Finally pushing the gas kiln out on its maiden voyage. It’s a bit rough. 8 hours in and it’s at 1805 and slowly climbing. Not exactly the rocket ride that I prefer, but if the bus is moving, I shouldn’t complain to loudly.
That’s not the daily doh though. I spent a few hours cleaning the studio while the kiln started burning. It was as I dug into the (literal) pile of chemistry that’s accumulated in half the studio that I realized that, rather than using RedArt Clay in the Malcolm Davis Shino, I accidentally use PV Clay…. I KNOW!!! WTF!
So now, the only reasonably reliable glaze in my kiln is what is usually the most unreliable. Out of 38 pieces, 8 are questionable, (in this case questionable is good because I expect questionable in the course of any given firing), everything else is a complete unknown due to a gross miscarriage of attention (nobody enjoys being surprised by their own incompetence.)
I can deal with a kiln struggling to hit temp. That can eventually be figured out. But dealing with a series of stumbles is a serious pain in the ass. It may add to a persons (my) accumulative wisdom, but it’s hell on my self respect.
Sometimes you have to accept a preordained failure to move forward, and sometimes you just have to admit you fucked up and see what happens next.
Well here’s a savage screwup. I’m glazing on a tight deadline, so I apparently needed something additional to sweat about. Thinking I was using a magnesium Carbonate glaze that I have on hand, I realized after I glazed the exterior that I was instead using a bucket of thinned down magnesium Carbonate White Liner. A completely different glaze. Not having the time to wash and reglaze, the decision was made to let it ride and glaze over it with the thinned down mag carb. This is almost always a bad idea because the mag carb doesn’t play well with most glazes, but these two are tested out to overlap, just not to this extent.
The interior is glazed using PV glaze.
25 hours of work being thrown up into the air. Risk anyone?
We all are drawn to the stories that tell us about ourselves.
When we share our (visual) stories, we attract like minded others like bees to a flower.
Our personal story isn’t unique. It’s just relitivly uncommon to the world of studio ceramics.
It’s more love affair than production. Jess and I flirt continually though our collaborative works that populate the studio shelves. Happily, more and more, it’s what we are known for, a form of love poetry unblushingly shared, an overflowing cup that can be apportioned beyond our studio’s threshold.
Not to sound overly crass, but I definitely smile when I remind myself what initially drew me into making tea ware with Jess. It was her sence of off beat beauty that she crafts her forms with. Her forms are distinctive. It drives me nuts, but my hand loves what she does. And while her forms lips are distinctive, rarely playing it safe, not buttery smooth and docile, instead, textured, sharp yet deliciously advantageous. But they it’s her feet that I enjoy the most… Jess hand cuts her feet. She always has, and as much as I try to mimic her touch, I fall short every single time. Confidence matched with skill translates into a high degree of craftsmanship that comes not just from a practiced hand, but a sense of aesthetic perception.
What Jess considers as “matter of fact”, I consider as amazingly beautiful.
Having a wareboard of her forms to play with is a real gift. It’s a form of trust. It’s not about trusting me to make something beautiful, but trusting me to simply enjoy the interaction and the act of creating, finding the flow that comes naturally, and play without concern about any matters of loss.
The joy of the interaction is our story (illustrated in the objects that we craft) and as time passes, we are finding more and more often that there are people like you that speak up and let us know that this is one of the roles of Arts and craft, to talk about love that resides inside our homes.
No big dollops of wisdom here, but… Don’t underestimate the importance of being yourself.
Not everyone can, nor should, sing the same note. A successful chorale needs a multitude, each doing their own parts to create the music that everyone is hoping to find.
When viewing the world from the relative isolation of the studio, is easy to forget that each individual contributes to diversity, and diversity is only realized when each individual is true to themselves. An individual can both contribute to the good of the whole while still not subservient to the crowd.
My point is if the crowd is going to play the busy card, maybe it’s time to dial it back. If complex it the new thing, let them have it. Keep it simple. Your particular kind of simple. Just explore and play.
I couldn’t get a clean shot a few months back of these small canister against the white background and the way that I’ve got the photo booth currently setup, it’s easier to ignore the problem and not shoot work that’s giving me difficulties than it is to address the problem and simply change out the background.
Well that ended (momentary) this morning when I had to set up the graduated background to shoot work for the up coming Omnuis Terra show in Portland.
While it’s up, gotta let the monkey boy play and see if it solves the problems of washing out the top edges with glare.
Goodstock Productions has been busy at work again. Anne Wilcox and Amy Sieffert have teamed up with Stockton’s Haggin Museum to pair up contemporary local craftspeople with works curated from the archived historical collections. Present and past are brought together for a night of friends, food, wine, discussions and live demonstrations.
Jess and I both were honored (bouncy is actually a better dicriptor) to have been asked to present by the organizers at this particular venue.
The Haggin is a beautiful venue and I never would have thought that doing process demolitions with Jess in the foyer was in the cards.
I don’t know how Amy and Anne decided that we might be a good fit for this event, but I’m glad that they believed in us enough to ask. Thank you very much for that experience. Keep up the great work 🙂
I’ve been seriously enjoying laying out these designs as a graphic that I can stand back and look at all at once. Tucking in a few sheets of construction paper in with the newsprint when taping up billets for sawing out has offered up a happy little joy to play with.
The design, when it’s been executed on a leather hard yunomi’s skin provides, a muted surface that works well as a base for an overlying design, or left simply as it is… a subtle, beautiful design.
The piece above was fired in a soda kiln using a Red Shino glaze and the contrasting clay bodies worked together to create a surface that’s absolutely lovely to hold.
“Ghost Flower” is simple autobiographical graphic that encapsulates a low rumble in my mind. I have a wonderful flower in my life. We all probably do. Whether it’s a child or a loved one. Maybe a friend or a spouse, we all can think of one. Mine is my partner. She’s young, full of life, and uniquely breathtaking and beautiful. Like a flower… and I am the spent bloom, connected to her, watching her open as I age and prepare to fall away. Its not a source of sadness, it’s a place of joy. A joy spent living in the moment. The joy of getting to be part of Jess’s life.
This black and white graphic is the silhouette of a stencil design for a small batch of yunomi and chawan for this spring. Getting a chance to see a design all laid out flat like this is pretty new and it’s easy to dream up how to make use of this to develop new designs and projects outside of clay.