ceramic
art
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an d
Vol. 12 No. 4 July/August 2006
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TIMES
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ingredients: loafer's glory, orangestone, r i v e r s i d e g r i t , h e l i o s , s t a n ' s r e d a n d ly m a n r e d .
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contents
TIMES
Clay July/August 2006 • Volume 12, Number 4 Detail of bowl by Tim Wedel; more on page 41.
features 34 Portrayals of Comfort: Works of Jennifer Allen Learn how the artist uses slips, glazes, and commercial decals to achieve a multi-layered surface.
38 One Plus One Equals Three Bryan Yancey and Tom Collins share the methods behind their 20-year collaboration.
42 Animal Confrontations Brian Somerville captures the human condition in his animated, bestial forms.
46 Buying a Slab Roller Here’s everything you need to know before you decide which slab roller is right for you.
51 Earth, Surrealism, and Marketing
Tulip Vase by Jennifer Allen. See story, page 34.
exhibits
New Hampshire potter Jeff Brown shares his history and the importance of marketing via a Web site.
14 “Get Fired”
56 Art Centers: The Other Education Arena
ACGA clay artists show off their wares
Why these studios should not be overlooked as springboards for a career in the ceramic arts ...
58 Building an Adjustable Banding Wheel This inexpensive project could help save your back—and your neck!
20 “Salt and Pepper” Shaking up the “salt & pepper” theme in clay Wind Breeds Chaos by Brian Somerville. Additional animal action appears on page 42.
41 “Contemporary Clay” at The Art Center in Grand Junction, Colorado
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contents
July/August 2006 • Volume 12, Number 4
®
TIMES
Clay
Seizures in Paradise by Peter Lenzo. Story on page 20.
columns
departments 60 THE GALLERY
11 EDITOR’S DESK We got nailed ... but we still made pots!
A selection of new works by CT readers
73 POTTERY CLASSES
13 YOUR WORDS Letters from our readers
16 WHAT’S HOT Clay world news, events, and calls for entries
Where to learn claywork in the United States and Canada
23 AS FAR AS I KNOW “Earthworms and Glazes” by Pete Pinnell
27 BENEATH THE SURFACE “Mud Mamas II” by Lana Wilson
31 TEACHING TECHNIQUES “Fluting Methods” by Bill van Gilder
55 GREAT GLAZES Formulas you can use
65 TOOL TIMES “Handbuilding Again” by Vince Pitelka
67 KILNS & FIRING
. Wheel-thrown and assembled work by Tom Collins, with surface decoration by Bryan Yancey.
“On the Shelf” by Marc Ward
68 STUDIO HEALTH & SAFETY
New Hampshire clay artist Jeff Brown now enjoys the benefits of online marketing.
“OSHA Violations Most Frequently Cited in 2005” by Monona Rossol
71 BOOKS & VIDEOS On the cover: Persephone’s Year Salt & Pepper by Farraday Newsome. Glazed terra cotta.
79 SLURRY BUCKET TIPS Save time and trouble with these studio-tested tips & techniques
80 CLASSIFIED MARKETPLACE
“Handmade Culture” review by Steven Branfman
82 AROUND THE FIREBOX “Do it, and the Money Will Come” by David Hendley
Goods and services especially for clay artists
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ceramic art trends, tools & techniques
®
magazine
TIMES
Clay
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 Production Assistant: Jenna McCracken claytimes@aol.com Proofreader: Jon Singer Office Assistant: Ingrid Phillips Editorial Interns: Jamie Bussey & Mac Ward Regular Columnists: Steve Branfman, Books & Videos Pete Pinnell, As Far as I Know Monona Rossol, Health & Safety Lana Wilson, Beneath the Surface Marc Ward, Kilns & Firing David Hendley, Around the Firebox Kelly Savino, Around the Firebox Vince Pitelka, Tool Times Bill van Gilder, Teaching Techniques Contributing Writers: K.T. Anders • John Britt • Karen Freeman Mike Harrison • John Johnsen Jenna McCracken • Mac Ward Published by: CLAY TIMES INC. 15481 Second St. • PO Box 365 Waterford, Virginia 20197-0365 (540) 882-3576 • FAX (540) 882-4196
CLAyTIMES·COM n July/August 2006
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. Freelance editorial and photographic submissions are welcome: Please contact Clay Times or visit our Web site for writer’s and photographer’s guidelines. POSTMASTER: Address service requested. Send address changes to: Clay Times, PO Box 365, Waterford, VA 20197-0365. Copyright © 2006 Clay Times, Inc. 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.
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by sheri leigh & polly beach
W
hile attending CCACA (the California Conference for the Advancement of Ceramic Art: see story on page 62) with Polly [Beach, CT editor], we decided to pamper ourselves. The only available service we could book together in short notice was a pedicure. While relaxing and chatting in the chairs, Polly suggested we also get our nails done. My response was, “No freakin’ way!” Of course, as a ceramics professor, I cannot have long fake nails. But she talked me into it as “research.” I must admit, I felt feminine and sexy with those things. However, I was really embarrassed to be around all these clay people with my fake nails. I felt selfconscious that they were staring at them. I explained that Polly put me up to it, that I was going to experiment as a ceramic artist with them, and that they were a joke! It was fun, but certain normal behaviors became quite challenging, like picking food out of my teeth—the nails are too thick! After returning to work, there were many more things that became a lot more frustrating, such as typing on my laptop. I kept hitting the wrong keys, and had to slow down my typing pace a lot. Considering Acrylic Nails? A few pointers: • It is possible to throw pots with them, but the opening process leaves ridges in the floor of the pot. Keep a rib handy to smooth it out after opening. • Opt for the “French” manicure—the one where the nail tips are artificially bright white and opaque. It costs about $5 extra, but nicely conceals any clay left under the nails.
• If you don’t polish them and you ask to have them rounded, the nails will last longer. Touch-ups are needed at least every 4 weeks to fill in areas of new growth.
Fingers and toes — After taking a break for a relaxing pedicure during CCACA, the recent California clay conference, CT editor Polly Beach and ceramics professor Sheri Leigh agreed to “experiment” with acrylic nails. Throwing pots was really funny, and the feeling of clay under those nails was icky! After stirring up black glaze, I had to scrub with a nail brush so my french manicure would look pretty and white again. When about two-and-a-half weeks of “research” time had passed, I decided to have the nails removed, and looked forward to returning to my normal clay life. My fiancé, Kelly, was kind of bummed, since he thought my hands looked like a girl’s instead of a construction worker’s. Following removal (it hurt!), my real nails were thin and brittle, and kept breaking down past the quick! They’re still not normal, weeks later. I think I’ll stick with workin’ hands, but look forward to a vacation time when I can get them again, and feel like a girly girl. Sheri Leigh is Summer Workshops Director and Professor of Ceramics at Sierra Nevada College, Incline Village, Nevada. [
Sheri figured out how to throw with gloved hands and via the two-sponge method (middle right), while Polly mastered the art of trimming a foot with her “handy” new set of custom tools (bottom).
