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Mudslinger Ceramics

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About Mudslinger Ceramics

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    Advanced Member
  • Birthday July 3

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  • Location
    Sydney, Australia
  • Interests
    Love UK potters Kate Malone's lush earthenware glazes & Magdelene Udundo's silken burninshed gourd shapes, US Peter Voulkas tortured platters, contemporary Japanese tableware, traditional Korean teabowls, Greek black/red pottery, &... Australian Les Blakebrough's Southern Ice porcelain, Gwyn Hanson Pigott's serene 'still life' pieces, Angela Mellor's stunning bonechina! ..... just to name a few!!

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  1. Min's got the right idea! I live in Australia so what size is an American penny?? We use metric measurement so how much is 6oz? Only the US, UK and some Chinese business still use imperial measurement........so this could be costing you sales! It might prove easier to click on another offering rather than sit there pouring water into measuring jug or doing maths conversions to work out your sizes. Etsy, ArtFire and all the online platforms are international sites so to maximise sales potential you'd need to list in metric and imperial and put something as a size indicator that doesn't rely on language but is recognisable all over the world. For example the hen's egg....a hen's egg in a bowl is a pretty recognisable image in most kitchens around the world, if it's big in the bowl then the bowl is likely small, if the egg is small then the bowl likely large and so the measurements are more easily visualised. Yes, it would take some thought I guess but it comes down to whether a person wants international sales or domestic only....both are good. Irene
  2. Do you have sales orders to fill with your C6 porcelain? If so, you'll have to wear the expense of firing while you're at the cottage. If you don't have to think of orders...... then leave the porcelain at home and spend the summer experimenting with all the low fire techniques, clays and processes that you don't get to do normally.....and not just more of the same stuff you already do. Try raku, black firing, pit and bin firing, local clay slips and engobes, burnishing, hand building. Maybe build a small wood fire kiln and see what happens to your C6 clay and glazes when they're exposed to a live flame. Make sculpture, wall plaques, ornamental pieces, garden pots (where porosity is a virtue!) You know......lemons to lemonade. Couple of months, out of town and experimenting with all the techniques and processes you don't normally use......sounds good to me. Irene
  3. Hi Neil Copper carbonate as a preservative? 16 years in ceramics and that's new to me....how wonderful!....never used it for that. Also, know that 1/8 tsp of copper carb is very little but it would add, or vary existing colour in 1 gallon mix? Intriguing answers, details please? ta, Irene
  4. Pop-ups here are about peppercorn rent in unused shopfronts for a limited time while the building owners decide what their long term plans are. Good for artist with very, very cheap rent and good for building owner as the shop is not empty and vulnerable to vandals. Not a long term option in central Sydney, 2 weeks -3 months usually, as our real estate turnover is fast but suburban ones in the artsy hip suburbs can last for 1-3 years. Did 2 weeks with 4 others once 8 years ago right at Sydney Harbour international cruise liner wharf. Was a good sales run because of the transient tourist trade who were not going to return again and didn't have to think of luggage limits when they left. Our shopfront cost $200 all expenses, made $20K profit and was a great promotional tool as well for our local customers. So my 5c worth is do it but pick the place that suits your business and products and not just the shop owners want for something unusual to show off to their customers. Irene
  5. Not a one off. Same experience on the other side of the world. Huge painting with orange circle, green squiggle and a black slash on otherwise white canvas. Accompanied by 3 full pages of meaningless nonesense. Have always thought the artist could have made a genuinely striking statement on contemporary art if they had reversed the proportions of work and words. Irene
  6. Perhaps curators share a personality trait with schizophrenics. I wonder how receptive a curator fluent in jabbering would be to someone trying to have a discourse with them in the same dialect. Oh yes! I remember 2 art theory lecturers, at a painting exhibition opening at my uni one year, having one of these conversations for real!......... it was appalling, disturbing, weirdly compelling and hysterically funny at the same time.......their lexicon remained student favourites for months!! Irene
  7. Now, I have bigger goal than making money. I am working to create a community that is interested in pottery. So far my approach has worked for me: more people are joining classes and the retention rate has been high. In a year, I expect to have a very nice studio space for myself (and others) which pays for itself and provides an income for me (teaching classes, selling pots). When all I have to do is mop the floor at the end of the day, I will call this retirement. MatthewV Reading another topic I saw this quote. I am getting to an age where the physicality of production pottery is starting to bug me.......old injuries from years ago are protesting miserably, volume sales are not the 'professional' markers they used to feel like, income diversity is becoming more important than volume, a functional pot for someone else is holding less interest than a sculptural one made for my own creative passion.... ...... so some post production pottery planning (say that fast 5 times!) is now in the early stages. I do teach a couple of classes a week and hire out my wheels and equipment occaisionally but I want to wind down my production studio over the next couple of years yet keep my yearly exhibition work going. My mind has recently been following MatthewV's train of thought....... This week I have been offered a community arts space and a local council grant to lay the foundations for this venture.........my question here is that I would like to see this idea brainstormed in the forum by teachers, students and administrators alike...........so please lend me your thoughts, experiences, initiatives and original insights! ta, Irene
  8. Wow, I intentionally used a word that wasn't offensive, but apparently the forum is super sensitive. I didn't know 'j3rk' was such a bad word! lol, I was trying to figure out what an eight letter naughty word would be. Me too! Irene
