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Found 74 results

  1. From the album: WIPs

    Bit off more than I could chew, one fin popped off after another. Went for a swim in the scrap bucket. Will try again someday soon.

    © Ann Nielsen

  2. From the album: WIPs

    First attempt at a free-standing sculpture. Cracks formed in firing. Didn't get body wall even thickness.

    © Ann Nielsen

  3. From the album: My work - Lucy POTTERY

    Ceramic art plastic of Guardian of OAK forest. For more visite me on my YT channel: https://www.youtube.com/channel/UCqGNbVXdITzcuqsUJaaP-mw

    © Lucy POTTERY

  4. From the album: My work - Lucy POTTERY

    Guardian of forest. For more visite me: https://www.youtube.com/channel/UCqGNbVXdITzcuqsUJaaP-mw

    © Lucy POTTERY

  5. Raven's Nest gallery is hosting a one day exhibit of Sculpture and Tile by Stephani Stephenson. this event takes place on July 26, 2016, during the week of the Silver city Clay Festival. The gallery will be open regular business hours and hold an Artist's reception that evening, during Festival Gallery night. . This is the Raven's Nest's last hurrah in Silver City Stephenson will be bringing new sculpture and a 'trunk show' assortment of tile. See you there! Raven's Nest, 201 North Bullard Street, Silver City, New Mexico intersection of Bullard and Broadway, in downtown Silver City Ground floor of the Palace Hotel building.
  6. From the album: SCULPTOR

    High temperature fired clay,light rose glaze.Dog taking a nap!

    © Barake Sculptor

  7. From the album: SCULPTOR

    A bass Relief Sculpture Clay Plaque. I sculpted these delicate goldfish,took a mold,made a wax copy and casted in Stainless steel. I still have the original clay!

    © Barake Sculptor

  8. OK ... So I decide to start a yard sculpture ... the thing gets bigger and bigger ... taller and wider ... On the second floor of my house with no idea how to get it downstairs into the garage where the kilns are. On the plus side it will fit in the kiln as I keep those dimensions front and center in my studio. On the negative side, this thing weighs a lot. In hindsight it would have been a lot smarter to take an hour to add paper pulp to the clay. In hindsight I guess I should have made it in two parts. So Plan A is to put it on a piece of canvas and get help wrangling it downstairs. Plan B is to whack it, convert the clay to paper clay and start over. Plan C ....... Well, now I know why I don't make large things.
  9. Hi! First of all, I am very very new to ceramics. Nearly not startet (only made a wall piece for myself), but I have plans to learn and make it my profession. I do know quite a lot of theory by now since I have been crawling Youtube almost non-stop lately. I want to try to make sculptures. So the question is: Is it possible to use wood instead of metal as a frame/skeleton for a ceramic sculpture? I ask because I do not know and can not find out what will happen to wood during firing. Will it expand and crack the piece? That is what I am worried about, you see. If it expands, is it something I can do with the wood to prevent that? I do not have a kiln, so I will fire using alternative methods like pit-fire or saggar or barrel firing, or everything at once. I may use saggars in a pit fire in a barrel, and use charcoal to get the temperature going. I guess that will be how I will fire the pieces. I am totally in love with the surface decoration that is possible to achieve with saggar or pit-fire. I use homemade paperclay. I live in rural Norway (Scandinavia), and here it is impossible to get a variety of clays. Well, it is possible, but the freight cost will be so high, so I really have only two options: Red clay or blue clay. I know it is not called blue clay in the US, but I don't know what you call it. It is blueish grey and fires to a pale yellow. It is a low-fire marine clay, and it is said to be very good for throwing (because it is so plastic). That clay will crack easily, so I hope I can prevent cracking in a non-controllable firing like pit-fire, by use large amounts of paper pulp in the clay. I have not fired a single piece yet, so I really don't know if that is the case. It will be too expensive to buy a raku clay from Oslo and get it shipped up north to the arctics where I live. I tried to process local clay. It does look quite easy on Youtube, but our local clay is not like the "youtube clay". We have this blue clay, and it will not dissolve in water. Some will, and it floates. I does not sink, whatsoever. I managed to process some, and then a bunch of sheeps came and ate my clay, and stepped on it, making a total mess. That was the point i gave up and promised myself that I will never use local clay again. It is a shame, we have lots of it all over the place. Actually it is 25 meters of clay under the ground here. A construction company found that out when they drilled for a foundation for a building block. They did it a few days ago. I might get the clay from the drilling hole. Maybe it is so pure it can be used straight without processing. Hmm, will give that I try. Well, I write a lot of here about nothing. But the original question was about wood as a frame for a sculpture. Is that a good idea or not? I have some artistic plans, you see, that involves wood as a skeleton. So metal is not an option by now. For other type of sculptures I can use metal, but not for this particular kind. I hope you experts can help me with this Kind regards Rune Thomassen
  10. From the album: newer work