CLAyTIMES·COM n July/August 2006
• A surprise benefit: with good acrylic nails applied at a quality salon, you can go as long as a month without having to do any sort of maintenance or deal with breakage (a far cry from the daily care of natural nails).
Spouting Off I Editor’s Desk
We Got Nailed (but we still made pots!)
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CT Kemp, Platter & Kiln 6-06
5/5/06
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Page 1
"Amaco/Excel kilns allow me to move through ideas quickly, and experiment more."
Jim Kemp Recipient of "Creative Renewal Grant" Indiana Arts Commission
"It's a lot easier to fire the EX-399 electric kiln than a gas kiln. I had to attend to my gas kiln for 12 hours. Now firing is usually 6 hours and the kiln shuts off automatically. The Creative Renewal Fellowship Arts Grant paid for the electrical wiring and an equipment purchase of two Amaco/Excel EX-399 models". 12
"All the materials I use in my studio are Amaco®: Velvet Underglazes, 67-M Indian Red Clay, ware carts, Brent® wheels and now EX-399 kilns." To buy a "Play With It" T-shirt like Jim's from the Amaco Retro Collection, visit www.amaco.com.
American Art Clay Co., Inc. • (800) 374-1600 • www.amaco.com • Email: TalkToUs@amaco.com
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Southeast ACC I enjoyed the excellent article on Fong Choo and Alice Munn in the May/June issue. I attended the ACCSE conference but was unable to go to either of their workshops. I spoke to them and saw their work and slides, but it was nice to have even more exposure to their crafts. For your readers’ information, the southeast region of the American Craft Council is the only region still active. We hold an annual conference and a juried show. We have workshops, speakers, and panel discussions, as well as the opening of the show. The next conference will be held at Arrowmont in Gatlinburg, Tennessee, in 2007. The conference is open to anyone. Watch for information as the date approaches. Christie Rogers, ACCSE secretary
Mud Mamas Feedback • I just want to thank you for your most recent article, “Mud Mamas” [May/June ’06 Clay Times]. As someone who finally has the chance to be a full-time studio potter after waiting for eight years for the right time, and for someone who has entered into my 30s, having children is a subject that weighs heavily on my mind. Being an elementary teacher for eight years, I know how much energy, dedication, and time it takes to be a good adult role model, and I got to say goodbye to the kids come 3 pm! Anyway, I’ve been struggling with the decision of whether my husband and I should have kids or not and knowing that if we did, I’d have to put my budding career on the back burner. That’s not something that I’m sure I want to do. Yet at the same time, I don’t want to live with such a huge regret as not having kids later on in my life.
Grace Sheese • Eugene, Oregon • Hi Lana. I took a workshop with you a couple of years ago in Charleston, South Carolina, and I always make a point to
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Well, I really wanted to thank you for the article on such a touching subject. It really hit home for me and it couldn’t have come at a better time. Hopefully, my husband and I will make our decision soon. But in the meantime, I’ll be looking for your next article on the subject. Kelly Thiel • Folly Beach, SC
turning his drive for precision to making fine custom windows. Out of the limelight, a reputation evaporates quickly. But what Ron accomplished as a potter ought not to slip into obscurity. Ron was one of the important figures in the regeneration of traditional pottery-making around California in the 1960s and 70s. He received an M.F.A. from Mills College, Oakland, in 1963 and taught ceramics at Mills in place of Tony Prieto for one year, then stayed on another two years teaching craft-oriented courses and assisting in the art gallery. In 1966, he moved to rural Occidental, where he and wife Bev looked after a friend’s country estate, which had a small pottery studio. In this idyllic setting, Ron produced a wide range of domestic stoneware and porcelain, showing and touring the circuit of California art fairs, and was an active member of the San Francisco Potters Association. But, by 1987, it seemed time to do something else: make a better living and get a new view of life. Some of Ron’s pots are conserved in the Oakland Museum, the Crocker in Sacramento, and the Prieto Collection at Mills. He was also featured in Charlotte Speight’s Hands in Clay (1979 ed.), demonstrating, and through a number of photos of his work. Ron was of small stature but he could make really big pots with nice control and he had a flair for unusual design. One of his most interesting ideas was a cover with a hole in the middle, a kind of negative knob—you put your fingers in there to pick it up. He used it on lidded jars and stacked-up storage dishes, which were signature pieces. Pots that remain in Bev Judd’s collection are marvelous: strong, confident, experimental, and always meticulously crafted. In fact, for Ron Judd, craftsmanship above all was the main focus of his life. And for this devotion especially, he deserves to be remembered. John Chambers • Sebastopol, California [
Ron Judd Remembered Notice has not gotten out to the ceramic community about Ron Judd, who passed away last July from leukemia. Part of it was, after pursuing a living for over 20 years as a studio potter, Ron gave up making pots and launched a new career as a woodworker,
Correction Peggy Albers deserved photo credit for the how-to images published with the article on Jerry Maschinot (Clay Times, May/June 2006). We regret the error. —Editor
CLAyTIMES·COM n July/August 2006
So, your article really touched me and I want to thank you for your candor and above all else, for writing about a subject that I’m sure most women artists struggle with, but is so rarely discussed. I suddenly feel like I’m no longer alone.
read your articles. All of your articles are fabulous, but the one in the May/June issue really got to me. I’m 33 years old, and my husband and I are trying to decide if we should have children. We need to decide soon, as I don’t want to get much older before subjecting my body to the strains of pregnancy. We have a core group of friends, four couples, here where we live, and three of those four have small babies. We are the only couple without a baby. These friends are not artists, but they are very good people, only they make me feel so left out. They don’t understand my need to work in clay and my concerns about having children. All this talk about playgroups they’ve attended, and who is eating rice cereal and who isn’t, drives me insane. I don’t want to lose myself into this world of “momminess.” Is it possible to be a good mother without going overboard like a couple of these girls have? I do want children, but I am terrified that I will lose myself. My mother gave up her art for raising my brother and me, and I don’t want to have to make that choice. Even now, if I don’t get in enough clay time throughout the week, I get cranky and irritable. I certainly don’t want to focus that negativity towards my children. I completely agree with the one artist in your article who stated that her “greatest fear is that she will stop, and never get back to, making art.” I think of it as momentum. If I lose momentum in my studio, it is very hard for me to get started again. It’s a bit like another artist in your article who stated that she needed to “get centered” to work in clay. I feel that, as well.