  9. Hi Beestie Welcome to the forums. The larger photo sample looks like a plaster cast, the other 3 look like clay, the top one glazed. Think I'd try porcelain paperclay......soft like regular porcelain but holds it shape much better. Think too I'd roll out the clay thin (3mm), cut the tile shape and rest them on thin plywood or MDF 'coaster' sized pieces of wood....THEN press the little hand or foot into the clay while clay and foot are supported by the wood. Set the tiles aside to dry while still on the wood, they wont stick, The dry paperclay feels like cardboard and is easier to move to the kiln after its dry. Don't worry about hand or foot print shrinking by the end of the whole clay process.....the foot will have grown anyway by tomorrow and parents never really care about exact mm measurements, they just want to remember that the big, mouthy teenager they will get was once adoring and cute! Agree with others though.......set up a collaboration with a potter and build their fee into yours....will half your workload/client and likely double your potential clients. Don't forget to show us photos of your solution.....we want to know how it works out! PS. With my own son's hand prints at age 7, I used a thick tile of stoneware clay sloshed with shino glaze and tossed into a week long anagama firing. My son helped monitor that firing, he so loved the flames!.... and at the time of unpacking he climbed into the kiln chamber to find his keepsake....we still have it on the mantlepiece. Makes me smile. Irene
  10. Hi Roxy Welcome to the forums! I only have 2 people who may use my studio and I charge $50 for 5 hour lots on the wheel ( I have 3) ONLY on the days when I am there and have to do other things. They use my clays and my glazes so I know the chemistry in advance and can use coloured underglaze, oxides and engobes. I have 3 different sized kilns and they may use one depending on load size. $5/kg bisque, $8/kg glaze. Yes, I like simple maths. I do this for the extra income and some company at times but my people know it's MY studio and my workload has priority and that they share it under my conditions. Arrangements can very during my really busy periods. Share with others by all means, it's a generous thing.... but never lose sight of the fact that it's YOUR studio, not a playroom for others, and that your needs there come first. Enjoy your new 'dream space' and please post us some photos of your work........it's ok, we'll be gentle! Irene
  11. This statement was surprising in the light of the other responses to the question. Honestly, can only the wealthy and middle class see the point to art? Are poor people just too intrinsically unable to appreciate or see a point to art? Can a person without money not have an opinion, for better or worse, anyway? The monied do! Art appreciation, intelligence and artistic merit are certainly NOT the providence of those who measure art by income........there are more than enough pig-ignorant monied people in our societies. The 'Art is pointless' stupidity is not income dependant at all. For the last 15 years I've worked as an art teacher to people with issues of disadvantage, all of then in the 'low to no income sector' and I have rarely found art to be as pointless to them as it often is the the people who only want to profit by art as a product, resale investment or commodity. There are plenty of people who only judge art by monetary values. Art is the great equaliser, it is a fundamental part of the human experience and the most wonderful thing about it is that art can be found in mansions or slums, city studios or back sheds, hanging in galleries or the refrigerator door. Art is very, very important, relevant and precious to the hundreds of low and no income participants in my groups over the years.....yes, even when I take them to our Australian National Gallery to see international exhibitions, and the ballet, opera and theatre performances at our Sydney Opera House.....our 'high society' institutions that all have generous concession fees for low and no income earners so they never need miss out. Art definitely has a point to them. I exhibit yearly and I have met the person in the gallery with the 'Art is pointless' attitude who unwittingly provides the evening's 'free entertainment'......I do explain the work and smile....and often they leave anyway as the cloud of the guest's disapproval and contempt closes about them. It's all good to me.......public relations.... they may not see the point of the art but I want them to see the hospitality of the artist. Irene
  12. A potter's life simple? $1500 on a new pottery wheel, and $25 on a pre-loved dress........well,..... of course! It's simpler than you think! Irene
  13. 'I think it's the same with any art: You have a model in mind of how things SHOULD be done, and you try to match it. Differences will naturally creep in. You evaluate them and decide if they're useful or not, and if you want to encourage them or not. Eventually your work looks different than another person working in the same tradition. 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.' Earth&Ware Copying or imitation is a very good place to start and not 'knowing' or pre-determining your personal style is somewhat irrelevant. A person's own natural and unique aesthetic (or 'style') will emerge no matter what after some time just making: our 'other' likes and interests will find their way into the work, our favourite colours, shapes, textures etc will EMERGE from the continual making and almost never before. A person's aesthetic ALREADY exists within them and is manifest in their personal surroundings by life experience years before, so it WILL turn up naturally in their clay work as well. Irene
  14. Sometimes we just need to take 'time out' from ceramics.....I know....gasp!!.....but are very happy to find CAD still here when we return! My first experience at posting met with a rude, dismissive and incorrect reply but fortunately 2 years of 'lurking' showed it was not the usual. So we can't 'diss' the lurkers. Did not see Mike Faul post, but do think that sometimes we don't READ THE QUESTION accurately.......so we go off on tangents, answer what we THINK we read, or, indulge in some sort of Facebook-like opinion frenzy....... .........think it comes down to reading the person's question once or twice to get the actual enquiry they're asking from it (and maybe asking one or two of our own questions) before answering Also, think the internet has bred the idea of a website ' Chat Help' convenience so much that people no longer feel that they NEED to get back to the people assisting them. Whole other discussion. So much reading to catch up on. Irene
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