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About ChenowethArts

  • Rank
    Senior Geek & Whimsical Artist
  • Birthday 01/26/1950

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Profile Information

  • Location
    Nashville, Tennessee - Where at least a few studios make something besides music.
  • Interests
    Ceramic Musical Instruments, Figure Sculpture, Handbuilt/Thrown-altered Pieces (with music themes). Paul sketches...probably has something to do with his architectural background.

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  1. Hey Babs! I'm still 'potting around'. We purchased property just west of Nashville to build a studio and retirement home...that has consumed my time and something (this forum) had to give. Also, I was diagnosed with late stage prostate cancer last year and that little surgical-setback threw quite a wrench in my normally active life. So far, my path reports are clear...and am thankful every day for that! Nice to be remembered, BTW. -Paul
  2. Pretty sure I was about 6 (Kindergarten) when my mom discovered I had made a flip book on the edges of one of her grad school text books...some sort of animated woodpecker, I think. For some reason after that, my parents seemed to keep me well supplied in sketch paper. That was either encouragement on their part or self defense on textbook expenses...we'll never know. P:)
  3. General observations about sounds when I am working: If there isn't something playing on the radio and I am alone, the voice of the potter talking (occasionally cursing) to his clay may be the only sounds. The clay doesn't mind my pun-slinging and is OK with dad jokes. If the radio is on, it is more likely to be an oldies station. Thankfully, I define oldie to include any number of classical symphonic works from the 18th and 19th centuries along with any number of 1960's an '70's groups with great horn sections. If I am outdoors and doing (mostly) hand-building...the sound of the waterfall in the pond or the crackle of the fire is all that I need....well, maybe accented by an aluminum can, pop-top-ahhhh combination. If the grands are in the studio with me, the only sounds that matter are the silly laughs that seem to extend right up to the time when a kiddo is siting on the side of the clay sink while Papa is spraying the signs of fun off of arms and legs. Peace, -Paul
  4. Several years ago, Gail Sheehy wrote a book titled "Passages: Predictable Crises of Adult Life" (I just discovered another book by Gail, New Passages that is also available on Amazon). I believe that the veterans here on the forum have likely witnessed Patterns: Predictable Crises of the Clay Artist and I wonder what identifiable stages we can identify in our own journeys into clay/pottery/ceramics?...and what are the indicators of where we are (individually) along those paths? Maybe we identify just one predictable crisis and then have the forum describe the symptoms and how they moved forward? Peace, -Paul
  5. Gleco works for me. It is relatively easy to install and cleaning out the trap is a breeze (albeit a 'stinky' breeze). -Paul
  6. I can't say exactly where I have been hiding, but my Mayan is certainly getting better :)

    1. Show previous comments  2 more
    2. glazenerd


      I did not realize the CIA had covert clay operations

    3. Denice


      We lost a friend in the same jungle. Did you run across him?

    4. Joseph Fireborn

      Joseph Fireborn

      And hes gone again!

  7. Harley, Congratulations on the completion of your undergraduate studies...certainly in the world of clay arts, this is known as the commencement of life-long learning I didn't know what to think when I would discover ancient pottery shards in the red clay creek banks where I grew up in Middle Georgia. Visits to museums probably opened my eyes to the vast history that clay has played in civilizations past and somewhere along my path in architectural studies, I ventured back (mentally) several hundred years and wondered what shared experiences we all have had (to some degree) in working with clay. That historical connection continues to contribute to my growth and learning. My questions have lead me to historical sites on three continents, archeological digs that I found hypnotic, and more museums than I even want to think about. I may have several answers to the "How Has Clay Shaped Me?" question, but I seem to return to connections that I make with clay today with the hands of those from ions ago whose shards I found on the banks of the creek. I have been humbled many times by thinking that something I have done is fresh and new, only to discover that someone several hundred years ago created something frighteningly similar and with far less sophisticated tools. My friends here on the forum would understand a simpler pun for my answer..."Clay just keeps me grounded." Peace, -Paul
  8. Unless you are willing to do a lot of lab tests, expend a lot of energy, and still find your self asking this question...the answer is still 'No'. It simply isn't worth the risk to use a known recipe ingredient that is harmful/toxic, especially on functional ware. As @Babs recommends...find another glaze that achieves similar results and breathe easier knowing those who enjoy your work are safe. Peace, -Paul
  9. I don't do a lot of shows but have dipped my toes into the 'festival waters' to understand a few things in my region (Middle Tennessee). I make a lot of mugs and it shouldn't be surprising that those are my 'bread-and-butter'. Large items, like 5qt bowls and very tall bottles seem to make very good 'attention grabbers' and conversation starters so I always include those in displays. Those big items also tend to be the reason I get follow-up emails post-festival that result in a sale or commission. By far, smaller items seem to move faster and there are price-points that seem to make a difference (i.e. a $24.95 piece may sell better than a $25.00 labeled piece). Go with the advice of the more experienced festival people here. If there is one thing that I have witnessed from first-timers that I would qualify as a 'sucessful-disaster" is having a nearly empty display at the end of day 2 of a 4 day event because so much product sold early. Always take more items (even 'filler' items) than you expect to sell. Peace, -Paul
  10. @neilestrick Kiln was originally wired 3 phase and has been altered for single phase...but the electrician involved recommended NOT connecting the top element. The questions are: Why should the top element be disconnected? Is there some danger in connecting the top? And, ultimately...should she go ahead and wire the top element back in (against the advice of the electrician)? Yep...didn't make this post very clear. The question is about why/why-not include the top element. @oldlady Hey thanks! I will do some homework on that. I appreciate the help. -Paul
  11. I'm trying to help an old friend by long distance with her kiln set up and decided to toss this question to the more experienced here on the forum: The kiln is a Jen Ken 2431 208v three phase rewired to a single phase. It runs off 70 amp breaker with 6/2 wire (very short run to breaker box). Resistance on element wires is 11. Has programmable controller ...Orton "Auto Fire" model. This is a three stack and the electrician involved recommended disconnecting the top element/stack. Any thoughts/advice would be appreciated. Thanks, -Paul
  12. In my non-clay world, I deal with hackers and data security...it is no contest, clay is much more fun even when it is frustrating :)

    1. Sputty
    2. GiselleNo5


      Clay is a lovely break from running after a small child. And before that I worked in Special Ed. Clay is better than that too. (I did love working with the kids though, please don't let lightning strike me!)

    3. glazenerd


      Glad there are people out there trying to protect us.

  13. @moh, I ask myself the same 'over-packing?' question regularly when I look at the shelves with items packed for shipping. I double-box everything and use as much re-cycled/re-purposed material as possible. I think @Pres has talked about using popcorn as a packing material...and I still ponder that idea regularly. For me, the extra packaging far outweighs (no pun intended) dealing with a disappointed customer who might open an 'under-packaged' items and discover breakage. I am making a mental note about clear tape on bubble wrap. I confess to doing that and take to heart the alternative suggestions. Just another reason to love the people who contribute to this forum! -Peace, Paul
  14. With the time constraints and all the variable that go with an outdoor show, have you considered a community 'tile' project? The tiles could be formed and stored in advance...allowing the workshop to focus on stamps, imprints, stains and perhaps a one-fire process. Have users make 2...one to take home and one to make a community tile project of some sort to commemorate the event. Very ambitious project...would make for a cool documentary-type video project, -Paul
  15. My (latest) "What was I thinking" moment. Being so very proud of myself to lay out the studio so there is a natural 'flow' from wheel (or slab) to drying to bisque to glaze to storage...and then bringing in my 1st 500lbs of clay and having to ask, "Uh...where does this go?". Peace, -Paul
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