Spouting Off I Letters
Your Words
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Hot Stuff I On Exhibit
Get Fired Hot ceramics presented by ACGA
T
aking place at two venues, ACGA’s Pence Gallery and the Davis Art Center, the “Get Fired” show ran simultaneously as the backdrop to the California Conference for the Advancement of Ceramic Art in Davis, California.
CLAyTIMES·COM n July/August 2006
The conference’s theme was ceramic sculpture. “This topic was particularly apt, since in the ceramic community, the town of Davis is associated with the artist Robert Arneson,” said show juror Suzanne Baizerman, former curator of Crafts and Decorative Arts at the Oakland Museum of California. Arneson’s students played a major role in the development of ceramic sculpture, and therefore it was not surprising to find that many submitted pieces were sculptures. The group exhibition at the Pence Gallery demonstrated a full range of sculptural forms. Figurative work dominated the exhibit, including pieces of realistic depictions, abstract figures, and narrative expression. For example, Jane Burton’s abstract figure bears from “Her Story” were covered in bands
of text. Carol Wedemeyer’s “Lollygagging” also created narrative expression in an enigmatic figure which emerges from a rocking teapot. Nuala Crede’s “Babes in Arms” provided a social commentary as well, through its poignant, doll-like figures of tots geared up for terrorism. Others whose work evoked social messages included Robert Finn, with “On My Mind;” “Woman,” created by cubist-inspired Janet Bajorek; and Jean Pfann with “Head: Man with Dreadlocks.” Even seemingly functional works on closer inspection dealt with conceptual issues, such as Tom Collins’ teapot and Linda Mau’s “Victorian Teapot.” Despite the broad messages conveyed by the various pieces and their subsequent creators, the exhibit also featured concrete, functional works. Baizerman concluded by saying, “The call to ‘Get Fired’ brought forth a spirited response, testifying to the vitality of this venerable association.” [
Top and Bottom: Steeples by Christie Beniston. 84" x ½". Ceramic and aluminum. Center: Leaflines by Sara Post. 18" x 15". Stoneware with sgraffito. Cone 3, oxidation firing.
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Hot Stuff I On Exhibit
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CLAyTIMES·COM n July/August 2006
Clockwise from top left: Non-Fiction by Carol Wedemeyer; 14" x 12" x 9"; cone 6. Smokestacks by Patricia Yenawine; 9½" x 11½" x 4½"; anagama-fired stoneware. Sentry by Virginia Rigney; 19" x 7" x 4"; salt-fired and fumed stoneware; cone 10. Woven Plate II by Jan Schachter; 2" x 14½" x 6½"; wood-fired porcelain. I’ve Got It by Fred Yokel; 18" x 10" x 8"; raku-fired with carved design; porcelain ball.
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k
What’s Hot
ceramic art world news • events • calls for entries
Awards ‰ The 2006 annual Windgate Fellowship awards will be going to Joshua Copus from the University of North Carolina, Asheville, for ceramics; Joel Queen from Western Carolina University for clay; and Mark Reigelman II from Cleveland Institute of Arts for design/sculpture. With his grant money, Copus plans to set up a professional ceramics studio in western North Carolina. Building on research started as an undergraduate research scholar, he will examine local and non-industrially processed materials in contemporary ceramics. He is expected to earn a Bachelor of Fine Arts degree in the fall of 2006. Queen, a ninth-generation potter whose roots can be traced back to before the Cherokee Removal of 1838, will use the fellowship award to expand on traditional Cherokee stamped pottery. He will also create new work, both functional and non-functional pieces.
CLAYTIMES·COM ■ JULY/AUGUST 2006
Reigelman’s award, for design and sculpture, will be used for his “Stair Square” project, which addresses the potential for a synergistic relationship between social interaction and “public furniture.” The fellowship program administered by the University of North Carolina Center for Craft, Creativity and Design in Hendersonville, NC, offers ten $15,000 fellowships to graduating university seniors or fifth year students. The awards are determined by a panel of three nationally recognized art professionals who review applications and determine the winners on the basis of academic merit, the future promise of the individual’s work, and the potential for the applicant to contribute to the advancement in their field.
Fellowships are open to students with a focus in book arts, ceramics, design, drawing, fiber, glass, metals, mixed media, painting, photography, printmaking, sculpture, textiles, or wood. For more information on the Windgate Fellowship Award or the other winners, visit http://www.craftcreativitydesign.org /research/wingate.php, e-mail dmagie@ craftcreativity.org, or telephone (828) 8902050.
‰ The Kentucky Arts Council recently received the National Endowment for the Arts award, thereby receiving $657,400 for the Partnership Agreement grant. The grant is the art council’s largest source of federal funding.
Auction ‰ The 21st annual Penland School of Crafts Benefit Auction will take place August 11-12 at the Penland campus in North Carolina. The auction will feature more than 150 pieces of work in ceramics, glass, metals, jewelry, textiles, wood, handmade books, photography, printmaking, drawing and painting. Pieces have been donated by Penland faculty and resident artists. The benefit will also include an exhibition and a lecture by Bebe Johnson, co-proprieter of the Pritam and Eames Gallery in East Hampton, New York. Proceeds will benefit the programs and studios of Penland School of Crafts. Admission for the auction varies. The cost is $50 for the Friday afternoon lecture and wood auction; $100 for the Friday evening reception, dinner, live and silent auctions; and $200 for Saturday’s events, which include coffee at the Penland resident artist studios, live and silent auctions, a luncheon, a reception, and a raffle
at the Penland gallery. Absentee bidding is available. To request an invitation or make reservations, e-mail auction@penland.org or phone (828) 765-2359, ext. 45. For more information, visit www.penland.org. Penland School of Crafts is located 52 miles north of Asheville, NC.
Relief for Artists ‰ The New Orleans Jazz and Heritage Festival, which took place May 5-7, featured artists who received assistance from the Craft Emergency Relief Fund. Since last August CERF has distributed over $200,000 in direct aid to 68 professional craft artists. Most of CERF’s efforts have been concentrated in the Gulf Coast region. The funds assist artists in covering basic needs, as well as with the recovery costs of rebuilding and retooling homes and studios. The Heritage Festival for many artists signaled a step forward after the devastation caused by Hurricane Katrina. For more information on CERF, visit www.craftemergency.org.
