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Rebekah Krieger

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About Rebekah Krieger

  • Birthday 12/26/1979

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  • Location
    Wisconsin
  • Interests
    Spirituality, food, art nouveau, and deeply researching my ancestry.

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  1. I fired a load of sprayed glazes and the coloring turned out beautifully, the problem is that I sprayed it too lightly and they are quite dry to the touch, almost unpleasant. Ideally I would want to get them re fired in a salt kiln. Problem is I don’t have access to a mid range salt kiln. does anybody have a salt mix recipe that might work in a mid range fire that I could spray on and fire mid range electric? Or another proposed solution would be welcome. Thank you
  2. I tend to enjoy throwing small mouth vases and skinny neck bottles but I am having the darnedest time trouble shooting how to trim them. (Still, I realize I probably posted this question over 5 years ago) I don’t have a Giffen grip. I have thrown chucks but when using wet (I allow them to set up for a bit) they tend to leave marks of clay where the pot rests on them. I have also tried putting plastic on the wet chucks so they don’t leave marks but then the piece slides around. when I bisque a chuck, I attempt to use wads to keep the piece centered and clay wads don’t seem to stick well when I use a bisqued chuck. I know I’m probably doing something super obvious but I can’t seem to figure it out. please help me figure this out. I have been altering my throwing to make the bottoms thin and pre trim freshly thrown pieces on the wheel head before removing them. But I would like to be able to trim more sometimes.
  3. Sorry to revive an old topic. But my 17 yr old daughter said something to me the other day when I received a mug in the mail that I purchased from another potter. She said “pottery is so neat because it’s cool that you can just easily get a piece of art made by someone who’s art you like and actually hold it and use it. It’s not just something hanging up, you can actually use it and touch it”. We are so fortunate to be able to express through functional pieces. Many artists have only the viewers eyes to communicate. We have their eyes, their hands, and sometimes even their mouths. It doesn’t get more intimate than that. (Shhh... don’t go there..., I know what you are thinking but that’s not the point) haha
  4. Just the opposite for me! Hahaha I think I have a nice pot and a couple months later it gets aggressively thrown into the trash (hard enough to break it) While cleaning my studio I often think “why the hell did I save that on the “sell” shelf”.
  5. Not properly firing a clay piece is poor craftsmanship. I may get slammed for making a solid statement (few people are comfortable enough to do so these days) but under firing a clay body further supports the comments that say it’s not ceramics. Which actually does tie into the question of alternative cold surfaces being rejected by the ceramic world. also, I see more contradictions about risk taking. Further , to the point of “we have seen what glazes can do” .... all I know is I walk into an art museum and I have hundreds of examples of what paint can do also. I am by *no means* an expert, I’m in the thick of learning and I have more failed pots than successful ones at this point. But also not coming into a group with many experts and arguing why they may be wrong. Perhaps the question was asked by you so you could prove your point rather than listen to the answers. Don’t take it as an insult on your work. Your pieces look very nice.
  6. Thanks min. It looks like I have a lot of experimenting in my future.
  7. Your comments seem a bit contradictory. One can’t expect ceramic artists who spent years and years formulating glazes and evaluating how they respond to their other glazes when fired, and wasting entire kiln loads because of little changes like too much /not enough water or a new batch/mine of a material that chances the outcome to be comfortable with statements such as “I could just throw some commercial glaze on it” and then say “I do it for control”. The ceramic artist that did spend years and opened many kiln loads that needed to be trashed might not be comfortable with somebody who may appear to be pushing their work off as the same category when in their mind, they may think “I could have just thrown some paint on it” and “fire off and re paint my failed paintings when they fail” The truth is, both are art, but the process is entirely different just as the heartache may be entirely different. And functional pots don’t always necessarily mean somebody produced 20 in a day and slapped some commercial glaze on it. I think the best way to come to some acceptance in the ceramics industry is to understand the process and then explain yours without belittling the very group that has been pushed out of art galleries and art shows for being “folk craft” (due to uneducated jurors) . hope that gives you some perspective
  8. Thanks for sharing. What a great teacher, easy to follow.
  9. Uneven drying for sure. Cover your pots loosely until it’s safe to flip over: then flip and cover a little tighter for a couple days before you remove plastic. Difference in thickness causes uneven drying.
  10. It all depends what your paint is made of. Look at the ingredient list and see how it reacts to high temps
  11. I wouldn’t. Unless your supports were made of the same clay so the shrinkage rates were the same. The last thing you need is a support that doesn’t shrink and you develop a crack from it Shrinking onto a support.
  12. I have found it easier to apply to cheese hard surface vs bisque. The brush on bisque seems to absorb too quickly to get good lines. also, I have seen some do majolicia base before brushwork and it appears to flow better, although I have not tried it.
  13. Does anybody know of any great gray faux celadons? my other option is go make a good clear and mix in mason stains. But I would like it to go opaque/white when thick in texture and sheer enough to show brushwork beneath it. thanks!
  14. Another thing to consider, are you bracing your arms properly when trimming?
  15. working on some handle attachments. I prefer pulling off the pot, but this shape wanted a pulled and attached handle.
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