Issuu

Clay art

trends,

tools,

and

techniques

TIMES

Volume 14 • Number 1 January/February 2008

Ken Standhardt’s

Intriguing Church Key Designs The Pros and Cons of Internet Pottery Sales You’re Fired!: An AllArizona Clay Exhibition What to Expect from a Wood Firing Workshop Surface Embellishment with Thrown Textures Are You Prepared for Rising Fuel Costs? $ 7.50 U.S./$9 CAN

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contents

TIMES

Clay

January/February 2008 Volume 14, Number 1

on exhibit 18 You’re Fired! Here are a few highlights from the annual all-Arizona ceramics exhibition sponsored by Arizona Clay, recently held at the West Valley Art Museum in Surprise, Arizona.

features 33 The Church Key Potter Ken Standhardt reveals his secrets for creating amazing surface patterns.

38 Throwing Deeply-textured Pots Matthew Taylor demonstrates how to achieve striking texture while throwing.

41 New Forms From Old Clay Norman Holen breathes new life into leftover clay for sculpture.

43 A Taste of the Fire Here’s everything you need to know before attending a wood firing workshop.

48 Selling on the Internet Reed Asher shares her trials and tribulations of pottery sales on the Web.

Above: Detail of Amphora Vessel bottom, by Ken Standhardt. 6" x 4" x 4". Top left: Empty Nest by Carol Russell. Clay with underglazes and mixed media; one of several works featured in “You’re Fired” exhibit. See story on page 18.

contents

TIMES

Clay

FEMA’S Watering Can by Brian Nettles. 24" x 24". Clay with slip, ash glaze, and shino decoration, fired to cone 10 in reduction. See story, page 25.

January/February 2008 • Volume 14, Number 1

departments 9 EDITOR’S DESK Call for Nominations: Award for Excellence in Teaching

11 YOUR WORDS You asked for it: A Cone 6 Salvation Glaze formula

13 WHAT’S HOT Clay world news, events, and calls for entries

51 GREAT GLAZES Reed Asher shares two of the glazes she uses in her studio.

52 THE GALLERY

columns 21 AS FAR AS I KNOW “The Middle of Everywhere” by Pete Pinnell

25 BENEATH THE SURFACE “After the Storm: Recovering from Katrina” Part 2 by Lana Wilson

29 TEACHING TECHNIQUES “Making A Pedestal Cake Plate” by Bill van Gilder

55 TOOL TIMES

57 KILNS & FIRING “Gas Prices and How They Affect Potters” by Marc Ward

58 STUDIO HEALTH AND SAFETY “Checking Ventilation Systems” by Monona Rossol

62 BOOKS & VIDEOS “Tom Turner: Two-Day Workshop” review by Steve Branfman

65 AROUND THE FIREBOX

“The Spray Bottle is Your Friend” by Vince Pitelka

“Clay Without Ceasing” by Kelly Savino

A selection of unique works by CT readers

59 POTTERY CLASSES Where you can learn claywork in the U.S. & abroad

63 CLASSIFIED MARKETPLACE Goods and services offered especially for active clay artists.

64 SLURRY BUCKET TIPS Save time and trouble with these studio-tested tips and techniques.

On the cover: Detail image of Berry Basket bottom by Ken Standhardt. 10" x 6" x 6". Iron oxide stain with glazed interior, fired to cone 5 in oxidation. Photo by Jon Meyers. For story, turn to page 33.

Above: If you’re thinking about attending a wood firing workshop—or even if you’re just looking for a few tips to help make your wood firings more successful— you’ll appreciate Judi Munn’s article on page 43.

BIG W HIT

Daring to think outside the box.

Above: Love is a Verb 18" diameter, (hollow continuum) Right: Dancing Angels 24" high (tallest)

800 4-LAGUNA www.lagunaclay.com info@lagunaclay.com

Award-winning artist, Charles Sherman, has been well known for his bronze cast sculptures. Thought provoking and sometimes even whimsical, his work was for the most part of a traditional genre. Then almost as if an epiphany struck, Charles received his calling to make large rings... infinity rings. It was a problem to be solved, and Charles chose Laguna Clay Company’s big white sculpture body to achieve his mission. Some of his “Big Mamma” rings are 42 inches in diameter, and he is about to embark on an eight foot infinity ring using big white! Charles claims he isn’t a spiritual person yet this lays claim only to the overuse of the word. His “verbatudes” send a powerful message through the striking patina that he applies to the fired clay. The sheer size of his “Big Mamma” series makes a statement of exceptional ceramic engineering as hollow rings leave our heads to turn.

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Spouting Off I Editor's Desk

Great Clay Teachers, Past and Present December 2007 saw the passing of two highly respected, legendary figures in clay: Tatsuzo Shimaoka of Japan, and Colin Pearson of the United Kingdom. Through their art as well as their teachings, these expert potters deeply touched not only the lives of those fortunate enough to have been their students, but also the vast majority of the ceramic community worldwide. It is sad to say goodbye to such talented, revered leaders, and even more disheartening to think of how many other pottery greats we have lost during recent years: Peter Voulkos, Beatrice Wood, David Shaner, Ken Ferguson, Rudy Autio, and Byron Temple, to name a few. Unfortunately, time keeps passing and many of the fine clay artists we have learned from and consider as masters of our era are now immersed in the precious moments of their golden years. It is our duty to show them as much respect and gratitude as possible while we’re still privileged enough to have them on this planet.

NEW! ANOTHER GREAT RESOURCE!

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Unlike so many artists in other types of media, those who commit their lives to clay often commit also to a life of sharing and spreading their love for the craft, via direct instruction, apprenticeships, and workshops. I think it’s safe to say that nearly everyone working in clay attributes their own personal achievements and advancement in the craft to the teachers with whom they have directly studied or apprenticed, or to those who have indirectly inspired them via their work.

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The se cond popu of a se lar gl rie az oxidat e & slip fo s—Now fe at ion an rm d redu ulas (con uring 75 from es ction Clay atmos 04 to 12, CRYS Times TALLI pheres NE • Mag ) SALT/ SODA a zi ne • MA JOLIC l

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Second Edition, featuring an all-new collection of GREAT GLAZE recipes from previous issues of Clay Times. Ready for use in your studio! Featuring more than 75 easy-toread recipes all in one book, with sample images for more than half! To ORDER TODAY call 1-800-356-CLAY or visit the online store at www.claytimes.com AWESOME PRICE: Just $15 plus S&H!