Clay Festival ‰ The 2006 American Pottery Festival takes place September 8-10 at the Northern Clay Center, 2424 Franklin Avenue East in Minneapolis, Minnesota. The annual fundraising benefit brings together collectors and artists to share their work, while also providing the center with needed resources. APF will host workshops and panel discussions featuring artists Sequoia Miller, Bernadette Curran, Andy Brayman, Christa Assad and Steve Godfrey. The festival will feature the work of regional and national potters, including Ron Meyers, Josh DeWeese,
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The center is offering a special Collectors’ Weekend Package, which includes tours of area artists’ studios, museums and private collections, as well as tickets to the festival’s events. The package is priced at $300 per person. For more information, e-mail anniegemmell@northernclaycenter.org or telephone (612) 339-8007, ext. 305.
On July 6, a kick-off event for visiting and local journalists will be held at the Santa Fe Art Institute from 6-8 p.m. The reception will preview exhibition stores and afterwards a preview of Santa Fe’s 6th International Biennial. For more information, e-mail artseditor@ santafean.com or artbeatassociates@hotmail.com, or phone (505) 983-1444 or (505) 424-6868.
Museum Reopens Press Preview ‰ Santa Fe’s contemporary art organizations have worked together to present, “Biennial Santa Fe,� which features programming at venues throughout Santa Fe. Santa Fean has published the Official Guide to Contemporary Art in the City Different, which includes information on exhibitions, a calendar of events, city map and other information. The guide is available at select galleries and venues around town.
‰ On June 23, Toronto’s Gardiner Museum reopens after undergoing renovations. The reopening includes a new gallery with Canadian and international contemporary ceramics, new Japanese and European galleries, expanded clay studios for artists and students, the new Gail Brooker Ceramic Research Library, among other items. To visit or for more information, visit www.gardinermuseum.com, or call (416) 586-8080.
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Hot Stuff I News & Events
Andy Shaw, and Warren MacKenzie, among others.
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s COMPLIMENTARY MEALS ON SITE CAMPING AVAILABLE
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Hot Stuff I News & Events
Ceramics Exhibitions
‰ “Undisciplined,” part of the 3rd Bien-
‰
nale of Ceramics in Contemporary Art will run from July 8 through September 10 in the Ligurian Riviera of Italy.
The Institute for American Indian Arts (IAIA) Museum, 108 Cathedral Place, Santa Fe on July 7 from 11 am-1 pm will host a press preview for the first Indigenous Biennial exhibition, “Relations: Indigenous Dialogue.” For more information, e-mail sspengler@ sfai.org or jvillani@iaia.edu, or call (505) 424-2351 or (505) 424-5050.
The 3rd Biennale is a network aimed at developing the social and cultural assets of the Ceramic District in the Ligurian Riviera. All the works in the exhibit have been created over the last two years.
“I had always used my own glaze recipes, but Spectrum’s Raku Glazes gave my work some exciting new dimensions and they are so convenient.” - Ian Chung
The exhibit will include sites, outdoor installations, project presentations, as well as scientific research presentations. For more information, e-mail info@ attese.it.
‰ “Transformation and Use: New Works by Ken Matsuzaki,” takes place June 17 through July 12 at the Pucker Gallery in Boston, Massachusetts. The exhibit will feature the work of Japanese artist Ken Matsuzaki, including bottles, tea bowls, mizusashi (a lidded fresh water container used in the tea ceremony), vases, sake bottles and cups, and yunomi (tea cups). Matsuzaki’s pieces are known for rich, sculptural glazes and strong, energetic forms, making his work both beautiful and personal. Matsuzaki trained at Tamagawa University and apprenticed with Japanese Living National Treasure Tatsuzo Shimaoka in Mashiko, Japan. His work is distinct in Japanese tradition, but also modern and unique. Additionally Matsuzaki works have also been featured in the Metropolitan Museum of Art 2003 exhibition “Turning Point: Oribe and the Arts of Sixteenth Century Japan” and the Boston Museum of Fine Arts’ 2005 exhibition “Contemporary Clay: Japanese Ceramics for the New Century.” Pucker Gallery is located on 171 Newbury Street, Boston, MA 02116. To see works by Matsuzaki and for more information, visit www.puckergallery.com, or e-mail jessica@puckergallery.com, or phone (617) 267-9473.
CLAyTIMES·COM n July/August 2006
‰ Toronto’s Gardiner Museum is hosting “Jean-Pierre Larocque: Clay, Sculpture and Drawings,” currently until October 9.
For Details on how Ian made the pots, go to our website: http://www.spectrumglazes.com Our New Address: 94 Fenmar Dr. Toronto, ON Canada M9L 1M5
Phone: (800) 970-1970 (416) 747-8310 Fax: (416) 747-8320 Email: info@spectrumglazes.com
Jean-Pierre Larocque’s work is the result of three tons of clay and over 100 firings, providing a display of large multifaceted heads and textured figures. Larocque’s open-ended approach to clay exposes and uncovers an emotional intensity with each radical transformation. To view a video and fully illustrated catalogue, and for more information, visit www.gardinermuseum.com.
‰ The Grimson Laurel Gallery in Bakersville, North Carolina will host the exhibit
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For more information, telephone (828) 688-3599.
‰ “Contain yourself! An Exploration of Containment in the Literal, the Abstract and the Applied” takes place August 12-27 at Hood College’s Hodson Gallery in the Tatem Art Center in Frederick, Maryland. The exhibit will feature work by Keith Parsley, a ceramic artist based in Monkton, Maryland. The exhibit employs stoneware and functional ware to address the issue of containment. The work in the exhibit, through the vehicle of form, texture and surface, invites viewers to reflect on aesthetic values and influences.
and production of craftwork supplied to galleries and craft stores. Submitted work must have been produced or introduced after August 31, 2005, to be eligible. Work previously submitted to the NICHE Awards may not be resubmitted. The entry fee is $35 and $15 for buyers market exhibitors (images are not returnable); the entry deadline is September 5. For more information, visit www.americancraft.com.
‰ Applications are now being accepted for participation in the Society of Arts and Crafts of Boston’s CRAFTBOSTON exhibition and sale. CRAFTBOSTON will take place March 30 through April 1, 2007, at the Seaport World Trade Center in Boston, Massachusetts. Applications will be accepted through September 8, 2006 for the following areas: baskets, ceramics, fiber decorative, fiber wearable, furniture, glass, jewelry, leather, metal, mixed media, paper, and wood. [
hot stuff I News & Events
“New Work,” featuring the work of Mark Hewitt, on August 12 and 13.
