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LeeU

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Everything posted by LeeU

  1. I do mostly handbuilding. I love this body, from Sheffield "T-3 Moist Stoneware Pottery Clay...has an excellent blend of coarse, medium, and fine grain clays to produce a superior wheel throwing body. This clay body has a tight feel for wheel work and can also be used for small to medium sized handbuilt projects. T-3S is made with screened fireclay for dependability. T-3 is also available with the addition of granular manganese specks for use in oxidation only."
  2. While earning my BFA in ceramics I spent an inordinate amount of time and energy deciding what to make, preceded by hours and hours of learning, practicing, researching, studying, observing, questioning, filling notebooks, building a library, shadowing mentors, haunting galleries/museums etc., doing small exhibits, more practicing, planning, drawing, designing, revising, redoing, thinking-thinking-thinking---I could go on. Detour through a 30 year not-art career and fast-forward to retirement and a decent home ceramics studio. To answer the question: I spend about 5 minutes letting a thought come into my head as to what I might do with any given lump of clay. Boom, done.
  3. They shouldn't flatten, but I doubt you will get translucency.
  4. Well thank you! Yes, it is wood fired w/a celedon glaze. The brush is one of those Mack automobile detailer brushes.
  5. Update on the angama kiln (excerpted from a larger article in the Monadnock Ledger 11/17 in Arts-Living) "There is still no conclusion on what will happen to Fushigigama, the outdoor wood-fired anagama-style kiln on the Sharon Arts Center’s property. Kersey Asbury recommended that the group find the necessary funds to disassemble it and rebuild it at a new location, citing national and international interest in its fate. She estimated it could cost $100,000 to complete the relocation process. The kiln was designed and built by Wilton artist John Baymore and New Hampshire Art Institute graduate students in 2014."
  6. Yes-thank you! I just commented along this line in another thread about repairs/epoxy/disclosure/ flaws etc. I used to wonder if people like Soldner/Volkus ran around explaining their holes and ill-fitting seams! I stopped explaining that "it is intentional" a long time ago, after I figured people either "get it" or they don't. If they're interested, we'll talk. If all they see is something they assume is an amateurish flaw, and are condescending or snooty as they point it out, then so be it. The world of ceramics is indeed hugely bigley with standards all over the place, running from exceptionally poor to exquisitely perfect!
  7. Regarding the use of epoxy, I would never rely on it for something like a planter or for anything for food/beverage. This is probably a little off point, but I love working with "flaws" and the serendipity of things that happen by the time the piece comes out of the kiln. I love the process of highlighting rips, tears, holes etc. I like to fill small hairline cracks with epoxy and glitter or tiny, tiny , tiny beads. I had never heard of Mariko Paterson until this thread, today! I do it to accentuate the essence of the clay as a metaphor for life's vagaries. The "filler" and retention of rips/flaws is metaphor for surviving and healing, making something from the wounds or the rubble, so to speak. I don't use these techniques on weight-bearing wall-hung pieces or where structural integrity is essential. I also use wire, metal, wood, beads, hardware, other materials, with certain table top pieces, when the approach adds to the design. I am not selling these pieces commercially as functional items (well, some of my business card holders may have my "special touch" and still be highly serviceable desk top decor). I figure the customer can decide for him/herself if that rough funky box with glitter seams "works" as a dried flower container.
  8. If you really want color on the edges, an underglaze such as Amoco Velvet black would look pleasing. The underglaze won't fuse to the shelf so you coud fire them nice and flat. They could even be stacked (rim to rim). Personally, I'd leave the interiors alone...not enough visual payoff for the work involved.
  9. Holy cannoli! What an awesome adventure and a fantastic opportunity regarding the underwater photography. My "ex" is a professional photog and did some diving/underwater shoots. I have a mural size print of some singing eels in a cave off CA that makes me feel like I was there. Have a blast-you surely are overdue for a vacation and a break from the day-to-day.
  10. Beginning "No. 7 " in my Hidden Mask series. This is a raku piece to be fired at Hampton Pottery, NH, in the spring.
  11. My 4+ cubic ft. L&L 23S runs roughly $18 for a cone 6 bisque and $12 for a cone 6 slow glaze.
  12. I like the idea of a glaze pencil! I've used a China Marker (AKA a grease pencil) but it is not as refined looking.
  13. What is the significance of the pattern of the crazing? What does it tell us? Thanks-
  14. I use several wooden laser cut bakers rolling pins (going on 4 years) have no problems maintaining the wood. I use dental pics and medium hard bristle brushes to get dried clay out of crevasses, lightly wash the roller, dry it thoroughly, and every few months wipe on--and then wipe off--a very, very light bit of something like Bag Balm or coconut oil.