CLAYTIMES·COM n JANUARY/FEBRUARY 2008

In light of the great contributions that our ceramics teachers offer to the entire field of ceramic art, I am pleased to announce that Clay Times will be awarding, on an annual basis, the CT “Excellence in Teaching” award to the teacher who most strongly demonstrates outstanding achievement in ceramic art instruction. The award recipient may be either a private instructor or instructor at any level of ceramics from grade school through graduate school. Nominations for the 2008 award are being accepted now through April 30; please log onto www.claytimes.com to submit your entry. First prize for this year’s award winner will be an all-expense-paid trip on the 2009 Clay Times “Cruisin’ for Clay” Potter’s Conference Cruise to the Caribbean—an experience our winning instructor will certainly remember for a lifetime. I hope you’ll help your favorite teacher join us!

Blue

Julia, via e-mail

Tim’s New Salvation Formula After that article was published, I received a load of e-mails asking for the Cone 6 adaption of my Cone 10 Salvation [glaze]. I suspect that you probably did as well. Everyone needs Salvation!

Custer Feldspar 27.0 Gerstley Borate 12.0 Dolomite

8.8

Talc 19.5 OM-4 Ball Clay 7.5 Silica 25.2 add Cobalt Carbonate 3.0 (variable, but I like 3% the best). The Cone 6 Salvation Glaze formula is the same except that I bumped up the Gerstley Borate to 21 parts instead of the 12 called for in the Cone 10 formula:

Cone 6 Salvation Glaze Custer Feldspar

I did a number of Salvation glaze tests during the past week. I took to heart suggestions that John [Hesselberth] gave me. As I have said, I am no chemist and I am going with glazes because of what I see, not necessarily what I know, or should know. John was not fond of this glaze and suspected it might shiver. On that scale of crazing/fitting/shivering, I am not sure how you evaluate how a glaze will behave when it is at the “fitting/shivering” end of the scale. I can see crazing, but I can’t see the potential for shivering. My active experience with Salvation spans five or six years. I didn’t mention in the article that I have used Salvation as a stand-alone glaze. It does not have to be used as an overcoat last resort. It is just that when it is used as an overcoat last resort, it works miracles for me.

Cone 6 Salvation

27.0

Gerstley Borate 21.0 Dolomite 8.8 Talc 19.5 OM4 7.5 Silica

25.2

magazine

Editor & Art Director: Polly Beach editorial@claytimes.com Circulation Manager: Rachel Brownell circulation@claytimes.com Advertising Manager: Karen Freeman advertising@claytimes.com Accounts Manager: Nanette Greene accounting@claytimes.com Graphic Designer: Jennifer Zeigler jzeigler@claytimes.com Administrative Assistant: Julie Light jlight@claytimes.com Proofreader: Jon Singer Office Assistant: Ingrid Phillips Regular Columnists: Steve Branfman, Books & Videos David Hendley, Around the Firebox Pete Pinnell, As Far as I Know Vince Pitelka, Tool Times Monona Rossol, Health & Safety Kelly Savino, Around the Firebox Bill van Gilder, Teaching Techniques Marc Ward, Kilns & Firing Lana Wilson, Beneath the Surface

add Cobalt Carbonate 3.0

Contributing Writers: K.T. Anders • Norman Holen • Candace Lewis • Judi Munn • Matthew Taylor

Such a simple change, and I did 68 tests! I was doing all kinds of substitutions and in the end, I just intuited (guessed) at the solution. One thing that is true for both of the glazes is the hotter you fire, the more they will lose the crystal look and go blue.

Published by: CLAY TIMES INC. 15481 Second St. • PO Box 365 Waterford, Virginia 20197-0365 540.882.3576 • FAX 540.882.4196 Toll-free subscription line: 800.356.2529

Tim Eberhardt [

Clay Times® (ISSN 1087-7614) is published bimonthly, six issues per year. Periodicals Postage Paid at Waterford, VA, and at additional mailing offices. Annual subscriptions are available for $30 in the U.S.; $36 in Canada; $55 elsewhere (must be payable in US$). To subscribe, call toll-free 1-800.356.2529, or visit www.claytimes.com.

Pot glazed solely with Cone 10 Salvation Glaze with colorants.

All rights reserved. The material contained herein is derived from various sources and does not necessarily reflect the views of the publisher. All technical material is offered as general information only and should not be acted upon without expert supervision. No part of this publication may be reproduced or transmitted by any means without the written permission of the publisher.

CLAYTIMES·COM n JANUARY/FEBRUARY 2008

Freelance editorial and photographic submissions are welcome: Please contact Clay Times or visit our Web site for writer’s and photographer’s guidelines.

I did a whole line of pots with Salvation as the base glaze, and those pots are some of the most beautiful I have made. They have a thick, satiny smooth, matte finish. [At right] is a photo of one of my Wisteria pots that has nothing but Salvation, with colorants, as the glaze. Judge for yourself. On to test results. I was successful in producing a Cone 6 Salvation.

Clay

While I am always excited to read my Clay Times magazine, I came across this very intriguing article about Salvation Glaze on page 33 of your Nov./Dec. 2007 issue. Unfortunately, this glaze was given [for use at] cone 10 with a remark to adjust for cone 6. Well, that is too vague for this adventurous amateur potter. Do you think that you could give a proper recipe for cone 6—maybe even in a proper unity formula? I am really eager to try it!

The Cone 10 Salvation glaze formula is:

Spouting Off I Your Words

Cone 6 Salvation Request

TIMES

Salvation Glaze at Cone 6

ceramic art trends, t oo l s & t e c h n i q u e s

CLAYTIMESÂ·COM n JANUARY/FEBRUARY 2008

Hot Stuff I News & Events

What’s Hot

ceramic art world news • events • calls for entries Looking Back ‰ Tatsuzo Shimaoka, widely recognized as one of the world’s leading ceramic artists and designated the honor of “Living National Treasure” by his native Japan, died from an apparent stroke on December 11 at his home in Mashiko, Japan. He was 88. Shimaoka had apprenticed directly with pottery master Shoji Hamada during his early years and became an accomplished proponent of the Mingei pottery tradition that emphasizes beauty of utility, and art in humility. Born to a family of ornamental braidmakers, Shimaoka was encouraged by his mother to break from the family tradition to study industrial ceramics at the Tokyo Institute of Technology. Inspired by a visit to the Japan Folk Crafts Museum in 1938, where he first encountered Mingei objects and philosophy, he later compared its impact on his future with that of rain on soil.