Parsley’s high fire functional and sculptural work recognizes the constant struggle of individuals in society to maintain their individuality, and celebrates the victory that each individual achieves by preserving their eccentricity. A reception with Parsley will be held in the gallery on August 12 at 6:30 pm. Both the exhibit and the reception are free and open to the public. For more information, call (301) 663-3131.
Calls for Entries July submission deadline
‰“ClayFest 2006” is open to current and former residents of Indiana. Entry fee is $20 for three slides; entry deadline is July 14. The event takes place Sept. 5-29. To request a prospectus or further information, contact the University of Indianapolis, Dept. of Art and Design, 1400 E. Hanna Ave., Indianapolis, IN 46227, e-mail pduval@uindy.edu, or telephone (317) 788-3253.
‰ NICHE magazine, a trade publication for retailers of American craft, is sponsoring the 2007 NICHE Awards competition, which celebrates excellence and innovation in American and Canadian craft. The competition is open to any professional craft artist over the age of 21 who is actively involved in the design
CLAyTIMES·COM n July/August 2006
September submission deadlines
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Brancusi Pepper and Salt by Neil Patterson. Stoneware, cone 06 oxidation.
Salt/Pepper Set by James Klueg. Slip-cast earthenware with overglaze decoration.
Salt and Pepper by Ellen Shankin. Thrown and altered stoneware. The Wizard’s Evil by Marilyn Andrews. Handbuilt stoneware with slips and glaze.
Salt and Pepper Pots by Emily Schroeder. Pinched porcelain.
Chef Dan Among His Elements by Stephanie Osser.
Salt and Pepper Set by Paul Dresang. Residual salt-fired porcelain, masked and sandblasted.
CLAyTIMES¡COM n July/August 2006
Sensation by Ben Eberle. 44" x 22" x 20". Handbuilt stoneware, acrylic finish.
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Saggar-Fired Bull Dog by Ronnie Gould. 8" x 6" x 12½". Stoneware.
Sprinkle by Heather Mae Erickson. Reduction-fired porcelain.
Hot Stuff I On Exhibit
Untitled by Bonnie Seeman. Porcelain and glass.
an extravagance of
Salt & Pepper BB Salt and Pepper Brick by Bruce Cochrane. Salt-fired to cone 03.
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The national invitational was curated by guest The numerous possibilities in which the subPhiladelphia curator, Gail M. Brown. ject of salt and pepper could be explored allowed the artists great freedom when creating. “Certain objects and forms are commonly Some made functional wares, some focused thought of in pairs,” Brown remarked, noting that on sculptural forms and vessels, while others the salt/pepper couple “evoke a complementary depicted narrative points of view. [ yin and yang, a point/counterpoint. ” [
CLAyTIMES·COM n July/August 2006
Swell Jar by Simon Levin. 11" x 8" x 8". Anagama-fired porcelain, wheel-thrown and stretched.
altimore Clayworks recently hosted “An altimore Clayworks recently hosted Extravagance of Salt & Pepper: Contain“An Extravagance of ‘Salt & Pepper’: ers, Shakers, Concepts,” which included Containers, Shakers, Concepts,” which pieces from more than 100 emerging, midshowcased ceramic works by more than 100 career, and established artists. Gail M. Brown emerging, mid-career, and established artists. from Philadelphia was the curator for the national invitational exhibition. The numerous possibilities in which the salt and pepper theme could be explored allowed “Certain objects and forms are commonly participating artists great freedom of expresthought of in pairs,” Brown said. The couple, sion. Some made functional wares, some salt and pepper, “evoke a complementary yin focused on sculptural forms and vessels, and yang, a point/counterpoint,” she comand others depicted narrative points of view. mented.
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C
harles Darwin is known (and still much in the news, even 124 years after his death) for his theory of evolution. What many people don’t realize is that evolution was not the part of science he found most interesting. Darwin’s real love was the earthworm. He spent decades raising and studying them, and at the very end of his life, published a book about them.¹ In his book, he reports the results of his observations and many experiments. In particular, I enjoyed this short passage in the first chapter: “Worms do not possess any sense of hearing. They took not the least notice of the shrill notes from a metal whistle, which was repeatedly sounded near them; nor did they of the deepest and loudest tones of a bassoon. They were indifferent to shouts, if care was taken that the breath did not strike them. When placed on a table close to the keys of a piano, which was played as loudly as possible, they remained perfectly quiet.”² What’s wonderful about Darwin’s investigation is how open he was to trying just about anything to find out if worms could hear. He didn’t just “look it up” in a book, he devised experiments and ran the tests himself. I love imagining the bearded, 72-year-old Darwin sitting in his billiards room (which he had converted into an office), serenading earthworms on the bassoon. The wag in me would comment that perhaps Darwin’s worms had a different taste in music, or perhaps he didn’t shout the right things (“Look out! It’s a bird!”). I’d also like to think that when he shouted at his worms, his wife came out of the kitchen and said, “Who are you talking to, dear?” Charles Darwin’s direct, almost child-like approach to investigation made him a great scientist.
Dear Professor Pinnell,
I have this favorite glaze that I use all the time. What would happen if I put some copper in it?
Best wishes, Curious
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Dear Curious,
Why don’t you try it and let me know what happens?
Best wishes, Pete
To put all of this into an academic model, Charles Darwin was doing primary research, while Curious is engaging in secondary research. Primary research is original, and seeks to find knowledge through experimentation and observation. Secondary research involves finding out what others have done, and learning from that.
