/ hr to end for refires and still you may loose some.

You don't know how the bisk was made or fired so there might also be issues there as well.

Chalk it up to learning.

Wyndham




#58967 Help - Cone Bending/ Firing Issues

Posted by Wyndham on 21 May 2014 - 01:47 PM

I've had sitter cone fuse and over fire. Seems that the kiln sitter drop bar didn't drop in time and the cone fused holding the kiln sitter rod  from moving. Check to see if the drop bar has any debris.

Wyndham




#58433 Pinhole Doctor Needed – Nasty Case – Diagnosis Required.

Posted by Wyndham on 13 May 2014 - 11:27 AM

The rim of the piece has melted more(usually does) and healed over, where as the rest of the body looks under fired. Maybe a soak at the end of glaze firing for 10 or 15 min might help along with a slower bisk to 04

Wyndham




#56802 The Dangers Of Advice Without Experience

Posted by Wyndham on 16 April 2014 - 07:08 PM

We might need to define "Shortcut" as either a better method based  on  validation and experience of a technique or a shortcut based on an  assumption.without validation.

The shortcut "leave to the expert" can be a two edged sword. My personal experience of experts on the issue of reduction methods for gas kilns leaves a wide path for many different methods and opinions , some good, some not so good.

Education comes at a cost, whether academic and/or sweat equity. It sometimes takes a long time and a lot of clay to find the shortcut.

Wyndham




#56609 The Dangers Of Advice Without Experience

Posted by Wyndham on 14 April 2014 - 01:50 PM

The ER would be empty if people followed your advice, gotta keep those Dr's working. BTW What's the emotocon for a sarcastic,eybrow twisting,self deluding potter?

I've been at mudslinging for 27 years and every shortcut is the longest, hardest lesson to learn

 

Wyndham




#54192 An Artist's Life (Continued)

Posted by Wyndham on 08 March 2014 - 04:40 PM

They do NEED a painting but the need to survive trumps art.

My concession to function is to make beautiful glazes that allow me the satisfaction of painting but on a different medium.

If we allow ourselves to become devoid of beauty in our lives, whether clay or canvas, we've become the drones of our own creation.

The mugs are too wet for handles so I blather on , too late to start another project, too early to close the shop for the day :).

Wyndham




#52625 You Know You're A Real Potter When....

Posted by Wyndham on 15 February 2014 - 12:18 PM

An artist who is a  painter does not need to weave the canvas or make the paints to be an artist. Same goes for potters and glazing.

Look at the video on the African women potters, not a lot of glazing going on. If I compared my work with these folks, I'm way behind the learning curve.

Wyndham




#52524 Told To Get A "real" Job

Posted by Wyndham on 14 February 2014 - 11:08 AM

Your "advisor" showed his true colors. He and many in the finacial profession look to clients as a food source. Remember they make a living from your money. He wants clients that have "Money".

Just as a visualization, make a form, a mug will worlk fine. At some point about soft leather, start carving chunck out of your mug, each repesenting your cost of living, biz cost,(what you would be paying him or her) etc. You will find the more you learn and take charge of instead of  what you pay others , the more you keep for yourself.

 

I've had student groups come by my studio/gallery from time to time, who are in various art/ceramic classes. They would be better served by these classes incorporating finacial issues in the class and less time spent on the "Myth" of being an artist.

 

When asked, I tell them the cold hard truth about making a living as an artist, most want to "get by" few want to learn. This goes for every area of making a living.

Learn from this and expect more from many different sources. Do what you love but keep your eyes wide open.

Just my thoughts on a snow covered studio day in NC

Wyndham




#52514 You Know You're A Real Potter When....

Posted by Wyndham on 14 February 2014 - 10:25 AM

When you're so disgusted by a glaze test that turned out so totally off that you smash it in the shard pile, THEN.......

six months later while walking to the kiln you see this GREAT shard on the ground. You race back to your notes only to discover that page is missing.

You put that shard on a shelf to remind you to let the glaze live long enough to talk to you.

 

To err is human but to lose a great glaze is unforgivable.

Wyndham