In a 2001 interview with Clay Times, Shimaoka said he learned from Hamada that craft “is not to be learned by intellect, but with the body.” ‰ Colin Pearson, British master potter recognized for his signature forms as well as his charismatic ability to teach ceramics to generations of students, died on December 3 following several years of battle with advanced Parkinsonism. He was 84 years old. Early in his career, Pearson studied with potter Kenneth Clark, and was later influenced by tin glaze ceramics of William Newland, Margaret Hine and James Tower. He later joined the staff at Winchcombe pottery in Gloucestershire, and also spent time working at Royal Doulton factory in Lambeth, south London, as a slipcaster in the chemical porcelain department. In 1955, he and David Leach established a training pottery at the Friars at Aylesford Priory, Kent, based loosely on the Leach pottery in St. Ives, Cornwall. As time passed, Pearson began to reject some of the traditional methods of working, allowing him the freedom to develop his own unique forms. His vessels with wings—cylinders with sculptural appendages—tied the

functional to the sculptural and earned him high recognition in the early 1970s. Pearson was also a pioneer of the use of clay-strengthening polyester fiber, which in the 1980s allowed him to further push his wheel-thrown forms into more sculptural works. In 1996, his contributions to the ceramic education community earned him a rare honorary fellowship of the University of the Arts, London. His work was shown internationally and earned awards including the 33rd Grand Prix at Faenza, Italy. Today, his work can be found in major museums worldwide.

Conferences ‰ Trade Secrets: Cruisin’ for Clay, the inaugural Clay Times potters’ conference at sea, takes place January 28-February 2, 2008, on board Royal Caribbean’s luxurious Navigator cruise ship. Mix business with pleasure as you set sail from Ft. Lauderdale, Florida with renowned clay artists Bill van Gilder, Pete Pinnell, and Lisa Orr—en route to beautiful Cozumel, Mexico and Belize City, Belize. Enjoy two full days of awesome demos, lectures, and slide shows by guest artists, mixed with two full days on your own to explore the port cities. To learn more, visit www.claytimes.com. ‰ Crafting Content: Ceramic Symposium 2008 takes place at the University of Arkansas Fine Arts Center in Fayetteville, Arkansas from January 31-February 2,

CLAYTIMES·COM n JANUARY/FEBRUARY 2008

After graduating in 1941 and serving in Burma during World War II, Shimaoka moved to Mashiko in 1946. There he studied with Hamada, then established a lifelong career of pottery making. Encouraged by Hamada to develop his own style of work beyond the basic tenets of mingei, Shimaoka turned to his father’s craft of braid making, and began to decorate vessels by pressing braids into wet clay. Shimaoka would then apply a white slip, wiping away the excess and leaving

a painted tracery in the braided impressions. As his new technique referenced the traditional rope decoration of prehistoric Japanese Jomon pottery, Shimaoka called his style “Jomon Zogan.”

Hot Stuff I News & Events

2008. Guest presenters will include Tanya Batura, David East, Jeannie Hulen, Nicholas Kripal, John Perreault, Jeanne Quinn, and Benjamin Schulman, who will offer a variety of lectures and panel discussions. For full details, call Jeannie Hulen at 479.575.2008, e-mail jhulen@uark.edu, or visit the Web site at: http://art.uark.edu/ceramics/info. ‰ The 23rd Alabama Clay Conference takes place February 8-10, 2008, on the campus of the University of Alabama in Tuscaloosa, AL. Guest artists will include Jason Briggs of Tennessee, Curtis Benzle of Alabama, and Ching-Yuan of Taiwan. Discount registration fee is $160 ($55/students). For more information, daily schedule, accommodations, directions, and further details about the conference, visit www.alclayconference.org.

CLAYTIMES·COM n JANUARY/FEBRUARY 2008

‰ The National Council on Education for the Ceramic Arts (NCECA) will be holding its 42nd Annual Conference, “Innovation, Community, Environment,” at the David L. Lawrence Convention Center in Pittsburgh, Pennsylvania, March 19-22, 2008. Featured guest demonstrators include Ed Eberle, Sandy Brown, Lorna Meadon, and James Tisdale. Additional presenters include several lecturers and panelists on a wide variety of topics affecting the clay community. Trade shows, gallery exhibitions, slide and documentary showings, fund-raiser sales, and more will also take place throughout the event. Register online at www.nceca.net. For additional information, e-mail office@nceca.net or telephone the toll-free number at 1.866.266.2322.

‰ Community of Fire takes place in Sweet Briar, Virginia from May 30–June 1, 2008 and will feature presentations and discussions by guest artists including Svend Beyer, Robert Compton, Kevin Crowe, Stephen Driver, Victoria Hansen, Mark Hewitt, Micki Schloesingk, and Jack Troy. Registration fee is $395; after March, $425. To find out more, visit www.kevincrowepottery.com; contact Kevin Crowe at tyeriverpottery@aol.com; or call 434.263.4065.

Calls for Entries

Anderson and Shoji Satake will select works from slides and digital submissions. Fee: $15 for three entries. For additional information, call 304.599.7687; e-mail zenclay@hotmail.com; log onto www.zenclay.com; or write ZENCLAY Studio and Galleries, 2862 University Ave., Morgantown, WV 26505. ‰ The 5th Annual Mad Hatter’s Tea Party takes place March 6–April 5, 2008 in West Palm Beach, Florida. Entries are open to fun teapots, tea infusers, tea cups, saucers, and sugar/creamers. Juried from digital and slide submissions (up to three entries/artist) postmarked by January 29. Juror: Helen Otterson. Entry fee: $25. For prospectus, visit www. armoryart.org. Contact Helen Otterson, Ceramics Dept. Chair, Armory Art Center, 1700 Parker Ave., West Palm Beach, FL 33401.

February submission deadlines ‰ Feats of Clay XXI, to take place in Lincoln, California April 26–May 25, is accepting slide and digital entries through February 1 from artists working in the United States, Mexico, and Canada. Entry fee: $15 for one entry; $25 for two; $30 for three. To receive a prospectus, send your SASE to Lincoln Arts, 580 6th St., Lincoln, CA 95648. Further details may be found online at www.lincolnarts.org, or by calling 916.645.9713. ‰ Digital entries are being accepted through February 4 for the 8th International Ceramics Competition in Mino, Japan, to be on display August 1–September 30, 2008. To find out more about the event, e-mail info@ icfmino.com; log onto www.icfmino.com; call 0572-25-4111; or contact the Executive Committee Office, International Ceramics Festival Mino, Ceramics Park Mino, 4-2-5 Higashi-machi, Tajimi City, Gifu Prefecture, Mino, Japan 507-0801. ‰ The San Angelo Museum of Fine Arts in San Angelo, Texas is accepting entries postmarked through February 4 for the 17th San Angelo National Ceramic Competition. For complete details, contact Karen Zimmerly at the San Angelo Museum of Fine Arts, One Love St., San Angelo, TX 76903, tel. 325.653.3333; e-mail: museum@samfa.org; Web site: www.samfa.org.

