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About Cass

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    bass guitar, electronic music production

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  1. sorry biglou, you are required to do at least 5 years in a dungeon before moving up to a woodshed or one car garage. no way around that faces southwest, afternoon sun, if there is any , is blaring
  2. the big thing i notice is, i can see...when bright, directional sunlight is on the edge of a pot you are throwing,, you see EVERYTHING. i actually think this window is upping my quality
  3. i often think of this....would i want someone to find this in 3000 years? makes it easy to smash things. i try my best to catch it when the work is still green, so i can smash it back and re-use the clay into something worthy. acheologist of the future might think, Wow, this guy moved around alot! but i tthink they will be too busy with ipods and gas powered cars to take much interest....
  4. thanks all, this is the first view of any kind i've had in 20 years of clay...what i'm loving abou tseeing the lake is that it in never the same view twice, every day, every hour of the day, there is some new, subtle aspect to it, always some thing new to see
  5. haha! nope, nothing so violent going on....today was the first sun since i got set up, epic!
  6. i don't consign, i reject the business arrangement where the artist risks all, and the gallery owner risks nothing. if they like the work, and believe in it, and the artist enough, they should buy outright, and be thankful for the quantity discount. the price they put is then their business, if they can get 3 times what i needed, then more power to 'em. the quote above was to a collector who was with me long before the gallery. i never consent to exclusivity either, and this is made clear, the gallery take it or not, and they do. the 'system' is skewed in favor of the galleries. if you consign 60/40, or let yourself be taken for 50/50 , AND grant exclusivity? you are a fool, and must not think very highly of yourself or your work.
  7. not saying i would undermine my gallery, when i do a show i always have a stack of the gallerie's cards there and end up sending a bunch of people their way, essential promo for them. it happens that customers are not ready to buy at that moment, or any of a number of scenarios. all the galleries know beforehand that i'm going to be doing a local fair and i allow some to come, at the end of the show, to do their wholesale buying. no ethical qualms if it is all out in the open. i'm over it with galleries that demand exclusivity, making it as if they are doing you a favor by taking and selling your work, they should be thankful that i'm giving them the opportunity to make money from my toils. the relationship isn't adversarial, but it can't be a one way street either.
  8. my prices vary by venue...if the fine craft gallery can't get more for your work then imo, they are not doing their job properly, or they are not all that 'fine' art show prices are lower, maybe 20%, and if one of my regulars finds me at a show they are happy to get a piece for a bit less, i even use that to push them saying,'get it from me here, cuz next week in the gallery it is going to be a bunch more!" and it always works. perfect opportunity to give them your cell # and say they can call you direct , anytime, if the want to come see the latest batch at your studio, they love that (and saving $). it's ok for prices to vary is the bottom line, my job is to get as much as possible for my work over various venues so i can get groceries and send my boys to college, period.if a conflict comes up (very rare) you explain why the price is different. people with money understand business, everyone is happy in the end.
  9. this forum filters the word strange? that is strange! 2 days of good work so far, and the window is no distraction, pure bliss
  10. i always prefer winter results, the colder the better
  11. thanks Marcia i've 'tried' to leave MT 3 times, the mountains keep calling me back! now, it's for life....
  12. such is the beauty of raku, the size of the piece (how long it holds the heat), glaze thickness, glaze fit, clay body, reduction material and amount, outside temperature, time before moving to reduction chamber, ambient humidity, mother's maiden name, what you had for brekkies that day...all these will effect the outcome it's when you stop expecting something, or ever trying for a certain outcome, that it becomes fun...sounds hokey maybe, but it's true. (for me, not directing this statement...anywhere)
  13. not recommended for all, so many variables in the clay body, etc, whatever floats your boat! i should say too...i burp when i can tell things a running way too hot, sometimes i have 5-7 good sized pieces reducing and i know if i don't cool things down a bit i will get white where i want black
  14. some carnage may take place, you never know! hhaa had to plastic off my part of a multi-use basement. i've staked my claim
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