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Everything posted by LeeU

  1. I've always used a variety of non-glazes on my ceramic pieces. I've made maybe 10 bowls in my life and half of them have deliberate holes or cracks in them. It's all art. Unless it's craft. Or maybe it's arty craft, or crafty art. Or it's irrelevant what it is called unless one really cares, in which case one may need to educate the viewer. I guess that's how we end up with art critics, so they can 'splain it to Lucy. "Art is the early warning sign of the culture." Richard Carlyon "Art is spirituality in drag." Lee Ustinich "Never let your story be more interesting than your art." Lester Van Winkle.
  2. I have a long-standing, very entrenched, habit of not making glaze notes (oh-so-sure I'll remember what went over what or under which, or what all 5 glazes I used were, or which was the low fire fired mid fire that completely washed out-who knows? -not me). The deeper habit is that I don't care. I lose opportunities to duplicate something that came out really terrific, because I can't remember what I used, but I just fold that into my "serendipity" mindset and move on. It's not something I want to "fix", but it is a terrible habit and I would warn others not to do it.
  3. I favor the art of the re-glaze/re-fire when the ones I don't care for have not grown on me within a few weeks, but still have potential-not ready to meet Mr. Hammer. Then it is fun to pile on more color & see what happens next. I didn't like the way my last mask came out--it is going to get some additional glazes and go back in for another round in my next kiln load. And if I still don't like it, I'll go for a 3rd.
  4. I use Bella's Blend and it is a lovely body, & easy to work with. I strongly prefer firing it 5-6, not 05 etc. Talk to the Highwater people about what you are doing-they will help select a good body for your purpose & can help you with glaze choices. For me, I find it best to "pick one" in terms of working in low fire or mid fire, especially when relying on other people's kilns & types of kiln loads. Personally I'd junk what is not working currently and begin again--it's almost never worth it to try and salvage work with problems as you've described. And you will be teaching your kids that there is a value to learning proper methods and that discarding something that just isn't right is not only OK, it is a good thing to do. Let you kids know there are technical reasons for not making their plates/bowls/cups for low fire and they'll just need to be patient while they wait for the mid-fire.
  5. All of the above, plus decent quality table top photography. I live in NH but if you're paying me 40K to be your superlative admin/gallery mgr., I'll start packing next week.
  6. I don't. Someone else has got to do for me what I can not do for myself. Bless, them, one and all! The mentors, the ass-kickers, the nudgers, the badgerers, the bribers, the seducers, the cheerleaders, the chastisers, the carrot-holders, the stick-holders, the muses & the jump-starters. Bless them all.
  7. I posted my copper tape results in Clay & Glaze Chemistry (search metal tape).

  8. Well, the band of copper tape around the upper exterior did nothing--I assume it was too thin & will apply a thicker one next. The interior where I dropped in the ribbon of copper tape just looks/is charred over the bit of turquoise. The lighter areas on the sidewalls of the interior is granite dust, pressed in the raw body--the grit/roughness making it kind of an inside-out a bowl. I like to introduce paradox that renders what "should" be a functional form into something that can just sit there, and be stared at, or maybe to be felt up, but definitely not to serve soup in.
  9. My name is Lee and I assure you way too many people insist on calling me Leah--even after correction. I also get addressed as Mr. and am assumed to be a man (I am not!) My last name is too long & some find it hard to pronounce (Ustinich) so I use Lee U as my biz identity. I have to say I don't see why you would falsify your name (change the spelling) just to accommodate people who might mispronounce your name-the heck with 'em. In terms of specializing in Native American Pottery, that is not something to squeeze into business name--I'd keep it short, visually engaging (typeface/logo), and simple. If your marketing is on point people will recognize the nature of the business, i.e. Native American ceramics via your text, photos, brochures, design, logo etc. I'd maybe do something with a logo to convey the tribal piece. My logo has a story behind it that ties it to an actual piece and people ask me about the logo all the time-it's very effective. If interested, go to my web site and under "About" click on Flower and Ash-maybe it will spark some thoughts.