January submission deadlines ‰ The Four States Ceramic Exhibition is accepting entries through January 16 from residents of Maryland, Ohio, Pennsylvania, and West Virginia for its March 3-April 11, 2008 event in Morgantown, WV. Jurors Bob

‰ The North American Ceramic Cup Show takes place March 10–21, 2008 at Siena Heights University in Adrian, Michigan. Juror Andy Brayman will jury the show from slides and digital images received by February 1. Entry fee is $5 per image. For a prospectus, log onto

clay workshops spring

20 08

March 9-15 Kate Inskeep - tile constructions March 16-22 Lindsay Pichaske - human ﬁgure in clay March 23-29 Mary Kay Botkins - hand building March 30-April 5 Susan Filley - throwing aesthetics April 6-12 Bill van Gilder functional pots Apply now for spring studio assistantships work study | scholarships application deadline Jan. 15 Artists-in-Residence application deadline Feb. 1

556 Parkway, Gatlinburg, TN

865-436-5860

Is NCECA more than a Conference? YES. With our MembersFirst initiative, you can join NCECA whether or not you attend our conferences. As a member you will receive our Annual Journal and Directory, our Newsletter, web access, member discounts and opportunities that deﬁne the World’s Greatest Ceramics Organization. Yes, we’re more than a conference, but frankly, when NCECA gathers every year amazing things happen. Our upcoming conference in Pittsburgh will be an extraordinary event. Prepare to be challenged and inspired, network among the world’s foremost ceramists and come to the best Friday night dance on the planet.

info@arrowmont.org

Innovation, Community, Environment

NCECA 2008

42nd Annual Conference PITTSBURGH, PA March 19-22, 2008 Contact us at 1.866.266.2322 or visit our website: www.nceca.net

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CLAYTIMES·COM n JANUARY/FEBRUARY 2008

CONFLUENCE:

Teapot: Connell

w w w . a r r o w m o n t . o r g

National Council on Education for the Ceramic Arts

Hot Stuff I News & Events

www.studioangelico.com; or send your SASE to Paul McMullan, Ceramics Department, Siena Heights University, 1247 E. Siena Heights Dr., Adrian, Michigan 49221; or e-mail: pmcmullan@sienaheights.edu. ‰ Applications are being accepted through February 15 for functional works to be featured as part of Ceramics at Work, on view March 1–April 25, 2008 at the Gloria Kennedy Gallery in Brooklyn, New York. To request an application, send your SASE to Gloria Kennedy Gallery, 111 Front St., Gallery

222, Brooklyn, NY 11201; call 718.858.5254; e-mail: gloria@gkgart.com; or log onto www. gkgart.com/application/ceramicsatwork.pdf.

craftalliance.org; or write Craft Alliance, Infusion 10×10, 6640 Delmar Blvd., St. Louis, MO 63130.

‰ Infusion 10 × 10 is accepting digital submissions through February 15 of teapots no larger than 10" in any dimension for its St. Louis, Missouri exhibition to take place May 2–June 30, 2008. Entry fee: $35/ up to two submissions. Awards: $500. Fong Choo will serve as juror. For further details, call 314.725.1177, ext. 323; e-mail exhibitions@craftalliance.org; log onto www.

‰ Sandy Simon will be jurying digital submissions received from California clay artists by February 20 for the 2008 California Clay Competition, to take place April 25–June 6, 2008. To obtain a prospectus, log onto www.artery.coop.

GLAZES INC.

Introducing our new Low-Stone 900 Series colors. Here is the second half of our 37 brand new colors for 900 series low-ﬁre glazes. As always they are lead-free and dinnerware safe. Each color will work with the existing colors to create new layered effects.

March submission deadlines ‰ CraftTexas 2008, the fifth in a series of juried exhibitions showcasing the best in Texas-made contemporary craft, is accepting entries through March 1 from Texas resident artists who work with clay as well as wood, fiber, glass, metal, and found/ recycled materials. The exhibition will be on view May 24-August 11 at Houston Center for Contemporary Crafts, Houston, Texas. For further details, visit crafthouston.org. For complete application guidelines, visit callforentry.org. ‰ Digital and slide entries are now being accepted through March 1 for Teapot Forms 2008: A Juried Exhibition, to take place June 13–August 13 at RedSky Gallery in Charlotte, North Carolina. Entries are free. For further details, call Heather Andreas at 704.377.6400; e-mail info@redskygallery.com; visit the Web site at www.redskygallery.com; or write RedSky Gallery, 1244 E. Blvd., Charlotte, NC 28203.

CLAYTIMES·COM n JANUARY/FEBRUARY 2008

‰ Juror Dan Hammett is accepting digital and slide submissions of sculpture and pottery through March 28 for the Jersey Shore Clay National 2008 to take place May 24–June 23. For prospectus, e-mail: matt@mtburtongallery.com; log onto www.mtburtongallery.com.; or send SASE to JSCN 2008, M. T. Burton Gallery, 1819 N. Long Beach Blvd., Surf City, NJ 08008.

Ceramics Exhibitions

945 to 949 94 Fenmar Dr. Toronto, ON Canada M9L 1M5

950 to 954 P.O. Box 874 Lewiston, NY US 14092-0874

955 to 958

959 to 962

Phone:(800)970-1970 or (416)747-8310 Fax:(416)747-8320 www.spectrumglazes.com info@spectrumglazes.com

‰ Breaking New Ground: The Studio Potter and Black Mountain College may be viewed through January 19 at Black Mountain College Museum and Arts Center, 56 Broadway, Asheville, North Carolina. ‰ Warren MacKenzie: Legacy of an American Potter is on exhibit through January 20, 2008, at North Dakota Museum of Art, 261 Centennial Dr., Grand Forks, North Dakota.

‰ Wood Fired Elegance: The Work of Donna Craven may be viewed through February 29 at the North Carolina Pottery Center, 233 E. Ave., Seagrove, North Carolina.

‰ A Ben Waterman Project: Reckoning of Mile is on exhibit through January 26 at Drop City Gallery, 964 Denny Way, Seattle, Washington.

‰ Cheers! A MAD Collection of Goblets will be on view through March 9 at Museum of Art and Design, 40 W. 53rd St., Wayne, Pennsylvania.

‰ Craft in America continues through January 27 at the Mingei International Museum, 1439 El Prado, San Diego, California. ‰ Zulu Fire: Ardmore Ceramics from South Africa is on display through January 27 at Craft and Folk Art Museum, 5814 Wilshire Blvd., Los Angeles, California. ‰ Sparks, an exhibition featuring work by Peter Callas, is on view through January 27 at the Daum Museum of Contemporary Art, 3201 W. 16th St., Sedalia, Missouri. ‰ Craft 2007 is on exhibit through February 1 at the Wayne Art Center, 413 Maplewood Ave., Wayne, Pennsylvania. ‰ Robert Brady: New Work is on exhibit through February 2 at Braunstein/Quay Gallery, 430 Clementina, San Francisco, California. ‰ Three Potters: Mark Shapiro, Karen Swyler, and Steven Branfman is on view through February 8 at Foster Gallery, Noble and Greenough School, 10 Campus Dr., Dedham, Massachusetts.

