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PIT the potter

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  1. Are pictures of your use of clays like that easily findable? I’d love to see. Definitely going to come down to lots of tests, just hoping to get more direction/knowledge before throwing darts so blindly. Ideally they’d expand. I love the idea of work that is going to change form considerably in the kiln. But I do have strong interest in using burning out additives to create good texture. I’ve got the book offered in the CAD store on the way, as I struggled to find much information online about body additions. I’m also firing in my sisters basement, so hard to do much testing with strange burning. Ha
  2. I’m not sure which pieces you meant, Rafa Perez or the Floating Clay. Those are the only Floating Clay pictures I’ve found but there are several other examples of Perez’s work. I wasn’t sure if it would at cone 6 or not if the clay body was lower firing. The Floating Clay is formulated to doing some crazy growth at cone 8, with a body that I don’t have the skills to assess in terms of its non-SiC firing properties, so I thought maybe that’d be a place to start. I could fire hotter in my kiln for specific work, or change my plan altogether of course. Ha
  3. Hey all, I'm trying to achieve some very distressed/geological/raw textures in abstract sculptures. I received very little formal ceramic training, but have several years of self teaching and throwing and pottery making experience, and do that full time now. But now I'm trying to flex some sculpture muscles, but find myself facing something totally different, as well as a shortage of information through google. For my pottery business I make a lot of marbled pottery/agateware/swirlware, as I love just setting the foundation for great surface, and letting it do its thing. That's kind of the basis I have in mind for sculpting. After discovering Rafa Perez's work in an old Ceramics Monthly, my mind went wild thinking about making sculptures that grow and change in the kiln, and I have some ideas of where to go, but I'd like to bounce them around and maybe be clued in if these are futile/bad ideas, or advice on better methods to test. Rafa Perez: www.mansfieldceramics.com/projects/rafa-perez-spain I've seen written many times his sculptures use layers of porcelain and expanding black earthenware to create this growing bursting effect, is this done through natural overfiring of low fire clay? Or is this likely a specially made body? I tend to think of overfired earthenware as puddles of melt, yet I can see a resemblance to the bloating nature of a slightly overfired stoneware. Looking for growing clay also led me to another Ceramics Monthly article (https://ceramicartsnetwork.org/wp-content/uploads/2009/02/cmfeb04floating.pdf) which details mixing a specialty clay body in Japan. I've never mixed my own clay body, and don't have access to the equipment to do it super effectively, nor the regional materials he used. What I also lack is in depth understanding of clay chemistry to change what is used here into something usable. All of this being said, here are some things I've thought of that I want to try, but am afraid will do nothing, or much worse, damage something or ruin my 1 year old 'new' L&L kiln. Specific ideas and questions I can't solve: What are the stages of overfiring earthenware? Adding Silicon carbide to a lowfire body and firing to cone 6, will this grow or will this melt? Wedging lowfire and stoneware together and firing to cone 6 to try to get the lowfire to lose structural integrity and see how stoneware looks at end What is likely to be the effect of small balls of dried crater glaze being lightly wedged into the clay body? Anything vaguely Shigaraki-esque with eruptions through body? What are the safest/cleanest body additions for organic burnout for texture? I have my kiln in my sister's basement and want to minimize risks/smells. How would a Earthenware slip react to overfiring, would it create an effect or just crack underlying stoneware? What exactly is perlite used for as a body addition? There's probably more. Any resources for other learning are much appreciated.
  4. Oh, I forgot to add, what I do now is mostly throw water on my shellacked wooden floor (my studio is an OLD second grade classroom) and then squeegee the water around to pick up dust and then sponge that up and into a bucket. But there are always streaks and I never feel like I’m being effective. I would probably use this in a similar way and wet the floor and then use the included wet/dry squeegee attachment and suck it up.
  5. Hey all, Long time lurker, first time poster. I have a fairly large studio that I am very bad at keeping clean. I recently received a sum of grant money for my business and was looking into quicker and more efficient ways of cleaning my studio. I am just curious if anyone has bought this product or a similar vacuum unit marketed towards potters and what they think. Thanks! https://www.baileypottery.com/Bailey-Pottery/Product-Details/ProductID/10244
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