other hand, if Curious hates green (and shiny, transparent greens most of all), she might declare that same test a disaster. It’s worth noting that “crazing” (a fine cracking of a glaze) has two names: crazing and crackle. We call it crazing when we don’t want it (and consider it a fault), and crackle when we do want it (and consider it a source of beauty). Whether it’s a good result or a disaster sometimes depends on the situation, and at other times is simply a matter of personal preference. I like to compare glaze mixing with cooking. You don’t really become a good cook until you know what everything in the kitchen tastes like. You can’t learn this from a cookbook; you can only learn it from primary research—making a big mess and serving it to guests (just kidding; I only serve my big messes to my kids). In the same way, we can only become facile with glazes when we know what everything in the glaze room “tastes like,” or what particular qualities each material brings to a glaze. You can read all day (or write countless e-mails
If you think I’m writing this to belittle Curious, you’re mistaken. There’s nothing wrong with secondary research—why should we constantly re-invent the wheel? We should begin research with a search through the pertinent literature to find out what others have previously estabWhy should we constantly re-invent the wheel? lished on a topic. Once we know the state of We should begin research with a search through the percurrent knowledge, tinent literature to find out what others have previously we will be in a better position to extend that established on a topic. Once we know the state of current knowledge by doing knowledge, we will be in a better position to extend that our own primary research. knowledge by doing our own primary research. Beginning with secondary research can also prevent us from investigating obvious dead ends. If Curious had written, “What would happen if I put some tomatoes in my glaze?” I could have saved her a lot of time by pointing out the futility of using tomatoes as a glaze colorant (and pointing out that they’re great on BLTs). Beyond research in the abstract sense, there is a reason why potters tend to lean toward primary research over secondary. When we’re talking about something like glazes, the difference between a successful and an unsuccessful test is often just a matter of personal preference. I might try putting some copper into that base glaze sent to me by Curious and declare it a complete success, since I happen to like transparent green glazes (a probable outcome). On the
to me), but none of that will ever replace the learning that occurs from getting out a gram scale and mixing up some tests. I wrote a column on basic glaze mixing once before, and if you’ve never mixed a glaze, you might find it helpful.³ I’ve also written on how to find new colors from an existing glaze, and if you’ve never tried this before, you might also find these helpful.4 As a teacher, I always find it interesting that some students will dive into experimentation, while others who are equally interested in glazes will hesitate to go into the glaze room. I think a big part of it (for many people) is simple fear: they’re afraid that they might do something wrong and look stupid. All I
CLAyTIMES·COM n July/August 2006
I think of this whenever I get an e-mail along the lines of this:
I get this kind of e-mail fairly often, and my answer is usually something like this:
by PETE PINNELL
Perspectives I As Far As I Know
Earthworms & Glazes
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Perspectives I As Far As I Know
can do to alleviate your fears is quote the great movie, “This is Spinal Tap,” in which a bone-headed English rocker says, “There’s a fine line between clever and stupid.” I would add that we never find the “fine line” until we cross over into “stupid” many, many times. This is why we always put our glaze tests on a sacrificial slab of clay or on an old, beat up kiln shelf: so our stupidity isn’t fatal to our good kiln shelves. To return to my cooking analogy, I once had a college roommate who decided to impress his girlfriend’s parents by making homemade lasagna when they came to visit. He used his sister’s recipe, followed it to the letter, and proudly served the fabulous-smelling dish. The problem was, no one could eat it: it was so hot (in the spicy sense) that it was completely inedible. It turned out that he had misread “1/8 teaspoon black pepper” as “8 teaspoons black pepper.” Because he was not experienced in the kitchen, it was easy for him to make a mistake that an even minimally more experienced cook would have spotted immediately. So how would a novice in the glaze room know if a hand-scrawled glaze recipe read “1/8% cobalt oxide” or “8% cobalt oxide?” Only by experience.
of doing something stupid, how do you start? There’s a dizzying number of white powders in a glaze room. Where do we even begin? As it happens, I’m going to give you some simple ways to learn about materials and find some wonderful new glazes—next issue. [ Footnotes ¹ The Formation of Vegetable Mould Through the Action of Worms, with Observations on Their Habits, by Charles Darwin. This entire book is now in the public domain, and can be read online or downloaded. You can find a full 1896 text facsimile at http://books.google.com.
² Chapter 1, Habits of Worms. 1892 Edition, p. 26. (I found this in the University of Nebraska library. I love libraries.) ³ “Home Brew: How to Mix Your Own Glazes,” Clay Times, Sept/Oct 1999, p. 18, 20; Clay Times, Nov/Dec 1999, p. 18, 20. 4
“Coloring Outside the Lines,” Clay Times, July/ August 2003, p. 21, 55; “Coloring Further Outside the Lines,” Clay Times, July/Aug 2003, p. 21, 29.
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 July/August 2006
It’s also interesting to note that “too much” is sometimes pretty nice, so the “fine line” we were speaking of is often finer than we like to think. Some people might love lasagna made with 8 teaspoons of black pepper, while others might love a glaze with 8% cobalt oxide (even if experts like me tell you that’s way too much). Which leads us back to Charles Darwin. There were probably other naturalists in the 19th century who had written on earthworms, and he could (and perhaps did) look up what they had written. Yet, he still did his own tests because he wanted to see for himself. Darwin knew all tests contain variables and assumptions, and he knew if he did his own tests, he could control those variables. His tests weren’t perfect either, if you think about it. They assumed that if an earthworm could hear, its hearing would be within the same range as humans. But what if a worm tends to hear sounds in a range much higher or lower than us? His tests wouldn’t have shown that. When you ask an expert “what would happen if … ” he might assume a different clay body, application method, or way of firing. Or, he might give you the wrong answer. If you really want to know, you need to test it yourself. So, now that you’ve done your secondary research and you’re over your fear
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CLAyTIMES·COM n July/August 2006
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1/2 page
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Page 1
Ceramics:Art and Perception
Ceramics:Technical
A magazine for everyone interested
A magazine for every ceramic artist to
in ceramic art
discover new techniques
CArteramics and Perception
2005 ISSUE
62
INTERNATIONAL AU$14 US$15 £9 NZ$18 CAN$19 Euro14
CeramicsTECHNICAL AU$17.50 US$16 £10 NZ$25 CAN$23 Euro 17.50
Workshops • Fire Sculptures • Woodfiring Bone China Techniques • Residencies • Slips Kilns and Firing Processes • Ceramic Education Books • Collaboration with china painters
A high quality quarterly publication with excellent colour photographs and well written articles on ceramic art. Enjoy international and multicultural perspectives on a broad range of ceramic subjects from the avant garde and contemporary to the traditional, philosophical and historical.
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SUBSCRIBE ONLINE: www.ceramicart.com.au Ceramics: Art and Perception Published quarterly - Mar, June, Sept, Dec AU$64 US$64 £36 Euro 60 CAN$80 NZ$80 Ceramics: Technical Published biannually - May, November AU$40 US$40 £24 Euro 40 CAN$50 NZ$50
A biannual magazine devoted to research in the ceramic arts. Articles cover innovative and traditional uses of materials and processes including clay and glazes, kilns and firing, forms, techniques and decorative methods. Photographs, diagrams and glaze recipes throughout plus workshops, book reviews and more.
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Beginners & Professionals
CLAyTIMES·COM n July/August 2006
Olympic commercial electric and gas kilns are heavily insulated (6” of insulation and air space) for energy efficiency and built to last with heavy angle iron frames, stainless steel skins. The electric kilns have options for kiln sitter and limit timer, electronic controller, 480 volts, 3-phase, and 3- zone control. Olympic DownDrafts are designed to fire on propane or natural gas. Stainless steel or galvanized vent hoods can be added as option in addition to kiln sitter and timer, electronic control wall unit, pyrometer and blower burners. Olympic commercial electric kilns range in sizes from 5.5 – 53 cubic feet and the gas kilns range from 9-40 (useable space) cubic feet. Strong, Durable & Affordable!
