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Judith B

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Everything posted by Judith B

  1. Reading the thread in History of Ceramics, I came across someone's comment (was it John?) mentioning Ron Nagle (who I didn't know but his work is amazing, thank you). It made me think that we often talk about ceramists from the 20th century or earlier, but I thought it'd be nice to know what kind of contemporary ceramics all of you are into?
  2. Oh wow, I don't know anything about glaze chemistry, looking forward to seeing the answers next week ^^ 1. 2 2. 2 3. 1 4. 3
  3. I usually wear an apron that covers my legs, but mostly I just wear clothes dedicated to clay because I know I will get all dirty anyway. I'm like you Res, no matter how careful I am, I get dirty anyway. SO I gave up and just accept that I'm going to be covered in clay ^^. I brush the clay off when dry before doing the laundry though
  4. I also have no idea what a Krampus is. I looked at your instagram feed, the videos are quite good to see the volume and how it takes up space. However, I can't quite get a sens of the scale and how big is it. I don't know what kind of picture you have of the finished products so it's hard to say but I find that overall, taking photos of a piece surrounded by other objects make it easier to understand the size (and can also help set up the atmosphere) And I agree with LeeU, having some description could really help people relate to the object
  5. I think whoever tell you something is wrong should mind their own business. There is no right or wrong, just different ways of doing and seeing things. I think the question is how do you consider your work yourself? Do you see this as functional ware made to be used as a mug, or do you see it like art pieces? While I think the intent of the maker needs to be somewhat understood, in the end the user will decide how to react to the piece IMHO Edit: Welcome to the forum PotteryMarq
  6. 1- 2 2 - 3 3- 4 4 - 3 Not sure about question 2 though
  7. Yes, that is a wonderful idea! Like Karenkstudio said, if someone has the knowledge of something and can share it, it helps everyone. I can also think of Lucy Rie.
  8. Wow so cool! B3 C3 and E3 have some very cool effects, I like how the colours interact with each other on B3
  9. 1 - 4 2 - 2 3 - 1 (i know nothing about glaze chemistry though, just a hunch) 4 - 2
  10. I tried a few times to learn spiral wedge but I just can't get the movement right, I'd need someone to actually teach me for a solid hour before I could get it right ^^. So I do ramshead wedging, with new clay or recycled clay. My teacher taught me to always be careful when slamming the clay on the wheel about the direction but I have seen lots of people just shaping the clay into a ball and slamming it, so does it actually make any difference?
  11. Yes but some of the pieces I saw made with 3D printing in ceramics would be absolutely impossible to replicate by mold casting, too intricate. I think it is just another medium that allows for other things and can't compete with pre-existing techniques but rather complete them or work together
  12. I personally don't have a major in ceramics but I had to google who were Beatrice Woods and Otto Heino But I don't think that not knowing the major potters makes her a less skilled ceramist. Maybe she is super talented in hand-building?
  13. 1.3 (I have no idea since I have never taught but my teacher was always making me continue my movement upwards a centimetre over the actual pot so as not to knock it off balance) 2. 4 3. 4 4. 2
  14. Have you ever checked FabLabs, and MakersLab? These are open and shared spaces with lots of fun machines that you can rent to work on your own projects, and most of the time also get lots of advice or shared experiences from the nerdy people who go there all the time.
  15. Ah thank you so much for posting this question, looking forward to what people have to say! I would definitely be interested in trying 3D printing. Some shapes and patterns are doable in 3D printing that are definitely not doable by hand or at least very very time consuming so I think that using 3D printing could help explore and push the limits of clay. I feel like having both a manual and 3D practice could bring a very experimental side that might also impact the handmade side. For example I have seen 3D printed objets playing with the softness of clay (see the work of Alterfact: https://www.alterfact.net/projects2/), which I hadn't seen before (but might probably exist, I am just not aware of it). It reminds me the other day I found the work of a potter, Bae Sejin, I thought he was using a 3D printer but it's all handmade O_O. There are videos of him working on a piece on Instagram, it looks like a painstaking process: http://samiza99.wixsite.com/sejin
  16. Wow these are tricky. I'll go with 1 - 2 2 - 3 3 - 2 4 - 1 But yeah I second Marcia, what is the difference between for and shape? Is it a 2D/3D difference?
  17. AH thank you so much Sean and Nerd to share such interesting perspectives! I really like your idea of viewing a piece as art or no depending on the maker's intent. I feel like it allows for a lot more diversity and perspectives, it just opens the field to so many things. Some people when looking at art argue that the intent or explanation sometimes takes away the first emotional encounter with a piece of art, some argue that without an explanation it is impossible to understand. In any situation, as a maker, being able to say: for me, this piece is art, I can tell you all about what inspired me and what I tried to convey, is so powerful.
  18. Wow reading the topic question just brought back to my mind some amazing memories: When I was a kid, probably in elementary school, my mom had bought me a small electric wheel, a toy. I remember sitting at the table with her trying to make a pot out of clay. Maybe that was an early sign ^^ Her being very creative has probably had a huge influence on me studying design, dabbling in natural dyes and loving experimenting with any kind of material. I feel that as opportunities arose and I learnt to understand how much I loved making things, I slowly made things converge toward ceramics, being more active in the process [Edit] It looks like no one here really had a Eureka moment in terms of being creative or attracted to art. For me the Eureka moment was an internship I did with a potter, it made me fell in love with clay right away and I have pursued it as much as possible since. I am forever grateful to her welcoming me, unexperienced, in her studio
  19. Yes S. Dean, that is a very good point! Does it mean that you should make your intent known, or should it be up to the viewer? I think with ceramics it can get very tricky to classify (which is why I think the label art/craft is irrelevant anyway) because when people collaborate say, a potter makes a piece and an illustrator paints it. Is it a beautiful functional piece? Or is the whole a unique artwork? Like Picasso did with potters in Vallauris...
  20. Wow that's very interesting. What is the difference for you when you create? Is the thinking process different? Why do you choose to engage in an "art" practice or "non-art" practice?
  21. I love how she reacts to the shapes, feelings, surfaces, colours and impressions! I can imagine how special it'd feel to receive such feedback
  22. I live in Japan so I guess it might be different but thought I was going to throw my 2 cents in there. Here a 2 hours lesson is about 30 dollars and that includes the basic materials (reclaimed clay, tools and receiving teaching). To use new clay, one has to pay extra. Then there is a firing cost depending on the size of the object. This lesson if taken only 1 times includes the teacher doing basic trimming and glazing for you. Then, the hand building set of 6 lessons is around 150 dollars There is also a small fee per hour to use the electric wheel. Then there is a monthly fee for unlimited use that does not include clay (except if you use reclaimed clay) and firing costs. All of these lessons are semi-private, the teacher goes from a student to another and answers any questions you might have but everyone is working on something different so it is tailored to you in a way
  23. you used a different glaze on the rim? I love the effect!
  24. Yes I agree and she refers to this diversity many times through her essays. I think while labels can be useful to explain techniques, when it comes to uses or meanings, they can be too confining and restrictive. I think the point she was trying to make is that some people in the ceramic community aspire to be recognised as artists (the endless artist/craftsmen debate) and along the way become snobbish towards other kinds of ceramics. She argues though that this debate is pointless since ceramic is a unique art and made on many kinds of makers and practices and that this is the core of its identity. I have seen and heard of potters (not on this forum) making functional ware being disdainful toward more experimental work, and the other way around. Maybe this is what she refers to?
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