  15. As a generality, I've observed a higher level of consistency and competency among college ceramics courses/instructors, compared to public studio owners/instructors. While many community studios are run by top-flight ceramists, many are just mediocre and not providing adequate or even correct information/terminology/basic chemistry & techniques. It's important to research the background of the place and its staff, as well as the knowing the policies governing use the studio/equipment, and to observe a few hours of the operation, if possible. Again, as a generality, educational institutions are less expensive in the long run for the individual wishing to learn and develop skill.
  16. Well, I have to go with "all of the above", as a baseline. Yet those attributes alone won't do it for me as much as when a piece elicits an inadvertent little internal gasp...because it's just so gorgeous. Just don't ask me to define my ideas of gorgeous (or lucious, or sweet, or way cool, etc.). Essentially I just "know it when I see it". Loving a piece covers a lot of territory, from craftsmanship to color to design, to form to function to whether it can earn its keep, and so much more. For me it's intuitive, or at times even highly counter-intuitive, evoking a kind of primal or visceral reaction--or response-- (those not being the same thing) to the piece. I guess it's a vibe, or an energy, or a perception of something being shared, that just sparks something and connects me to the piece, and sometimes, at least peripherally, with the maker.
  17. I use the printers blankets mostly, and the slab mats, but I save the pricey slab mats for making smaller slabs, and just for porcelain or white stoneware.
  18. Actually, I am relieved, because I knew I didn't want to go down that road in the first place! I always trust my decisions & instincts, AND I am also willing to challenge my own positions. The physical wear & tear of prep, selecting pieces, making labels/signs, packing carriers, packing the car, unpacking and carrying into the site, setting up table displays, tearing down/repacking the carriers, repacking the car, unpacking the car, schlepping it all back into the studio, unpacking the carriers, sorting and putting away the stock and all the other crap......I could go on and on, because the whole process just went on and on!! Don't see a "next show" on the horizon. And I'm real OK with that! I needed to know if the physical "cost" was worth the effort, and, for me (not young, not terribly fit, have my chiropractor on speed dial), it just isn't. I sure do appreciate all the support, tips, cautions, & encouragement --- that is one of the wonderful things, of real value, about these forums and the people who participate here, as a community.
  19. I have to disagree. No finished product (in this case, art/craft/functional ware/ceramics) "has to" be marketed. Everything an artist does in making that item/product is a conscious or unconscious decision--a choice, or an abdication of choosing. Nowhere is it "written" that marketing (selling-expanding exposure-advertising-promoting) is essential or necessary to justify making the product. I would argue that for some artists/creatives/craftsmen, marketing per se may not even be desirable-that there may be a higher value in not doing so. Value is not just whatever money or prestige attaches to an object. Value, in my view, must be determined first by the maker--everyone one else is secondary. The value to the artist may actually be increased by choosing not to do marketing of one's products. (I give most of mine away, including donating for use by non-profits for their fundraising.) Marketing inherently either supports (look at Mea Rhee's success, for ex.) or diminishes (look at Liam's example w/Rae Dunn) the value of the creative drive that results in one's making something useful out of clay! But the absence of marketing our functional ware does not in any way mean that those of us who aren't big into retail are merely working on filling a ditch!
  20. Not likely--the complexity of ceramics does not lend itself to quick tips, and differentiating among long-standing traditions/historic wares even less likely. If you search the terms used on Newbecca's site you can learn some background about that type of Chinese porcelain ware, but not much about authenticity or valuation. Maybe contact a University with a graduate ceramics program or an Art Institute or Art Museum and ask for any contacts they might have for a specialist in what you are looking to know.
  21. I've used this long, heavy (almost 4 lbs) commercial pastry roller since I set up my home studio, years ago. It is wonderful, and works beautifully with the leveling sticks as described above. I was also fortunate to eventually get a table top Bailey, which is also wonderful! For the hand roller I usually use Slab Mats to reduce surface texture.
  22. OK, it's not exactly on the workbench, but it is close by Greetings of the season.
  23. I can attest that a piece with an unseen-infinitesimal, really-crack can and does leak! I happen to have made several!
  24. Cool....if you get the pugger can I send you my concrete hard clay to reclaim? I hate rehydrating & wedging, wedging, wedging.
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