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Member Since 18 Dec 2011
Offline Last Active Jan 09 2012 07:10 AM

Posts I've Made

In Topic: Production Studios?

09 January 2012 - 07:05 AM

Wow, there are a lot of production pottery studios. Go along to a local art and craft show and you will probably find several production potters to talk with. I always enjoy finding potters out there and have an extra chair with me at shows. I was a production potter for years and had a shop and did the art shows as well. Check the site artfestival.com with the Howard Alan crowd because they feature the artists that do their shows and have a ton of photos. You can look through their show lists and get names that way as well. North Carolina is full of production potters with Seagrove being a destination with maybe a 100 potters not far from one another. Recently though some of the long time potters are closing doors and doing something else as the sales have fallen drastically (for me as well - that is why I am back in school) - but potters who are part of a couple or those who do art pots for galleries seem to be faring better as well as those production potters who have long running shops and have gathered a big list of fans through teaching and a decent web site. But we need to consider that pottery in general in the US has become a dying art and is sowly going by the wayside. The quest for hand made and the mystery and desire for the individuality embodied in a hand thrown piece has largely hit the dust as the imports have totally taken over for most of the country. It is no one's fault - just was part of a movement that is pretty much over. And since we don't honor our artists or support them (especially politically at the moment) who knows what will happen. My feeling is that as soon as all us old hippies and many of the baby boomers pass on the entire scene will fall apart. Some years ago (2005) when my business was coming to pieces I went along to the NCECA in Baltimore and decided to check the board for employment which was usually packed with business cards and possibilities for openings in schools or teaching positions and/or apprenticeships, etc., and discovered it to be almost empty with one offer of an art teacher position at an obscure college. I was depressed anyway over what was happening to me and that reality was especially awful. So, I recommend that when you come upon a potter whose work you respect and like, purchase it, because he or she is not likely to be around much longer. And if you are of the age and inclination to be a potter for a life's work you need to seriously consider getting training in something that will earn the money and do the pots part time rather than the other way around because the interest is just not there unless you want to go oveseas. People over there appreciate artists and support them. This is my experience and my opinion.

In Topic: Production Studios?

09 January 2012 - 06:36 AM

Greetings, I am looking for production pottery studios/workrooms, preferably on the east coast, although I welcome all suggestions. I've been combing recent issues of ceramics monthly looking for references and have come across a few, one being in Oregon. All suggestions are much appreciated! Thanks

In Topic: How do you handle the combination of parenting/daily life and pottery? | Dec....

09 January 2012 - 06:25 AM

Yes, this is a question from the real world. I stayed home and created a studio years ago when I was faced with this and only went out to teach from time to time. That is why I learned to be a production potter because I had to sell to continue staying at home in the workshop. The children, cooking and housework I usually attended to in the mornings and then while they were little I used a babysitter combined with nap time to get in studio hours during the afternoons. As school became a regular happening I worked in the studio those hours and did housework, etc., after they came home. I also developed night hours as you can tell by my pen name and still after many yeas I do my very best work late a night when there is no one to bother me. At the moment I am back in school again - so I also work the papers at night and when there is time get into making pots for a few hours as well. Because I could spend those days at home in a studio my children essentially grew up with a stay at home mom, but one who worked her ass off day and night - but I have wonderful children who seem happy, productive and well adjusted and to this day I am thankful I was able to fulfill myself and be around for them on a daily basis. There have been compromises from time to time and I have been frustrated as well but in the end the kids don't care that their mother was a potter - all they cared was that I was there when they needed me and from their point of view I don't think I failed them.

In Topic: ^10 Clay/Glaze

09 January 2012 - 06:06 AM

There is a mistake somewhere. Did you fire to cone 10 or cone 04? I cannot believe that a cone 10 glaze would melt at cone 04 - they hardly melt at cone 10. The cone 04 clay could have acted as part of the glaze at cone 10 and that I would believe. I use Miller 910 or Miller 900 for a cone 10 body which survives cone 10 pretty well - although not nearly as well as the original Miller which was sold to Laguna years ago and which Laguna has mucked about to produce a puny version of the original. The only time I had a major meltdown like that was the time a feldspar was mislabeled and I had put whiting in the glaze instead of feldspar and the whole lot of christmas pots melted all over the shelves and put me out of business for weeks as we tried to recoup all the furniture and remake all the ware.
We need more information to answer your question.

In Topic: ^10 Clay/Glaze

09 January 2012 - 05:58 AM

I fired Miller 510 clay to ^04, glazed with a ^9/^10 glaze, and my pieces melted into beautiful pools of color! Consensus is that the clay wasn't ^10, but something lower.

Anyone ever have such a meltdown with ^10 clay/glaze?

Thank you for any input you might be able to provide.

I remain clueless!