  10. Yeah---do that!!! (Why didn't I think of that?)
  11. I develop strong attachments to certain objects and I get pretty bummed when they have become flawed/worn to the point of that little voice saying "you really ought to throw it out". I discovered a reasonably tolerable solution. I either make an art object out of it (including sometimes smashing/tearing whatever it is to pieces to make a collage from it, and frame it in a shadow box, or I take the best photos I can and then do something creative or special with the photos. Over time I have learned to "let go" of more and more stuff-to be satisfied with "honoring" it by keeping a small remembrance. The result is I have a small collection of weird fragments of things that mean a lot to me and make no sense to anyone else.
  12. Opps--- Now I am curious to hear some more about this system, if there are others in the forum who have some info to add. Intriguing. Love the idea of something rolling around slurping up the stuff, if it really gets the teeny-tiny micrometer things.
  13. OK--out with it! It is bordering on being just plain mean to leave me hanging here, whistling in the dark What the heck is it? What is the smiley?
  14. I am in the (try to be) super clean camp. I can't stand to have clay-coated tools, dried glaze wash in cups, crud in the throwing pan, grit on the workbench, residue on molds, dirty cloths, muddy sponges, supplies not put back where they belong (i.e. the one place where I know where to find them, given increasing memory deficits), clay dust on the floor (or windows, shelves etc.). So I make myself clean the same day after work, or the next day before work (or both as needed). It's just not worth it to me to let it go--even a few days build up drives me nuts and provokes me to avoid the studio.
  15. Not to bust a bubble, but a robotic system is unlikely to be sufficient for removing the invisible silica particles (this is not the same as visible "clay dust" and is more harmful (potentially) to the lungs over time). That device is unlikely to have the correct high grade of HEPA filtration for a ceramic studio.
  16. Or, instead of trying to match someone else's work/design, why not experiment and come up with your own version, or an expressed variation, of a scalloped rimmed, inner-ribbed bowl? Make a hump mold of your final design and then you can replicate & produce it n your own style.
  17. Seems to me--not that anyone asked me LOL--that simply removing the redundant and obvious "Location" would fix the problem.
  18. I have the same Bailey wonderful slab roller. At one point mine stopped rolling-I was puzzled and frustrated--could not figure it out. My friend came by, looked at it, got a little Allen wrench, tightened the handle fitting and that was that! You can call Bailey-they are terrific and will talk you through whatever it is they think you ought to do (if the tightening doesn't fix it).
  19. This will be "Primal", No. 7 in my Hidden Mask Series. The glazes are merlot, cobalt, deep yellow matte, clear & black engobe. Few more thing to glaze and then ready to fire-took me forever to get clay this time, and one 25lb block arrived as dry and solid as old concrete. They replaced it, but still....!!!
  20. I have the same wonderful L&L kiln. I use commercial clay bodies & glazes. The kiln is on an unheated screen porch that has vinyl panels instead of screens. I have fired at 8 below 0 with 2 feet of snow outside with no problem. The pre-set programs are terrific and they are all in the manual for easy reference. I single fire/no bisque and almost always use the slow glaze program. I use the slow cool program for pseudo crystalline glazes (I like Coyote's line). I turn the vent fan off when the firing stage is complete...no more vapors at that point. Leaving the fan running makes it cool down faster and I don't want that. I usually crack the lid around 200 just for a quick peek, but not in zero degree weather, mainly because it is too cold for me!
  21. For me, the price difference was substantial. I have been saving for Advancers for YEARS (low fixed income), ever since John Baymore told me all about his & why they are worth the investment. Then I heard about the Thermal Lights--right here on these forums. Several of you helped me with the research & sizing for my L&L kiln. I had just about the right amount saved up by the time I ordered them & Bailey had a discount offer as well--so that was just plain thrilling.
  22. Yes--they were awesome. Ask for Brian !
  23. I am investing in me. I've had several heavy-duty, do-or-die, metamorphoses (body/spirit/severe loss etc.) incl. minor TBI from external sources and now new damage from decades of SSRIs used off-label (i.e. not for depression). The discontinuation syndrome process took a brutal 3 years, but I am now over a year clear of them & doing well--except for the TBI. It is astounding to actually see it on a brain scan!!! I have finally accepted the reality of certain limitations and become habituated to using effective work-arounds, consistently. So my investment for claywork is to maintain the consistency of employing imperative work-arounds and take my today's Self into emerging new directions.
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