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Marcia Selsor

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Posts posted by Marcia Selsor

  1. 26 minutes ago, Marcia Selsor said:

    My fireplace surround was in PMI a decade or so ago. These are corbels. I used a right angle jig to construct them. 

    https://ceramicartsnetwork.org/daily/clay-tools/making-clay-tools/the-right-angle-jig-for-geometric-ceramic-sculpture/ 

    you can search the archives if you search the link at the top of the page for  Ceramics Arts Network  and hot the search button for whatever you are searching.  

    On my examples of architectural tiles  I deleted many because I used up my allotted image space a long time ago.

     

    My friend Stephani Stephenson and I taught an architectural workshop in Italy in 2012.

    Here is her website. Her business is Revival Tile.  http://www.revivaltileworks.com

    For corbels I built a right angle jig also in another PMI and in a book on contemporary sculptural techniques.. 

    Marcia

     

     

     

  2. My fireplace surround was in PMI a decade or so ago. These are corbels. I used a right angle jig to construct them. 

    My friend Stephani Stephenson and I taught an architectural workshop in Italy in 2012.

    Here is her website. Her business is Revival Tile.  http://www.revivaltileworks.com

    For corbels I built a right angle jig also in another PMI and in a book on contemporary sculptural techniques.. 

    Marcia

     

     

  3. The Archie Bray is 280 miles from Red Lodge. 560 round trip. I prefer to go up the Musselshell river valley and down Deep creek to Towsend avoiding much of the interstate. It can be done in a day and the drive is beautiful .I am convinced I live in Paradise but Sue Tirrell really lives in Paradise Valley!

    -not to mention visiting the Bray and looking at the gallery, classes and studios.

    I do sometimes ship my clay with others to Billings and pick it up there. 

     

    Marcia

  4. I finally found the recording discussion of our presentation at NCECA last year. Anyone interested in low fire alternative processes, there are 10 being discussed; two each . Paul Andrew Wandless, Russel Fouts, Judith Motzkin, Ken Turner, and myself. It is an hour long presentation with questions. just click on the picture. The images were on a loop and don't correspond to the discussion going on. 

     

     

  5. On 2/20/2020 at 9:17 PM, LeeU said:

    I think this is the heart (and soul and mind and body) of the matter, whether people making this kind of shift, or evolution, into a different type of work, a different expression of creativity, are particularly aware of it or not. Tho I suspect most people would have a sense of whether their stress is reduced and/or their creative bent is enhanced.  I agree w/Liam, the best thing would be doing what you want all along, and I deeply admire people who are able to pull that off.  What's that saying? Do what you love and you'll never work a day in your life? On the other hand, "work" often gets a bad rap, when it is often not so much the work per se, but the trappings of any less than really good working environment. Bad conditions, bad bosses, bad pay, bad schedules, bad systems etc. can be so toxic and damaging that the work-a-day world can be hell (we'll see if the auto censor picks that up!).  I am so very grateful to have made it to retirement--the odds were high for a long time that I would not--so doing art/photography/claywork etc. now is just a pure delight, i.e. "a functional engaged creative life"!   

    I had a doctor in my classes when I was teaching. He said when" I make a mistake in clay, nobody dies."

    Marcia

  6. On 2/19/2020 at 9:10 PM, Mark C. said:

    Marcia-sound like the car kiln and swinging door kiln came a but late for you at work. One thing for sure is Pottery is heck on the body-at times I feel it keeps me fit other times I swear it's killing me.

    Mark,

    I haven't had anymore problems with my wrists except from breaking a bone when I tripped over someone's legs sticking out of the wood kiln taking photos. That was 2 years ago. I think lifting kiln shelves and loading so many kilns per week affected the pain developed in back, shoulders, hips, and thighs.I feel the same about sometimes it keeps me fit and sometimes it is killing me. Gave up bricking up doors 40 years ago. I'm 71 now. Enjoying throwing big pots "effortlessly" with 50+ years of skill to do it. I like not struggling with the clay although if I push one too far and it starts to clapse, I'll hang it upside down and let it reshape itself and continue to throw when it is ready. No fear there and maybe no fear anywhere when you've explored so much and keep pushing the envelope. That makes me feel like it is keeping me fit. At the moment  I am working on a batch pots  for sagger firing soluble salts and at the same time engaged in carving porcelain for a celedon glaze just because I want to do it. Got a request from a friend from CAD for advice and critique of her work. Discussed glazes, slips, forms and firing schedules. I enjoyed sharing what I could.She'll let me know if it helped.