‰ Jeffrey Mongrain will be exhibiting work through March 21 at Schein-Joseph

‰ The Ceramic Annual 2008: 64th Scripps Ceramic Annual will be on exhibit through April 6 at the Ruth Chandler Williamson Gallery, Scripps College, 11th and Columbia Sts., Claremont, California. [ To list clay conferences, calls for entries, exhibitions, and ceramic news items in Clay Times, please e-mail details to: editorial@claytimes.com.

Odyssey 2008 Workshop Center For Ceramic Arts

Series

Jill Allen Akira Satake Janis Mars Wunderlich Holly Walker Conner Burns Meredith Brickell Gertrude Graham Smith Tip Toland Lana Wilson Susan O’Brien McKenzie Smith

Because it feels so good.

‰ Fragile Diplomacy: Meissen Porcelain for European Courts runs through February 11 at The Bard Graduate Center, Studies in Decorative Arts, Design and Culture, 18 W. 86th St., New York, NY. ‰ Ceramic Objects/Conceptual Material may be seen through February 15 at the University of Arkansas Ceramics Department, 116 Fine Arts Center, Fayetteville, Arkansas.

Image: Akira Satake

highwaterclays.com

236 Clingman Ave. I Asheville, NC 28801 I 828.285.0210

CLAYTIMES·COM n JANUARY/FEBRUARY 2008

With weekend workshops by Liz Summerfield Allison McGowan

‰ Clay on the Wall: 2007 Clay National is on exhibit through February 17 at Texas Tech School of Art, Landmark Arts, 18th St. at Flint Ave., Lubbock, Texas. ‰ Ohr Rising: The Emergence of an American Master and Other Mad Potters: A Corollary Exhibition to Ohr Rising, featuring works by Steve Horn, Lisa Orr, Don Pilcher, and Mary Roehm, are both on exhibit through February 23 at AMOCA, 340 S. Garey Ave., Pomona, California.

International Museum of Ceramic Art, NYSCC, 2 Pine St., Alfred, New York.

Hot Stuff I News & Events

‰ The Ceramics of Toshiko Takaezu: Function, Form and Surface is on display through January 20 at the Harn Museum of Art, SW 34th St. and Hull Rd., Gainesville, Florida.

he West Valley Art Museum of Surprise, Arizona recently held its annual all-Arizona ceramics exhibition, sponsored by the Arizona Clay organization. Museum Curator George Palovich juried this year’s show, selecting more than 40 works from 103 entries. While the show consisted primarily of non-functional sculptural pieces, there were several pots that could be considered more than just decorative. The classic vase retained its bottle or jar form in only a few instances, as shapes were bashed, squished, and pulled into asymmetrical or animal forms. Sculpture, as created in this group, leans toward the humorous and whimsical. Fran Douglas is a master at this as her characters, such as those featured in “The Bird Feeder” and “The Puppet Mistress” [pictured, opposite page] engaged viewers with expressive details and smooth surfaces. During this engagement, however, the viewer might have found a little more going on than tickling the funny bone, as “The Puppet Mistress” stared back with blank eyes and a not-so-warm-and-fuzzy puppet on her hand. We only see a humanized representation of her in a drawing on a flat slab under her truncated body.

CLAYTIMES·COM n JANUARY/FEBRUARY 2008

Katheryn Sins’ organic plant-like pieces returned to the Museum in this show. This series of hers also had an earlier appearance in “Celebrating Art of the West Valley II.” The humor carried over even in functional works. Deanna O’Donnell had two sets of covered jars in the show, with one set containing howling dogs for over-sized handles on the lids. Other pots had more serious relief images of animals or Native Americans.

Also featured during the exhibition was a minigallery display of samples and explanations of the various types of ceramic firing processes, from wood-firing and Raku to electric kilns, plus a few examples of works made by juror George Palovich. For further details on the West Valley Art Museum and its exhibitions, visit www.wvam.org, or call 623.972.0635. [

Garden Diva Series I by Bozena Anderson. Hand-coiled stoneware sprayed with colored slips.

Siding by Sandra Blain. Slab-built earthenware with slips and glazes.

The Birdfeeder by Fran Douglas. White clay with underglazes and overglazes.

Desert Fire by Dorothy Reeve. Wheel-thrown and raku-fired with copper glaze.

CLAYTIMESÂ·COM n JANUARY/FEBRUARY 2008

The Puppet Mistress by Fran Douglas. Porcelain with underglazes.

CLAYTIMES·COM n JANUARY/FEBRUARY 2008

Bill van Gilder 2008 Workshop Schedule

Jan. 21-25 Jan. 28-Feb. 2 Feb. 15-17 Mar. 14-16 Mar. 19-21 Apr. 6-12 May 15-18 May 26-31 June 13-15 July 28-Aug. 1 Aug. 27-30

The Art League of Marco Island, Marco Island, FL 239.394.4221 • mail@marcoislandart.com “Trade Secrets: Cruisin’ for Clay” Clay Times Potters Conference at Sea • Belize & Cozumel, Mex. 540.882.3576 • advertising@claytimes.com College of the Albermarle, Manteo, NC [Outer Banks] 252.475.9250 • tshearin@albemarle.edu Ella Sharp Museum of Art & History, Jackson, MI 517.787.2320 • www.ellasharp.com van Gilder Tools Sales at NCECA Conference Pittsburgh, PA • 866.266.2322 • www.nceca.net Arrowmont School of Arts and Crafts, Gatlinburg, TN 865.436.5860 • www.arrowmont.org e-mail: info@arrowmont.com Mud Puddle Pottery Studio, Pegram, TN 615.646.6644 • mudpuddle@bellsouth.net Pottery West, Las Vegas, NV potterywest@cox.net • www.potterywest.com Arapahoe Community College w/Mile Hi Ceramics, Littleton, CO • 303.797.5948 • kathy.holt@arapahoe.edu Sierra Nevada College, Incline Village, NV [Lake Tahoe] 775.881.7588 • sierranevada.edu/workshops Rehoboth Art League, Rehoboth Beach, DE 302.227.8408 • www.rehobothartleague.org

Ceramics Studios, Guilds, Universities, Colleges: To schedule a van Gilder workshop call 301.416.2970 or e-mail: vangilderpottery@earthlink.net

by PETE PINNELL

hat do you need to know to be a really good potter? Certainly you need to learn the basics of our craft—forming methods, glazing techniques, kiln firing, etc. That’s a good start, but it doesn’t teach you how to be creative. To develop your full aesthetic potential, you need to develop the eye and mind of an artist. Art is such a broad, deep, and varied field of study that learning about it is the work of a lifetime. Because of this, many potters earn at least an undergraduate degree in art—the B.F.A.— and many earn an M.F.A. as well. Earning these two degrees can take at least six years, and as long as eight, even if you are a full-time student. Certainly that’s enough school, right?

