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Found 72 results

  1. From the album: SCULPTOR


    © Barake Sculptor

  2. From the album: SCULPTOR


    © Barake Sculptor

  3. From the album: SCULPTOR


    © Barake Sculptor

  4. I have a fully fired sculpture of a body. I need to attach the upper torso to the lower body. Each piece is about 2.5 feet high. The pieces fit together well and with balance. Thought I could use cement and clay but was told that it would not really work. Then there is extra strength epoxy. Any knowledge of suggestions would be appreciated.
  5. HNY everyone, I have a lovely low matt glaze, but I want to thicken it. So it gloops and drips, perhaps even foam. I've been looking everywhere for a glaze like this. I am a sculptor and I really love this Matt Wedel glaze. Any tips or recipes? Could there be an additive I can use to crystallise my glaze?
  6. Is it necessary to fire to sculpture to vitrification? If firing to cone4, will the sculpture be too fragile? I don't always glaze my items and detail with acrylic paints and don't want to take short cuts in firing to save money, if the pieces should be vitrified.
  7. Hi all, New here as a ceramic arts daily member, but i have been browsing this forum for great info for years! I am currently trying to make an outdoor sculpture for a project I am working on in architecture school. I am thinking about using Hydrocal® White Gypsum Cement to create my sculpture because of its durable qualities and hopefully easy to finish nature (please feel free to advise me if I am right or wrong on these, I am new to working with the material). The question I have involves casting the Hydrocal to create the sculpture. I am thinking about creating a hollow clay coil mold for my sculpture, into which i would pour the hydrocal mix to allow for it to conform to the coil mold's interior shape and form. I would pour-cast this sculpture as the clay mold (laguna bmix) would be in the leather-hard shape. To limit the weight of the final sculpture, I would want to let the outer portion set up and be able to pour a significant amount out, so the final hydrocal sculpture itself is hollow too. Does this sound like it would work? I am worried that the hydrocal would stick to the clay mold, or that it would be too thick a consistency to pour out to make it hollow. I hope that this makes sense to you all. Please respond with whatever feedback you think that i need, with whatever information you could offer me. I appreciate all the help! -Daniel
  8. If you can't fire piece, can you leave it dry and then paint it. I bought a sculpture made in the 1960s. The piece was not packed correctly and the base and about 1/8th of the statue broke off. Tried everything to fix it including drilling hole and putting metal rod in, glue, etc. Nothing worked, I had a 10 lb piece of clay around. I decided to ram the statue into the piece of clay, making a base . I incorporated the broken legs of the statue so that they "sunk" in. I carved out a 2 tier base and am letting it dry completely. The sculpture is heavy and about 27" tall. I tried to leave enough solid clay to hold it up. I did not hollow out the base because it wouldn't be heavy enough to hold the sculpture . Once it is thoroughly dry, I intend to paint it. Will it hold up?? Also what kind of paint? Acrylic or oil?? Help!! Thanks in advance for your help.
  9. Hello! I have been having trouble tracking down a suitable clay body for my kurinuki pieces. I had issues with 'S' cracks using the stoneware provided by the ceramic department, and I switched to HELIOS porcelain for a brief stint, but the lack of grog didn't appeal to me (I'm obsessed with texture). I mostly wish to do atmospheric firings, although I'm stuck with electric for the near future until I can track down a wood kiln near Austin. My main question is, would a sculpture clay body be suitable for carving to make my chawans, yunomis, etc? I'm thinking that with the higher grolleg content, I'll have less cracking issues, as well as added texture to the surfaces. I don't know of anyone that uses sculpture clay for tableware, though. I tried Standard 710 w/grog, hoping that the added grog would rough up the surface, but it was negligible. I do heavy carving on my kurinuki pieces, and I really want that rough texture showing through the final piece. Here are examples of my texture I'm chasing.
  10. Hi, I'm designing a number of sculptural vases and firing them using 05 and 06 glazes. The interiors are like the exteriors: sharp bends, undercuts, open spaces. I'm having a heck of a time trying to glaze the interior. Can you suggest any possible methods? They're too heavy to dip and have too many holes and gaps to glaze and swirl without creating a large mess. Perhaps I don't need to glaze the interior? Will it be waterproof if the outside is glazed? Thanks. Greg
  11. I am new to clay, both hand-building and throwing, and have been making images on pots in two ways- by painting in underglaze and by using commercially available texture mats and roller stamps. I would like to learn to carve into the clay myself. Can anyone recommend some good resource or resources to help me learn to do this? I would be particularly happy for book recommendations.
  12. From the album: SCULPTOR


    © Barake Sculptor

  13. Being new to ceramics (first time I touched clay was this past January), I want opinions. I sculpt very large sculptures and attach them to vessels. I recently had a very experienced ceramicist tell me that I am "wrong" for coining my work as a mug. Link to photo of one https://www.instagram.com/p/BWBiI6oD9kQ/ I feel that people can see what it is and can make their own assumptions and how they plan to use it. Am I wrong for projecting it as a mug? I need input from the community.
  14. Linda Lees

    IMG 7194

    From the album: Curves and Crisp Edges

    This one has become affectionately known as the Avocado.

    © Linda Lees

  15. Just made a sculpture using coils. It is 17 inches high and 12+ inches wide. It is drying under a drying box made of cardboard covered with plastic. How long should it be left before it is completely dry? One old book suggested putting a dry sculpture in the kiln and heating at 100 degrees F. for 19 hours. Is that a good idea? How fast a rate should the sculpture be fired to maturity? It is a cone 6 sculpture clay with a good amount of grout.
  16. Linda Lees

    IMG 6865

    From the album: Curves and Crisp Edges

    Slab built using Feeney's Red Raku clay and glazed with Mayco Elements Burnished Steel

    © Linda Lees

  17. Linda Lees

    IMG 6849

    From the album: Curves and Crisp Edges

    Hand built using Clayworks LGH Stoneware clay. Terra Sigillata finish

    © Linda Lees

  18. Linda Lees

    IMG 6827

    From the album: Curves and Crisp Edges

    Hand built using Clayworks LGH Stoneware clay. Terra Sigillata finish

    © Linda Lees

  19. Linda Lees

    IMG 6818

    From the album: Curves and Crisp Edges

    Slab built from Feeney's Red Raku clay. Glazed with Mayco Copper Adventurine

    © Linda Lees

  20. From the album: WIPs

    Doll parts. Off-white clay with a yellow ochre pottery glaze. I was thinking about joining these to a driftwood and wire body for an uber primitive bit of mixed media figure sculpture.

    © Ann Nielsen

  21. From the album: Ceramics In TV and Movies

    Could this be a Lisa Larson figure? The original Star Trek series was filmed when her work was popular. Sorry for the lousy image.

    © Paramount Pictures

  22. 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

  23. From the album: WIPs

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

    © Ann Nielsen

  24. 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

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