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  1. I made an inquiry to CERF and they responded that they only help individual artists, not organizations. Any other ideas?
  2. The beautiful ceramic art studio at Ghost Ranch, New Mexico, affectionately called Pot Hollow was damaged by a 100-year flash flood this week. https://www.facebook.com/GhostRanch The studio, which was fully equipped and home to many workshops, is virtually destroyed. Many ceramic teachers and students have had incredibly meaningful experiences in Pot Hollow over the last 40+ years. Here is a listing of some of them in 2015: http://www.thesliptrail.com/pot-hollow-workshops-2015/ The (New Mexico Potters and Clay Artists (NMPCA) organization has worked to maintain and develop the facilities a
  3. I use vinyl upholstery material. It is heavy enough to just let hang or flexible enough to staple underneath. Generally doesn't stick to clay too much. You can get smooth or with just very slight texture. Does cut if you apply knife, but not as badly as canvas.
  4. The paper-clay is great for you when you are making the clay branches, but fired paper-clay is going to be the same strength or even less strong than regular clay. Since you are losing the branch surface when you cover it with clay or slip anyway, why not sculpt them out of paper-clay directly. You can start with a fuzzy yarn dipped in paper-clay slip which will be strong enough to hold the shape as you work on it. The fuzzy yarn strengthens the "branch" as you work on it and then burns out creating a matrix inside that retains strength. This is a trick I learned from a paper-clay workshop fro
  5. This is an unfired clay and mixed media piece using painted wooden root legs, Henry Lauder's Walking Stick branches as arms, dried Buddha's hand fruit head, fired clay mask, unfired clay body (painted), and fabric/paper coat. 2009, Judy Nelson-Moore
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