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Marcia Selsor

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Posts posted by Marcia Selsor

  1. On 6/7/2018 at 1:23 AM, yappystudent said:

    Yes I'm aware beach sand is not pure silica. I'm wondering if anyone has experience using it in place of grog. 

    Salt:  I'm not sure of the content, the east side of the dunes haven't touched seawater in at least a couple? hundred years, but the salt spray gets carried on the wind especially in summer, and doesn't get washed off until it rains, heavily, in winter. I can either dig down a bit or wash and strain, probably both. 

    I used it in a clay body out of desperation in 1991 when I was one of the last artists  to arrive at our studio in Latvia. A previous group had worked before the second half arrives. I was given one large lump of Chammotte ( high fire very refractory with gravel like grog, and a lump of red earthenware. I had to make pieces for our exhibition at the end of our visit, I walked down to the Baltic sea and returned with a bag of sand. Mixed it all together. Test fired it and it worked. Made several pieces for the exhibition.


  2. I recommend throwing drier and don't let water sit in the bottom of the pot as you are throwing. Check the depth with a needle tool. i taught throwing for 27 years. Newbies throw too wet. If you throw drier, you can throw larger pieces with stronger walls . Wet  walls clapse.  When you open check the depth. Keep the water off the bottom and keep checking until you cut it off.


  3. I stand and stare in that exact pose. When i need a kick in the butt, I read, start a home improvement project like shelves in the laundry room to raised garden beds, or clean and rearrange the studio. Take hikes, research natural objects, etc. I often get the AHA moments in my dreams.  I just finished some surprise deadlines AFTER I delivered work to a gallery for an Invitational on May 11. I was a featured artist at 2 more galleries this past weekend. Now I am just relaxing a little bit. Fired new work this weekend using a hybrid technique of aluminum foil saggar chemicals in ceramic saggars. Discovered this technique may 5 so the first gallery didn't get any for their show. The second gallery is taking all the larger pots to the potential buyers house to see how they look on the built in shelves. This client purchased 4 $5000 paintings at the opening. Must be a HUGE house. These were large paintings.

    I find pressure to produce to be a stimulus to get the creative juices flowing. I am heading off to a wood firing at the end of next week. Plus an exhibition of our work afterwards.



  4. If you ask 5 potters a question, you'll get 20 answers.<- old saying.

    I missed this conversation as I have been busy. I built a minnesota flat top many years ago. I had been a sprung arch believer before that and had built catenaries too. The Minnesota flat top started slipping bricks in the top. Before getting worse, I rebuilt it with a sprung arch.  It was a large kiln 60 cu ft. so maybe the flat top wasn't a great application there. And yes, Lou was a great guy. I have his book , the Art of Play as well as his firing book which I got after 30 years of experience firing.

    For your stack with venturis, the height depends on your altitude. They are natural draft as compared to forced air which then it doesn't matter on the height. the blowers do the work. I don't know where you are building this. Mark and Neil are good resources as is Magnolia Mud. We all have our favorite way of getting things done.  and they all work. My favorite floor plan for a down draft is burners enter from the back each side of the stack. I love bag walls and put target bricks at the end of the trench, use the bag wall to support the shelves and use the third post in the center front and back in front of the flu but not restricting any flow.  That has been my favorite for 45+ years. I built several this way where I taught at a university for 25 years. I built cross draft catenaries for oil burners made from house hold burners remade for 3 nozzles for adjustable BTU output. Mark Wards Burners are great and he'll make them for your required needs. Good luck with the kiln. Firing your own kiln is a thrill. Then it is confidence. Then it is gratification. Enjoy.


  5. the height of your stack depends on a few things:

    altitude, the higher the altitude , the higher you stack needs to be 

    forced air or venturi system. If using natural draft, you need to have the chimney (stack) high enough to draw the flame.

    Forced air (blowers) provides the draw.



  6. I did make mud sculptures and very just drip sand castles as a kid. In college I discover clay. I soaked up as much knowledge as I could. I focused all my art history research papers on ceramic topics relevant to each AH course I took. I designed kilns, built burners and experimented with glazes. Some of my happiest moments have been working in studios in the woods. After 50+ years, I am very engaged with the interaction of chemistry and firing marks on surfaces. It is my passion. And there is inner peace and there are stellar moments of excitement and discovery. I love it. never a dull moment.



  7. Lockerbies are like a Cadillac of wheels.. Smooth but very heavy. Once you put it in place, leave it there. Motorized Lockerbies I have known have a drive wheel that engages the fly wheel (you don't need to get it going first), and stopping it is done with your foot dragging on the fly wheel. Still the heavy fly wheel doesn't take long to get going with the motor, then you can disengage and the weight of the fly wheel keeps it going for a long time. They are a very good old fashion ed wheel.



  8. On 4/18/2018 at 9:09 AM, Rick Wise said:

    I need advice about terra sig.  What do you do (or what CAN you do) AFTER applying and polishing the piece with the terra sig?   Are they bisque fired only?  Can they be glazed and fired to cone 6?  How do you maintain the beautiful texture and sheen that the raw terra sig piece has but still get a functional piece of stoneware?

    your pieces look great. Terra sig was originally used to seal lowlier earthenware. Many artists today use it for a sculptural finish at higher temperatures. If you put a glaze on top of it, I would wonder why use it in the first place?

  9. I just posted some recent work I have in a show plus a piece on the poster..pot on far right. The last obvara pot, the tiles, the 2 marble white pieces all have terra sig on them.I use ball clay so it is not going to vitrify at ^06. The shine is somewhat lost but it still absorbs fumes which is what I am doing. I polish the saggar and the foil saggar with wax. the obvara is natural finish.


  10. 6 hours ago, oldlady said:

    lovely results!   you have been busy firing so maybe you missed the question about terra sig and what results look like.  are any of the pots you have posted done with terra sig and can you say how they were treated and fired?

    I did see that post but not what it looks like. The white marble pieces are ball clay TS. as well as the neck of the last obvara piece.and the tiles.I added the poster which also has ts on my pot on the right




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