    Hand pipe in the form of a baby bird. Ash glaze over white titania glaze.
  11. Hello to all, This is my first post so bare with me. I have learned so much over the years from all of you insanely knowledgable people, I am hoping you can help me once again. I started playing in the studio a few weeks ago and long story short ended up with a 22" tall hare, my very first sculpture since grade school. In the midst of my excitement, I realized the clay I was "playing" with was Highwater,s little loafers; not exactly a sculpting clay. Having no idea what I was doing, I did hollow it out the best I could and dried him out over several weeks. I need to fire him now and have several questions. If he lives through the bisque firing, is that enough? I would choose a non-fire finish? Should I once fire him all the way to cone 6? Again, a non fire finish. Any suggestions on firing schedules? I would soooooooo appreciate any suggestions or ideas to help me complete this rookie mistake. Thanks so much, Lonna
  12. From the album: Tornado Pot Sketches and Progress Images

    I threw the three parts to this last night and did the trimming and assembly this morning. Adding the stem and tilting the container slightly off-axis reinforces the tornado theme. And based upon suggestion from CAC forum friends, I added small hand-built house parts to the side of the funnel shape. 'Still some work to do and some decisions to make about slips and underglaze, but I'm liking the direction this is headed. This will take some off-and-on work to get it ready for bisque firing...and with the assembly and the added house parts this one will set on the slow-dry shelf for a week before I'm brave enough to put it in the kiln. Description: 18" tall stoneware Wheel-thrown bowl, stem, and vessel...assembled while quite damp/pliable Handbuit house forms, sliced on the oblique and attached using traditional score/slip joining technique Some additional accent detail and texture added after basic assembly was complete.

    © Copyright 2015, Paul M. Chenoweth, Nashville, TN USA. All rights reserved.

  13. I fire with another potter in his gas kiln. He is a great guy, but his work never changes. It has stayed the same for the last 20 years. His casseroles just walk out of stores.We both decorate. He uses slips under a glaze. I do on glaze decoration. Our work will never overlap. I am always testing glazes, looking for that elusive colour. I am working on a turquoise and also a great yellow. I am always searching for something new. I call myself an artist although I trained as a production potter.There are some things that I won't make, like soap dishes. Who are you and what are you called? Why?
  14. From the album: Tornado Pot Sketches and Progress Images

    This is coming from an old Honey-do list, to create something involving water play and ceramics near the entry to our home/porch. I'm actually thinking that it would be constructed in about 5 parts and bisque fired. The actual 'assembly' might be the glazing/fusing of the pieces in a single glaze firing...still thinking about the logistics and what to do should one part get broken or damaged.

    © Copyright 2015 - Paul M. Chenoweth, Nashville, TN USA. All rights reserved.

  15. From the album: The Guinea Potter's Stuff

    I made this as a depiction of the loneliness and isolation a rabbit in an outdoor hutch feels. I am a fierce advocate of the House Rabbit Society's philosophy. Rabbits are my life, and it is my dream to see them all in loving homes as members of the family. Cone ten reduction, 13" tall. Heavy as a boat anchor.

    © Sarah Alderete

  16. From the album: Fountains

    A water feature with an upper raku vessel, illuminated with multi-glaze, mosaic-style designs depicting a north American River Otter. The lower pedestal is fired at cone-six, and contains the fountain pump.
  17. Hello all! I believe I've already post about this one project I've done, but now I have a whole new question about it. While I was sculpting these hands, I slipped some aluminum alloy armature wire inside the fingers and never took it out. I was hoping to fire and glaze them, but I'm worried that it will explode because of the armature. Should I bother to fire it (someone wants to buy them) or should I just spray paint it and call it a day? Clay: White Stone Mountain Clay (water), 8" long, widest part is 1 1/2" I was told by the man that sold me the wire I could fire the armature, but I'm having doubts. The fingers did crack a little where the wire may be, but the product's website said "The wire will not corrode or stain, and has a melting point of 1220 degrees F/660 degrees C." Thank you so much!! Savannah
  18. I'm in the midst of finishing up my grad school applications and I'm curious to know if there are any professionals out there who make both pots and sculptures; by sculptures I mean things like Beth Cavener Stichter's work, not so much the nonfunctional sculptural pottery variety. I really enjoy both and haven't found a way to combine the two, since I like my pots to be super functional (I find the greatest joy in comfy handles, lids that fit just right, light but sturdy forms, etc...) I've picked schools that have the upmost respect for both worlds, as I found some schools steer away from pottery and vice versa. Should I consider focusing on one? Is there a divide that I don't know about? Thoughts?
  19. Hello! So, I'm planning on making two gargoyles to protect my home. Sadly, my kiln is a tired old man and only likes to fire in earthenware. Anyone here have experience with this? I was thinking a heavily grogged terracotta that is fired to ^03 might be my best option, but I'm not sure. The statues will not be glazed, as South Dakota winters are lethal to glazed ware!!
  20. I've been admiring the fantastic porcelain hummingbird sculptures by Edward Marshall Boehm. The birds appear to fly, suspended by their beaks from the stamens of the flowers from which they drink. I'm assuming this accomplished by the use of some metal armature and that the sculpture is assembled after firing, but wondered if anyone here has any direct knowledge. Images of these can be found by googling "Boehm Hummingbird". Thanks, Ron
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