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Posts posted by ChenowethArts

  1. On 7/10/2018 at 8:12 PM, Babs said:

    Well what srmteuck me this post are the posters  where are they?.

    A lo haven't posted since the software update I noticed.


    Wonder if they are still around and potting?

    Chenoweth Arts  Paul


    Jpots come to mind

    And Rebekah!

    The interface of pot to surface on Neil's and Ray's mugs just add to the eye candy for me! 

    Wonder how we can lure those back?

    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.


  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.


  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.



  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?




  5. 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.




  6. 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.




  7. @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.



  8. 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.




  9. @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!




  10. 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,


  11. Most are done posting for now: so I will make my observation.


    Everyone selected their personal choices of "must haves" for clay. But did you notice, no one said: " I would rather quit."  So it is not the space, the abundance of tools and clay toys, nor did it matter the kiln size you are forced to take along. It is YOU, your love for clay endures regardless of circumstances.




    I'll borrow a quote from Theresa Sjoquist: "Knowledge is addictive. Keep it up.†

    My translation: "Working in clay is addictive. Keep it up"





  12. It has been fun reading these lists. Since I started out on this journey with barely enough 'stuff' to fill a bucket, I could still be happy in a downsized studio with the following:

    1. My large plaster bowl for re-cycling scraps
    2. 24" rolling pin
    3. 2.5 c.f. kiln
    4. Clay storage bin
    5. Collection of bisque stamps


  13. I love the advice that offers on two types of work,  "One that is the bread and butter, put the food on the table sort of items, and the items that feed their souls".  With your experience, @kilningit, I would bet that there are items that you can produce quickly without sacrificing your personal creative mission...and if not, that might be a worthy consideration.  I am not there yet, but I am certainly enjoying the journey.  I produce limited quantities of what I consider high-end pieces for galleries because I enjoy the relationship and feedback that I get from the wonderful people I get to work with.  I do push the envelope on functional ware with the full understanding that not everyone is going to pay $40 (or even $30) for a mug...and if they do, it is likely because they know the story behind it, want something that is truly unique, trust that the quality is high, and likely have a better-than-average understanding of the process.


    All of that means that I have to understand my market and adjust with some difficult decisions...for instance, there is a show next April where I will show (mostly) functional ware.  I have been to the show in the past and learned that high quality mugs sell for an average of $22.50 each.  OK, so the vast majority of what I display will be under $25, but that won't keep me from displaying focal/featured pieces that are double (or more) than that.  I am under no delusion that the higher priced items will sell, but I want buyers to see what I feel are exceptional pieces (those that I probably spent too much time on).  And, in due time, I would hope that every artist's reputation adds value to the work they do.

    Good luck (and listen carefully to the excellent advice of @Mark C.



    Having moved from a studio space that did not include a sink (*Gasp*), I have a custom, deep sink at a height where I don't have to stoop over to wash, mix, wipe stain, etc. It is a lifesaver for me...and of course, having a clay trap (my least favorite thing to clean but also MOST helpful).


    I find it interesting that so many of us have mentioned music (and music delivery systems)...not surprised but getting a nice warm feeling about why I like these folks.  I cannot imagine my working space without having tunes readily available.




    I met a person once who told me SHE DOESN'T LIKE MUSIC. She doesn't listen to it, doesn't care for it, doesn't understand what everybody sees in it. 


    She's a very nice person but I've never felt the same about her since then. I feel like something must be off in her brain. I mean, who doesn't like music? 


    When I was first employed as a draftsman and floated from one architect's office to another, just about every situation had music playing...except one.  In that office, I showed up on my first day with a small radio and as soon as I was all set up and ready to draw, I flipped on the radio.  Every head in the office swiveled in my direction like an anti-aircraft tracking radar...evidently "Silence is Golden" was taken literally.  I didn't last a week there before moving to a happy space.  Its OK for some, but my tribe loves music!


    -Paul :)

  15. A question for those using the LED tubes in their fluorescent fixtures.... do the LEDs flicker the way fluorescent tubes can? I removed all the long tube fluorescents because that flicker is an instant migraine trigger for me but am wondering if the long LED tube lights have fixed this issue?




    Pug, From what I have read the flicker issue with traditional fluorescent tubes is not an issue with the new LED replacements.  Here's one of the better articles on the different types of LED replacements. http://www.premierltg.com - July 2015



  16. I think I'm done with it. :) I had planned on making it a full figure, but after making the scarf, I am actually really happy with it this way. There is a point, I suppose, when one sees a piece of art and just know it's done. ♥ Still can't believe I busted this out in two days..! Gonna underglaze it when it's bone dry and apply a thin layer of clear. :3


    Sorry about the lighting... -_-

    Can you walk us through your thoughts on how you will under-glaze?  Your prior hand-painted work sets a very high bar...'can't wait to see more :)

  17. They have set up a donation sight for fundraising to rebuild what has been lost in the fire.




    The link to the Arrowmont Rebuilding Fund is under the Support tab on the Arrowmont Home page...quick and easy to apply PayPal funds.


    There is another potter severely impacted from the wild fires.  Tim Kerns opened up Bear Trail Pottery in Gatlinburg earlier in November of this year after working 15 years to get to that point.  The business was wiped out by the wildfires...there is no insurance.  By now, CERF is already engaged.  There is a gofundme account to help Tim raise $10,000. This is going to be a tough holiday season for Tim and his family and he desperately needs help getting current orders produced & filled.  If you can, join me in supporting this effort: Wildfire Pottery Relief



    -Paul :)

  18. Paul, do you see the black lines I've drawn on the plastic? They are marked at 6 inch increments so I know when to slice off the Pug to get close to the same size each time. I am doing 15 inches currently since 3 of them will fit nicely into my reused clay bags leaving just enough room to fold and clip the ends shut.


    I'm writing the date each bag was pugged on the end since I plan to set these aside for a few month before I use them. From reading up on pugged clay it seems that pugging then letting it age together for awhile results in a better clay that has less of a tendency to be "short". Not sure if this is true or not so chime in those of you that know!

    I didn't notice your measuring system, but it makes perfectly good sense.  And YES...The clay that I am pugging this weekend won't see a wheel head until February or March.  I don't have any actual data that would support the 'let it age' concept, but from personal experience the clay just seems to be more homogeneous/consistent when it is allowed to rest a while after pugging.


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