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by LANA WILSON
“I have always felt the pressure to be a decent artist and a decent mother. — clay artist and mother of two children
T
his is the second of three columns on being a parent and working in clay. The first column dealt with the balancing act of having very young children while trying to work in clay. In this column, three mothers discuss life with clay and school age children, and two grandmothers look back. The last column will be on Janis Wunderlich, a mother of five children who is fiercely dedicated to her claywork in her limited studio time. I want to repeat the caveat of the first column: There are myriad difficulties and joys in trying to be an artist and a parent at the same time. People come to both parenting and making art with distinctly different capabilities, energy, money, health, and support. Some of the solutions to the challenges that parents share here may sound desirable, or sadly and/or humorously impossible for you. We each find our own way. Mother of two boys, ages 6 and 10:
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After the children arrived, for the first time in my life, I began to forget to finish work I had started or would knowingly leave it untended too long. This had never been a problem before. Everything before had revolved around the production schedule. Additionally, I would forget to turn up a kiln, or run out of a glaze and not have a backup ready or materials on hand, etc. I began to accidentally miss some deadlines for show applications. I was lucky that my retired mother was about an hour away and was delighted to babysit for a day or so if I needed to get ready for a show or if I took a trip. I also worked at night after the baby was put to bed, from about 8:30 to midnight. My work now, while raising kids, is definitely smaller, has a more hurried quality, and probably is less considered and reveals less investigation than before we had kids. I make what has been made before and don’t try new ideas as often. I obviously don’t have as much down time to think of new ideas. Much more now goes into sketchbooks and is never attempted in clay. I have always felt the pressure to be a decent artist and a decent mother. Though I could have somehow done more to be better at both, I think both were compromised. Plenty of time was given over to enjoying holding a sleeping baby. Toddlers took fewer trips to the park; they played at home while I worked. I tried to create a rich and interesting home environment for them.
I think that as a society we are sort of mixed up regarding parenting. Some parents think one needs to give their child every opportunity to succeed, and will respond to so many of the child’s requests and/or presumed needs. Their whole life will revolve around the child’s schedule. To me, this is overdoing it. I think there are times when it is reasonable to drop everything and spend time with a child on a project. And it is also healthy if the child can learn to enjoy a little autonomy and learn how to handle boredom. I often still work on weekends, so I let them know I have to work and for how long. It is healthy for them to be alone with their ideas so they can invent and play, the same as the parent is modeling for them. At least that is my justification. Also, they have almost always been welcome in my studio to play with clay, and have made all sorts of interesting things. Even when we are working side by side, we break often and work on their time schedule, so I am still probably at less than half of the production of seven years ago before my first child was born. As an artist parent I am surprised that our two little boys, like me, love certain bowls in our house, and will not use others. They are startled that their friends have place settings that all match. It is amazing they are determined not only to use certain things (like a canoe), but they want to try to find a way to build one themselves and they love to use tools to make things. Susan Filley, teenagers:
mother
of
two
Not having family nearby made my years as a mother of young children complicated and difficult. I was the athome parent, so I always had to juggle the needs of my kids with my claywork. I learned to work in short bursts; a child’s
CLAyTIMES·COM n July/August 2006
Having a studio at home has made making art while raising kids—though I made far less than I did before and with far less concentration—possible! I was able to go out and do work while the baby slept (though often I needed to sleep myself) or tend to laundry or something urgent during precious moments off. Studio assistants became part-time babysitters while I rushed through things the assistant and I would have done together. When they were about one year of age, both little ones went to a morning preschool program from 9am-1pm, giving me a little time to work. For a mother to be the only caretaker for her own children all the time is unreasonable, I think—so I chose a “tribal group” to help me raise my children. I found experts at the preschool who were far more knowledgeable than myself about babies. I confidently left
our children there for four hours so I could “hunt and gather.” I dashed to the studio at home and multi-tasked: washing sheets, cleaning the dining table, and throwing pots. My chosen “tribe” helped my children and me enormously. They knew what toys and activities would foster their learning and knew if something was developmentally amiss.
Perspectives I Beneath the Surface
Mud Mamas II
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Perspectives I Beneath the Surface CLAyTIMES·COM n July/August 2006
If not for the incredible technical staff at Laguna Clay Company, I would never have gotten this 35 foot mural depicting indigenous sea life of the California coast off the ground! I was brought up on cone 10, gas reduction firings at schools and studios. However, now that I have a home studio I rely on cone 5 oxidation firings. At
one-hour nap meant an hour in the studio. When people say they need long hours to concentrate, mothering taught me that such expectations are a luxury. That is why they invented plastic, so that we mothers can immediately cover everything in minutes. I became more efficient in the studio, a work strategy that I continue to appreciate. I never did anything but clay when I had time alone as that time was sacred, so errands and phone calls were put on hold. This timing issue also changed my work, as I couldn’t take on many really complicated pieces. For ten years, I seldom had long, uninterrupted hours unless I stayed up all night while everyone else slept. I am now very appreciative to have more freedom and longer dedicated hours, and my work has changed quite dramatically. There are years of great ideas stored up in me.
Over time I have traveled a great deal for workshops and meetings, so my husband and I did a lot of tag-team parenting. I’ve had to buy a plane ticket for my mother to come visit so I could go to teach a workshop. However, it was juggling the daily schedule that was
first, using an electric kiln was discouraging because I wasn’t able to achieve the excitement and interest I was used to. Now, Juan Aguilera, Laguna’s chemist, has developed fabulous new glaze lines and majolica paintables which mimic both reduction environment and low-fire hues. The Crackle glazes look fabulous on top of a base white glaze..try it out!
hardest. I’m grateful to have flexibility in my work as a studio artist because as my kids grow, I can be available when they get home from school, when they are sick, and I am able to be there for special occasions. But I often have to balance that flexibility by working at night, on weekends, or through Thanksgiving. When the parenting was hardest, I liked to make stable work. I didn’t have energy for experimenting much with risky pieces. I was always so appreciative to have my studio as my place and my work as a focus outside of children. Making pots can be such a great satisfaction. They don’t complain or need to be fed; the studio can be quiet, or the music can be whatever I want, dancing, singing, or dreaming. So it was a wonderful balance to the ‘joy’ of parenting, which is always giving to others and being surrounded by their needs.