Well, maybe not. If you want to truly understand Art, then you also need to learn about its underlying basis, and that means studying Aesthetics and the Philosophy of Art. Many potters have spent countless hours reading “Art” books that contain no images whatsoever. No, they don’t provide us with any eye candy, but they can help provide a broader understanding of art, and the decisions we make as artists.

Most of us who spend our lives making pots are fascinated with the interaction that takes place between pots and people. We pay attention to how others use, hold, display, and generally live with, our pots. We ask ourselves questions about perception and cognition, and how human beings act and interact. Historically, pots have played important roles in many different human activities. In an attempt

Terra Cotta Warriors of Qin Shi Huang, Shaanxi Province, China: among the most significant archaeological excavations of the 20th Century.

to better understand this, we are drawn to books and articles on Psychology, Sociology, and their cousin Anthropology, which allow us to better comprehend the roles that pottery plays, and the ways it can communicate with us and among us. Of course, once we see how it affects things today, we inevitably want to know more about the place of ceramics in previous societies. So, we gather relevant books and articles on Archaeology. Because pots last long after other artifacts have decayed away, archaeology and pottery sometimes seem to be married: you have to search pretty hard to find an archaeology book that doesn’t talk about pots. If you’re ever interested in killing a little time, do an Internet search on any of the four fields in this paragraph, along with the words “pottery” or “ceramics,” and you’ll find an endless list of interesting things to read. Speaking of the past, what potter is not interested in History? We fill our bookshelves with ceramic history books, and spend our vacations wandering through museums. Our ears perk up at the mention of names like Sung, Iznik, or Mimbres. I have to confess a major interest in the history of ceramics, and I often show images of historical pots in my teaching,

“Pottery sits at the intersection of (seemingly) every major field of human study.” and when I give workshops. It’s really fun to do this. When amateur potters see these images for the first time, their eyes usually light up like a toddler eating his first chocolate cake. Before we’re introduced to this history, most of us have no idea what an astoundingly wide variety of beautiful, fascinating objects have been produced in the past. Eventually, as we leaf through our books, we slow down enough to read some of the text that accompanies these photographs, and find that an understanding of the history of these objects not only helps us to better understand them and the societies that produced them, but also helps us to better understand ourselves, and our own society. All of this leads me to an intriguing observation. If you ask most artists of painting or sculpture what they think about the field of pottery, the honest (and blunt) ones would tell you that pottery as an art form is on the fringes, out in the middle of nowhere. But as

CLAYTIMES·COM n JANUARY/FEBRUARY 2008

Ever try to manipulate a glaze, or to figure out why it’s not working? We can attempt to keep our investigations on the kitchen/recipe level—“just add a pinch of silica!”—but sooner or later we all wonder why a certain thing happens, and then we suddenly find ourselves plodding through some dense, formulaand-graph-laden tome, thinking, “I wish I’d taken chemistry in college.” Yes, a little chemistry knowledge can be very useful for a potter.

Perspectives I As Far As I Know

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continued from page 21

my examples illustrate, pottery isn’t the middle of nowhere—it’s the middle of everywhere. Pottery sits at the intersection of (seemingly) every major field of human study—and I haven’t even mentioned the knowledge of Geology we use to learn about clay, the Physics we employ to understand and manipulate firing, or the Business knowledge we amass so we can find a way to pay for our clay habits. Now, if you think I’m writing this so we can all congratulate ourselves on how broad, worldly, and knowledgeable we are, you’d be wrong. Well, maybe not completely—potters usually are pretty splendid people—but that’s not really the point of this column. My point is that no one can possibly be an expert in all of these fields, which means that all potters—or, at least, all good potters— are eternal amateurs. We are constantly searching for more information from fields across the spectrum of human knowledge so we may develop as artists and better understand our art form. This may be the real secret to being a great potter. In a way, admitting our permanent amateurism—even celebrating it—is a bit ironic. In our society, we tend to look down on amateurs. We describe a person who is good at something as a professional. “He’s a real pro!” is a high compliment. On the other hand, we often use the word amateur to denigrate any work inexpertly done—(“Boy, our coach is a real amateur!”) But amateur can also be seen in a positive light. The word comes from the French “to love,” because an amateur is someone who does something for love, rather than money. Because of this love, or passion, amateurs often bring an energy and enthusiasm to their studies that professionals can only envy.

Historically, potters have worked together to share the burdens of everything from digging clay to firing kilns. We still gather together to share firings and facilities, but we’ve expanded our sharing to include knowledge and information. Our universal amateurism has a way of flattening hierarchies and encouraging the social nature of pottery making. I love the fact that pottery-making lectures have a way of becoming shared discussions rather than solo recitations. I had almost completed my first college degree (which is not in Art) before I was bitten by the clay bug. Like a lot of you, my interest in ceramics (in general) and pottery (in particular) was sparked by a fascination with clay and all its endless possibilities. This interest in clay has never wavered, but simply become wider, deeper, and more involved. That seems to be the way with clay—first it gets you hooked, then it reels you in. Pretty soon, you find out that having an interest in clay means you have an interest in everything.

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Welcome to the middle of everywhere. A final note: I can’t use the phrase, “The middle of everywhere” without honoring its previous use as the title for a fascinating book by fellow Lincoln, Nebraska resident, Dr. Mary Pipher. Her book describes the experience of political refugees who end up living in Lincoln. It has nothing to do with this column (other than the title). Her book is The Middle of Everywhere: The World’s Refugees Come to Our Town by Mary Pipher. Harcourt; 1st edition (March 22, 2002) ISBN: 0151006008. A copy of Dr. Pipher’s book sits on the shelf behind me. I’ve led student discussions about it, and often see the title as I look for other books, which is what sparked the idea for this column. [

Pete Pinnell teaches at the University of Nebraska-Lincoln. He has been a potter for many years and has numerous exhibitions and workshops to his credit. You can reach him with comments or questions at ppinnell1@unl.edu.

CLAYTIMES·COM n JANUARY/FEBRUARY 2008

This leads me to point out another interesting thing I’ve noticed about our field. “Amateur” potters—those who don’t hold an art degree or make a living in the field— almost always hold a college or university degree in something else. I’ve met potters from just about every profession you can think of, from accounting to zoology. When I’m brought in as an “expert” to present a workshop someplace, I inevitably defer many questions to the attendees. It makes for a really interesting conversation, and allows all of us to learn from the expertise of others in our group: If an accountant is there, we begin asking about income taxes.

