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Steven Branfman

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About Steven Branfman

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  • Birthday 03/05/1953

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    Needham, MA

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9,864 profile views
  1. Yes I do and I always have had hot and cold running water as well as a hose. My studio, The Potters Shop & School, is a working studio condo in the Gorse Mill Studios, an historic mill building that I renovated. I have a double sink with hot and cold water and hose. The sink is fitted with a flexible spray nozzle and Gleco Trap
  2. Hi all,,,,,If you are going to NCECA in Portland, don't miss our presentation of ClayStories 3, 5:30 in the Convention Center Oregon Ballroom 202. Lee Burningham and I have a robust roster of entertaining StoryTellers who will make you laugh, cry, and wonder at the experiences that will be shared. Do you have a story to tell in 5 minutes or less? Raise your hand for the Open Mic segment and get up on stage. Hope to see many of you there! Steven
  3. On the heels of John's posting, ditto on all accounts! I hope to see many of my Potters Council friends in Portland at the PC Reception and throughout the conference. Among other places, you'll find me at the National K-12 Exhibition Opening on Wednesday at 4:30 and of course at my presentation of ClayStories3 on Friday at 5:30 in the Oregon Ballroom. Our Storyteller lineup includes past PC board members Jonathan Kaplan, Gregg Lindsely and Mel Jacobson. It's going to be a blast so don't miss it!
  4. Tom was a quiet, humble, gentle man who avoided the spotlight. When I invited him to be a candidate for the Potters Council Advisory Board he accepted with enthusiasm, honored that he would be considered and looking forward to the opportunity to contribute to the organization in that way. It was only when he was absolutely certain that his health would prevent him from following through that he, even then, reluctantly withdrew his nomination. He accepted life but never acquiesced to it. I'm honored to have had Tom as a friend.
  5. Evelyne, your QOTW have been creative, probing, thoughtful, often provocative, and always entertaining. Don't be surprised if you are asked (begged) to continue to be the moderator of this forum! You've got my vote!!!!!
  6. This is a very provocative question and one that demands dynamic conversation. On one hand, it can be said that the owner of an object has the right to do anything they want with it unless it came with an agreement otherwise. On the other hand, out of respect and honor, the object should alway retain it's original form. A personal example, albeit a minor one, is often a client or collector will ask me if it's ok to put flowers in my vessel or to plant in a bowl. My answer, after I explain any technical issues such as durability and the piece being waterproof or not, is; "You may do whatever you like. Flowers are fine. Planting is fine. Make the piece part of your life." If they asked me if it would be ok to use my piece for target practice, I would say "sure, but that's a very expensive target." The bottom line for me and my work is that once the piece is in the possession of someone else, it is complete. I have expressed myself and made my statement. It is now out of my hands.
  7. If safety, health and hygiene are not paramount in your studio then you are doing something terribly wrong. Here is a small sample of our practice at The Potters Shop & School: We vacuum ( with a certified hepa equipped machine) every day. We mop weekly. Respirator filters are cleaned and disinfected after every use and filters changed according to frequency of use. Steven
  8. Hi Brian,,,the work looks familiar but I can't place it. Why don't you post it in the Aesthetics Forum to widen your search?
  9. Friends In Clay,,,,,,Periodically it's a good idea for us to remind all forum users, whether you are an active participant, an occasional contributor, or a lurker, to always take advice, especially technical advice, with care. I have not doubt that everyone who gives technical advice is doing so with the best intentions, but you must do your own due diligence by doing additional research into your question. Then, test, test, test,,,,, best to all, Steven
  10. John's talk was amazing. If you missed it, shame on you. I was one of the lucky ones sitting at the front. He's absolutely right about it being so hard to predict how many people will be attracted to specific lectures and panels. BTW: Don't miss ClayStories 2016!!!!! http://www.claystories.org/ (Shameless self promotion!) best to all, Steven
  11. On the heels of Preston's remarks, the idea of a kiln god can have so many different meanings for different people. Some evoke personal connections to their art that go well beyond a kiln god watching over a firing. Others are simply fun additions to the journey that a pot takes from the earth to the table. A few of our studio members at The Potters School routinely place a kiln god of their making on the lid of the kiln. I've participated in group wood firings where a kiln god was placed on the kiln accompanying a kiln lighting ritual. When I was the guest artist at the Raku Ho'olaule'a in Hawaii in 2000, a Hawaiian prayer was recited to honor and bless the participants, the earth, the materials and the practice of our craft. The way we honor and practice our craft and the reasons why we are clay artists is always personal and provocative. It is nature of what we do and the lifestyles that we live.
  12. What a great question to pose Evelyne!!!! I don't have my first pots but I do have my first Raku pots. Here they are, from 1974, two small wheel thrown bowls, about 3.5"H
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