     Working with the Community (pop. 2200) efforts on a STEM program turned to STE-A(for the arts)M and developing programs for artists to communicate how they incorporate STEM in producing their work. I feel potters are really involved with that. I work in the studio every day. Maybe because I feel there aren't that any days left or maybe because I am slowing down. My husband will be home for good Sept. 1 when he retires. We want to hang out together stay home since we both have travelled a lot. He wants to play music and write books , and I can hang out with him but still work in clay. We got almost 6 ft. ( 5'10") of snow in Feb. but love living here. Really happy to be back in Montana. 

    This is from a friend of mine from college who taught me to throw. She was the director of Pilchuck for 10 years. She has a hobby after retirement: scuba diving. She  was the first woman President of NCECA, among many other things.  Good video from the Seattle Art Community. 

     

    There is room for everyone to enjoy their passion for clay.

     

    Marcia

     

     

  7. 13 hours ago, CactusPots said:

    Henry David Thoreau famously stated in Walden that “the mass of men lead lives of quiet desperation.” 

    Sad lives observed

    Not to say solitude and quietness are not skills acquired  in our age, that like all things: but

    Moderation in all things, including moderation.

    .quote, me

     

    My HS English Teacher quoted that often . We read a lot of Thoreau.

    Marcia

     

     

     

    Marcia

     

      

     

  8. I retired from teaching University level ceramics 20 years ago when I was 50. And Old Lady, my salary was $50K in 2000 after 25 years and my benefits are based on that.I had bilateral carpal tunnel surgery in 1980 from bricking up kiln doors and unbricking them; 1600 pounds per load 4 loads per week.. I built a car kiln and a hinged door kiln when we moved to a hew building in 1980.  My body was failing by 2000. My sleep was interrupted by pain 23 times per minute (results from a sleep test and wired body) and was getting shots of ladacane monthly on hips , shoulders and back..  I was told if I took disability I would be not be allowed to make pots. I had zero assistants and tuition rising meant students were working 1 to 2 part time jobs and we weren't able to help much with loading and firing kilns for a ceramics program of 60+ students. So, at 25 years I quit. I never competed with full -time potters when I was teaching and still don't. I worked as a full -time potter before I got my teaching job and I know how demanding it is. When I retired I wanted to do a residency every few years to keep in touch with others in the field. I have enjoyed my studio time since retirement and continue exploring this amazing medium we work with. My sales are strictly with galleries. In Montana my sales are better than in Texas and they help supplement my income by 20%. I am enjoying my time and still learning. I have written technical articles in journals from Studio Potter (1973) to British Archeological Reports, to Ceramics Technical, Pottery Making Illustrated, and Ceramics Monthly.I like being able to contribute what I can.

    Marcia

  9. Hi Hopscotch and welcome to the ceramics world.

    you brought up many good points. I am in a thread discussing early studio potters on the Facebook page "Studio pottery Appreciation and Identification. Many there post about their thrift store finds and ask others for help identifying the potters. This current thread refers to early studio potters around the Arts and Crafts Movement 1900. The annual Nat'l Council on Education of Ceramic Arts (NCECA) (US based) always has about 100-200 exhibitions, demonstrations , lectures, and materials for sale in an exhibition hall along with non-profits. I have been attending as an educator since 1971. I enjoy the lectures by Ceramic Art Historians. Market Value can be established by exhibition records, collectors' enthusiasm, museum collections, etc. All that is difficult to nail down.  Mostly "art is in the eye of the beholder" . A good piece of pottery may depend on the buyers' response, how it fits the hand, how it feels to the lip, how is balances, and the aesthetic design appeal to the individual. There are many good potters here. And there are many asking for help from the others. It is a sharing community. Pottery is a complex medium and everyone advances by sharing. There is a Facebook group of South African potters. There is the International Academy of Ceramics with many international members. There is lots of information out there. As for determining who makes the judgement calls, it depends on what is trending. Right now figurative ceramics is on the rise. Social commentary comes and goes. Roberto Lugo gave a very powerful emerging Artist presentation at NCECA a few years ago and he is currently a very hot ceramic artist with shows at the best museums and venues.