Bring in an attorney, and we find ourselves wondering about liability, and questions of copyright. If a physician is present, look out—you can just imagine the questions we all have.

Perspectives I As Far As I Know

Middle of Everywhere

CLAYTIMESÂ·COM n JANUARY/FEBRUARY 2008

Recovering from Katrina by LANA Wilson

This is the second of a two-part series on clay artist Brian Nettles’ experience with Hurricane Katrina. Lana Wilson: How many potters are now left in your area following Katrina? Brian Nettles: I was president of The Mississippi Gulf Coast Potters Guild before the storm, and we had about 65 members. We have not been organized since the storm, but if we started back today we might have about ten members still making pots. Many have left the area, many have changed professions, and many have just not gotten their lives back together enough to start working. This whole situation can become very depressing if you let it. I will not let myself fall into this depression. It’s hard, I will say. Depression, suicides, and divorces are skyrocketing down here. There are some folks doing a major study of the situation and they say the percentages will be amazing. It affects everyone—rich, poor, white, black— everyone. Immediately after the storm I really thought about giving up and being a contractor. My four-year-old son is part of my determination. He loves to work in the studio with me and he loves clay.

Wilson: How did you get into clay? Nettles: I was in my senior year at the University of Southern Mississippi in

I do still enjoy making pots as much as ever, but my rhythm has changed. My marriage was one of the casualties of Katrina and now as a single parent, I never have an entire day to work in the studio. I have to take care of my son, drive him to and from day care, cook meals, grocery shop, etc. I still am dealing with many problems and other legal matters due to the storm. I will be

happier when everything is finished and I just make pots and live. When spring arrived, the trees did much better this year than last, and I feel people are like the trees: they are going to take time to get their branches out and prosper again. When you have been hit so hard, battered, and bruised, it takes time to recover.

Oval Serving Bowl by Brian Nettles. 8" x 16". Slip and ash glaze with shino decoration, fired to cone 10 in reduction. Wilson: Has Katrina made networking more important to you? Nettles: Working with the Ohr Museum, I was always networking because I had to bring in guest artists for workshops and curate clay exhibitions, so I always kept up with contemporary ceramics and tried to meet other artists. Since Katrina, it has been more difficult to network. I am not working with the Ohr as much, and I am working on too many other non-clay projects! Wilson: Is it hard to have other people using your new, donated kiln? Nettles: It’s not hard to let people use the kiln. It does take up my time, but I feel it is the least I can do to help other potters get back on their feet. I feel so fortunate the kiln was given to me; it’s all I can do to share it. Having the anagama firings before the storm, I was used to people

CLAYTIMES·COM n JANUARY/FEBRUARY 2008

On a good note, recent glaze firings have produced many nice functional pots! There’s an art fair in my town this weekend and hopefully I will sell the new pots. I also have been teaching classes in my studio and we had a raku party last night with some very nice people and good wine, on a cool, starlit night with many wonderful little mud babies coming out of the glowing, orange kiln. Life still has its wonderful parts.

Hattiesburg, with one semester to go for my degree in architectural engineering, when I walked into a clay class. Within two weeks I was involved in a wood firing, and became hooked on that for life. I changed my major to ceramics and sculpture, and never finished the engineering degree. I studied ceramics and sculpture with Skip Van Houten, an important mentor for me. I went three more years to get my B.F.A. in ceramics and sculpture. That is one of the reasons I never got my M.F.A.: I was on the seven-year plan getting the undergraduate degree! But changing my major was the best decision I ever made. Growing up in Ocean Springs, where Walter Anderson was and where his family founded the famous Shearwater Pottery in 1928, I was very aware of pottery. But when I was younger, I had never thought about clay as a profession. Wilson: As a board member of CERF (Craft Emergency Relief Fund) I am particularly interested in what CERF did for you. Nettles: They made a huge difference in my life. The first day the mail ran, I had a grant check from CERF with a note telling me to spend it however I needed. Those were rough days and money was tight. CERF has continued to check up on me and help me secure equipment to get me back in business. I have let potters who have lost their kilns use mine and, so far, five potters have taken me up on the offer.

Perspectives I Beneath the Surface

After the Storm:

Perspectives I Beneath the Surface CLAYTIMES·COM n JANUARY/FEBRUARY 2008

coming out and using my studio, so it’s really the same situation. But people are not here for two weeks—they are here for a few days using the gas kiln. Wilson: What do you see as your biggest challenges at this point? Nettles: As you know, being a full-time potter is hard in good times, but living in a wasteland where your clientele has lost so much, and so many people live with so much pain, is not the best situation. I have adjusted by starting to teach classes in my studio for more of a regular income, and by finding new markets across the country. Before the storm, I sold about 80% of my income [via] my own showroom. Finding and building a new clientele is a big challenge. Finishing all insurance, Small Business Authority, and other legal matters is the highest of my priorities. Once I know my financial outcome, I can regroup and know exactly how to proceed financially. If you can live through the storm and the craziness following—and not crack—you can deal with anything that can ever come up in life. Recently, I talked with a married couple from Florida who are potters. They have lost everything before and they said it made them not care as much about the problems in life, and made them realize it really just doesn’t matter as much as it did before the storm. That is exactly right. I really do not let the stress of everyday living get to me as much as I did before the storm. Life is too short, and it really has a new meaning for me. A person has no idea what this whole experience is like unless you have lived through it. My family lives about 40 miles away, and they didn’t lose anything in the storm. They have no idea what it is like, although they think they do! Wilson: How did CERF find you? Nettles: From my understanding, they read about me on the Internet. I didn’t have electricity for three months, so I did not see what was written about me for some time. Cornelia Carey (Executive Director of Craft Emergency Relief Fund, or CERF) found my address, and she and CERF have made all the difference. CERF helped financially of course, but more important, it helped emotionally to know there are folks out there wanting to help me get back to making pots. It was much more important emotionally than financially to get the grant check from CERF.