Perhaps I expect too much of myself, but it was always hard to know how to balance the time. I always want more studio time. I’ve never had time to make all the pots I want to make, test the glazes, or
read all the books. Likewise, I wish I could have worked less and done more for my kids. Many parents feel the same these days: we all expect to be able to do so much, but ‘art is a jealous mistress,’ and children are priceless, so trying to do both well can feel like quite a bind. Nan Coffin, mother of two grown children: My career as a self-taught, functional potter began seven years before my first child was born. In those first years, my husband and I resurrected an old, leaning, dirt-floor garage into studio space. We built kickwheels and two kilns. Then we bought land and decided to build a studio, a 50-cu.-ft. propane kiln, and a house from scratch. We lived in half of the studio—the other half was my studio space—and then we started building our house. We never had health insurance, as we just couldn’t afford it. My husband was self-employed. I became pregnant with our first child when the studio we built was livable but we still had to build our house. Running water and wood heat was a plus, but we had no septic system early on. We had
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And the Mystic line has great movement and depth by itself or under other colors. This work also incorporated the work of several budding teenage artists who had never worked with ceramics. Thankfully, Laguna clay bodies and glazes are stable and reliable which meant there were no
an outhouse and no washing machine. Our second child arrived two years after our first. Although I tried to continue working in clay, the reality soon became clear: I could either raise children or resume being a potter. I couldn’t do both when they were young. For instance, the kids were interested in making small objects of clay, but by the time I had gotten them involved enough that I could start making things, their interest had waned and it was time to clean up and move on to their next project. As a consequence, my wheel went virtually unused for the next several years. I put being a potter on hold until my youngest was in school. I stopped, but I didn’t quit.
was truly a gift. Additionally, I’ve been extremely fortunate to be able to resume full-time potting. My job as a potter resumed when our youngest child was in school full-time. Full-time potting was a balancing act, running between children’s school activities and the studio, but it slowly evolved. I schlepped pots to regional craft fairs, deciding only to travel within 50 miles of my studio. I needed to get the work in the public’s eye and figured people might not travel a great distance for handmade ware. After a couple of years, that 50-mile radius was whittled down to doing only the local town fair once a year. That local community was a great support and bought a lot of pots. My studio had a retail/gallery space and folks came to me instead of me to them. I was relieved not to have to move hundreds of pounds of pots back and forth between my studio and fairs. Both of our children are creative individuals and I’d like to think that is a result of having artists as both parents. We have encouraged them to take on careers in fields of work they could love and be happy in, instead of ones where they
—Ellen Rundle
®
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could make impressive sums of money.
Catharine Hiersoux, grandmother: I was 21 when I had my first child. I knew so little about child-raising and life in general; I was feeling my way through the dark. The pressure became intense, leading ultimately to some kind of undiagnosed breakdown. At this point our son was three and I was pregnant with my daughter. For me, building a small studio and rediscovering clay assuaged this difficult time. I had taken classes in ceramics during high school and at UCLA, but without much seriousness. Now clay helped me get through until the light reappeared in my life. Later, when the kids were two and six, I took a bold step in hiring a sitter so I could go to Cal Berkeley twice a week to work with Peter Voulkos. One day when I was driving home from class, worrying as usual that something might have happened to the kids while I was in class, I realized I was punishing myself for doing something that gave me such satisfaction. Amazingly, few women were continued on page 72
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My self-employed artist husband was very supportive of me and a fabulous help with the children. After a full day of being a stay-at-home mom and fulfilling the requirements of that job, I had another job at night. When my husband got home from his job, we worked at night on constructing our new home. There wasn’t time or energy for clay. I’ve never regretted my decision to put clay on hold to raise children. Being at home with children in their early years
unpleasant surprises...just load after load of successful firings.
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Pots & Pigs If you missed it, you’re not having nearly enough fun!
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Fluting Methods by BILL van GILDER
Necessary Supplies • (1) 3-lb. ball of throwing clay • a bat • water and a small sponge • a rib tool • a cut-off wire • a fluting tool • a soft sanding pad Optional: • a trimming tool • an under-cutting stick
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T
eaching students about decoration can be a major part of any lesson plan. Where and when possible, I like to incorporate the decorating step at the making stage, as in the case of my previous Clay Times article on faceting. The following technique-loaded fluting project is similar. Like faceting, fluting is about changing the structure of a thrown form; thick & thin walls, creating texture and pattern [Fig. 1]. Note that this project will cause students to be ultra-aware of and sensitive to the condition of their pots through the making process, which will help improve their skills. During the throwing step, pots will need to be made with thick, ½" cross-sectioned walls. (Half that wall thickness will be cut, or fluted away later.) The fluting must be done while the pots are firm but still soft and pliable—a small window of time.
Making the Form
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Clean up the form as you would any other pot, and wire it from the bat. Remove the bat from the wheelhead with your form attached, and allow it to dry until the tackiness has disappeared.
Fluting A question often asked by students as the project gets underway is, “Why is it called fluting?” A good answer would be “The scalloped, vertical lines you might see on a column or pillar which supports the porch roof or portico at the entrance of a bank or museum, are called ‘flutes.’ The decorating technique I’m going to demo is an adaptation, copied to clay, of that Grecian-named architectural element. But the origin of the fluted pot comes from Asia.” The contemporary version of the technique, as I understand it, comes to us via Bernard Leach, who recognized the beauty of the flute-surfaced Chinese Sung Dynasty and Korean bowls and vases he encountered during his travels to the Far East (see A Potter’s Book, page 4; plates 1 & 2). Leach wisely noted and illustrated the tools used to flute these wares and his illustrations (see A Potter’s Book, page 109) have led to a modern adaptation of the bamboo tools he has shown us, such as the claytools.com fluting tool pictured at left. [Fig. 3]
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Prepare a 3-lb. ball of smooth clay for throwing. Attach a bat to the wheelhead and make a modest, uniformlywalled and somewhat straight-sided bowl or vase form. As mentioned prior, the wall of the form will need to be about ½" thick. Rib the outside of the pot flat and smooth, removing all your fingertip throwing-ridges. Why? Because the fluting tool will follow the contour of the wall as it’s pulled from the rim to the foot during each fluted cut. If the surface is ridged or bumpy, each concave-shaped cut will be bumpy and rolling, distracting the eye from the vertical movement you’re creating.
If you’ve chosen to demo a bowl form, make the ½" thick rim squared and sharp at its outside edge, and softly rounded at the inner edge. If you’ve made a bottle or vase form, the shoulder edge will need to be welldefined [Fig. 2].
In Form I Teaching Techniques
Fine Tuning
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