     

    Marcia

  10. Frances Senska always fired at ^7. She used a lot of local ingredients in her glazes. ^7 is a good temperature for a stoneware as long as it vitrifies. I converted to ^6 reduction when I was teaching at MSUB.  I fired to a flat ^6 from 1980 to 2000 at MSUB and lated at UT Brownsville. 

    FYI Frances Senska taught at MSU Bozeman and was the teacher of Peter  Voulkos and Rudy Autio who became the first resident artists at Archie bray in 1951.

    Calcium Carbonate or Whiting will harden a glaze surface from scratching.

    Marcia

  11. I don't think "time" is part of it except that the switch is timed for 1 as low increments when it is on, 2 is more, 3 is more, etc. and Max is on full. I would question why there are few tiles under the kiln sitting pin a wood floor. You need to have it raised away from combustibles. Set it on a few cinderblocks and 18" or 46 cm away combustible walls. If it is in your living space, it should be vented. That nitch is too closed in to be safe.

     

     

    Marcia

  12. My computerized kilns are in an unheated shed in red lodge Montana.  Last year, when I was concerned there might be condensation in the controller, I went out there with a hair dryer and blow-dried the board from the bottom and top vents. We had 32 days without begetting above zero Fahrenheit.  I have not had any trouble with them.  I fire them when it is 10 degrees. No problem. It is fairly dry mountain air. 

    Marcia

  13. Another consideration may be the type pf weekend workshop. For example . 35 years ago, Ruday Autio who was very famous, had a minimum of $1000 per day for demo only. He was a wonderful entertainer while he worked and could easily fill a room of 50-100 attendees.  Aside from compensation, does anyone have opinions on demo only type of workshops compared to hands on?

    I have done both. When I taught for Potter Council events it was usually 4-5 artists demonstrating. Individual sessions held 30-50 people and were repetitive so one could try to schedule all the demos over 2 days. 

    I usually do hands on when teaching alternative firing processes because people bring work to fire.

    Just interested to hear people's opinions.

    Marcia

  14. I get a variety of teaching fees. usually I get travel, lodging and food . I am encouraged to bring pieces for sale to help enhance my fees. Get $500/day for a 2 day workshop. If that is too difficult for a struggling group, I can negotiate. I am about to teach a workshop in San Antonio and have been prepping for it for two weeks, wrote a very specific handout so they bring pieces ready to fire in 4 different processes. For a week long class it can also be 1000 for the week. It really depends on what the workshop entails, food and lodging, etc.

    Marcia

  15. I try not to keep it around but I do stock pile in my finished work  basement where my photo setup is located. I have about 5 galleries that I keep stocked. I am having a show with a wood turner next December so I keep a piece for that every so often. The wood turners pots look so much like my clay pots I had to take a close look at one after thinking it looked like mine from across the room.The wood turner came to see me demonstrating last summer at Art in the Beartooth because he saw that our work looks alike. It was an interesting experience.

    Marcia

  16. I have considered buying Liquid Quatz for my soluble salts pots because I always worry someone will want to pout flowers in them. They claim liquid quartz is food safe and there is a restaurant using saggar fired ware with liquid quartz for their tableware.  Which makes me think it would be interesting to fire it and see what it does. I am not sure you can cover Liquid Quartz with a glaze and fire it.  You might be able to fire it without a new glaze. Do a test on a raku piece sealed with liquid quartz and see what happens. It could be a glaze,

    Marcia

     

     

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