Wilson: At a CERF board meeting soon after Katrina, we realized CERF had to be better at finding and contacting people who needed us. Would you still be making pots if CERF had not appeared? Nettles: That’s a hard one. If I did not get the kiln from Jerry Wagner, I would not have been making pots for a much longer time. Wilson: So how did you get that kiln? Nettles: Danser Inc. in Parkersburg, West Virginia gave me the kiln. Jerry Wagner works for Danser Inc., and after receiving Alfred and Edinboro University degrees in clay, he now works in the industry selling and problem-solving industrial kilns. Elaine Levin had written something about me in an article, and I think Jerry Wagner saw that and phoned CERF. Through that connection, he called me and asked if I wanted a 64cubic-foot gas reduction kiln. I said yes; he said to be ready on this day, and Danser Inc. would ship it down. I really thought he was crazy and didn’t think much of it. Then he called back several months later and asked if I was ready. I said who and what? He said in two weeks he was shipping the kiln and was coming down to install it and fire it for the first time. I had not done a thing to prepare! I ran out and bought a new wheel, some clay, ordered glaze materials, started restoring my studio by rebuilding the kiln room walls and the kiln room roof, then making 64 cubic feet worth of pots and glazes. I was working 20 hours a day to get ready. Jerry showed up one afternoon and the next morning, a 53-foot truck showed up with the most beautiful candy-apple-red kiln I have ever seen. Jerry helped me install it, put the stack through the roof, plumb it, and load the first kiln load. The next night we lit the kiln, and it fired off perfectly! He even brought 64 Advancer® shelves and posts—what a guy! We treated him to a good ’ole seafood boil and party with about 30 potters and glass artists coming out to celebrate. Because he was sending the kiln, and he was going to install it and fire it the first time, it made me rebuild my studio, buy and set up the equipment again, make pots, mix glazes, and rebuild the kiln shed. Jerry sped up my process. Wilson: I talked to Jerry and I was impressed with the list of people who made that big candy red kiln possible. I want to list every contributor besides Danser Inc. because it shows the way individuals and companies respond and help: Ron Puhasky of Cleveland

Electric Laboratories; Howard Axner of Axner Pottery Supply; John Barna of Saint-Gobain Industrial Ceramics; Jim Gilson of Shenango Advanced Ceramics; Marc Ward of Ward Burner Systems; Chris Mooney of Star Engineering Inc.; Graham Turnbull of Standard Ceramic Supply Company; Tim McGrath of Armor Refractories; Jim Wunch of Larkin Furnace; Gene Davis of Marrietta Transfer Company Inc.; Kevin Watucky of Metaltech Steel Company LLC; Vic Davis of Danser Inc.; and Eric Davis, who custom-painted the kiln. Nettles: They all made a huge, wonderful difference. It also made a difference that Cornelia Carey of CERF came to visit victims of Katrina, looking for artists to help. She saw first-hand what we were dealing with, and the scope of the many miles of devastation. She definitely had the same expression that everyone has when they come down: holy sh_t! “I had no idea how big of an area was destroyed.” Thus, she could explain it better to people. Cornelia also arranged for the board of CERF to meet in Ocean Springs, Mississippi, so that the board would see the devastation and what CERF’s support had meant. The board heard individual recipient artists’ stories. Wilson: I understand you cooked dinner for the CERF board. Nettles: I did. I have to add that the entire staff at CERF was terrific. They all listened and really seemed to care, and were very patient dealing with all of the obstacles. Wilson: Les Snow at the CERF office said CERF, in responding to Katrina artists, gave about $228,000 in grants and loans, $78,000 in-kind, plus donated services that didn’t go through CERF officially, but CERF made happen because they are a clearing house. He said you applied for a grant and then other suppliers donated to get your studio going again. That is what CERF does: it helps craft artists get going again after a disaster that threatens their career. [ Go to craftemergency.org to apply for a loan or grant (click on programs and services). You may also donate online. Yes, small donations make a difference! Support New Orleans by attending an exciting clay conference on the weekend of Feb. 29-Mar. 2, 2008. The event will feature demos by Cynthia Bringle, Joe Bova, Margaret Bohls, and Mapo Kinnord Peyton. For details, visit nolafiredup.org. Lana Wilson is a passionate handbuilder. See her Web site at www.lanawilson.com. If you have a comment or critique on her work, she welcomes your e-mail at: lana@ lanawilson.com. If you are a parent and a clay person, see the bulletin board and articles at The ClayParent Web site: www.mudmamasandpapas.com.

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Making a Pedestal Cake Plate column by BILL van GILDER • photos by rex looney

In Form I Teaching Techniques

Another One-Piece Wheel Project

Necessary Supplies • 1 - 6-lb. piece of very soft clay • 1 - 8-oz. piece of clay • 1 - 14" stiff bat • a ruler • a cut-off wire • a small rib • some water and a small sponge • a trimming tool Optional • decorating tools • a German chocolate cake

n the classroom we often get requests to demo the making steps of a particular pot. Though I don’t always ‘jump to it’ during that class, I do mentally log the idea for some further organization. That is: how can I best show the making steps, logically and in simple order? This column’s project is all about my current classroom mantra: ‘keep it simple’ (last year’s mantra was ‘keep it clean’).

Design and Function Making a plate and a pedestal separately and attaching the two parts when they’re leather-hard is very do-able. I’ve occasionally made them in my studio this way: easier for me because I’m constantly in the studio and am able to attentively monitor the drying speed of the week’s work, including plates and pedestals. I know when it’s time for handles, time to trim, or time to put the pots together. This scenario is usually not the case with students, however, as their limited time in the classroom studio is just a few hours, maybe twice a week. To avoid the often-heard—and dreaded —“These two pieces have cracked where I joined them” comment, I’ve learned to simplify the making steps of the projects I demo (but I don’t cut corners so close that the function or the aesthetics of the piece are compromised).

and some possible decorative elements of a cake plate: things to consider before the actual making begins. The bakers in our class informed the rest of us that the average cake is 9" to 10" wide, so we agreed that the thrown diameter of our plate would need to be 11" to 12", to allow for shrinkage. We also agreed that our plate would need some uniform and broad support beneath to prevent excessive warping during the drying and glaze-firing stages. It was decided that the top of the pedestal, where it joins the bottom of the plate, would need to be at least 6" to 7" wide. To provide some reasonable stability to the finished piece when in use, we agreed that the overall diameter of the pedestal’s foot would be a minimum of 8". We also settled on a minimum of 3" to a maximum of 6" for the pedestal’s height.

Knowing that the making of a two-piece cake plate has a small window of assembly time, my solution was to design this class project to be thrown in one piece.

This is an easy project to illustrate to the class (Fig. 2). As you draw the project, show the class the recent Clay Times column describing the making steps of a onepiece serving platter (see Clay Times, Sept./Oct. 2007).

Gather the class and, as you sit down at the wheel for the demo, have a discussion about the real functional requirements

“That project had a thrown handle pulled from the center of the plate. Our cake plate is made using that same technique, with

CLAYTIMES·COM n JANUARY/FEBRUARY 2008

During last week’s class, a student asked for the steps to make a cake plate (Fig. 1). It’s the type of plate that sits above a pedestal, which obviously raises the cake above the other foods on the table. Why? We don’t really know, but student Carolanne put forward the theory that in days of old, the sugar used in a cake mix was expensive, and therefore hard to come by. Since then, the cake has taken on a special celebrity status, demanding an elevated position among the foods on our table. That makes sense; prima donna cake…