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Evelyne Schoenmann

Member Since 03 Aug 2011
Offline Last Active Dec 17 2014 12:14 PM

Posts I've Made

In Topic: Firing of pots with cracks made with Sodium Silicate

04 December 2014 - 06:50 AM

 I guess I'm off to the chemist for some Sodium Silicate.


You will have a lot of fun with it! .... and then: show us pictures of the work please.



In Topic: How Do You Develop You Own Aesthetic?

03 December 2014 - 10:45 AM

IMHO, a potter should choose a tradition -- Indian pottery, Japanese pottery, Stafforshire, Ancient Greek, Italian Majolica or whatever, and try to work in that tradition (I didn't say "imitate" it), before trying to reinvent the wheel, because those reinventions never come out round.



That is a very interesting idea, Earth&Ware: choose a tradition!


Since I'am doing mostly traditional firings, one cannot use my pieces in everyday life. Pit fired or barrel fired pieces are not functional ware. If I had to put a name to my "style", I would say Red Indian and Japanese pottery tradition. Despite the fact that both traditions work with un-perfect forms, I like the perfect forms very much. I used to be a piano teacher and loved to play Bach because his pieces are composed mathematically. Not so long ago I attended a workshop called: Golden Ratio, and I felt that ever since I am a ceramist, I try to balance the form, using involuntarily the golden ratio. Is it possible that customers buy (or don't buy) our pieces because they (the pieces) aren't harmonious enough? Maybe a customer can't explain why he/she likes some pieces, and some not. But deep in the gut region we have a need for harmony, and we recognize it when we see it. So, looking and striving for harmony and symmetry in the forms we are making, I think that is essential.



In Topic: Help: Air Bubbles!

02 December 2014 - 08:55 AM

I second Bruce. Best to pat the clay, after wedging, into a pear shape (or cone). I never slam the clay onto the wheelhead but only put it there (a bit brisk). I try to put it as much into the center as I can, start the wheel turning slow slow and pat it more into the center of the wheel. Then I stop the wheel and push, with my thumb, the part of clay that's connecting with the wheelhead carefully down all around.


Dorothe, I'am from Switzerland too. Welcome to the forum. Could you please tell us a bit more about yourself, what kind of work you are doing, maybe show a few pictures of your work? And please fill in your profile. We are all friends here and try to help and advise each other. We can do that better when we know who you are, where you come from etc. Thank you! Keep posting.



In Topic: The Morning Aftermath...

02 December 2014 - 08:23 AM

Guinea, you wait till you are over 50 years old and then your fingers hurt in the morning without having thrown anything the day before :D ....

In Topic: Lets Do The Happy Dance

27 November 2014 - 03:54 AM

@Florence: I think it really sad when you work hours on a piece, let it dry slowly, have ideas for the glazing later etc. and then, only because the studio boss is a bit over-self-confident, the piece breaks in the kiln. And I think it sad that you resign to it. Don't!!

Normally, staking pieces in bisque firings should be ok, if they all are really dry. Also air bubbles aren't always exploding. But heating the kiln too fast over 400°C is definitely a "neck-breaker". I can understand that you like to go to the studio, have companionship, can discuss ideas with other potters, but the price you pay (and I don't mean dollars) is too high. Can't you, for instance, find a few more clay passionate in your area, and you as a group would buy and use a kiln together? Or try to find somebody in your area who maybe has already a kiln in the garage or cellar and would be happy to fire your pieces for a few bucks. Put ads in the supermarket or the local newspaper.