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Otto Heino’s Yellow Glaze: The Legend Lives On
tecHNiQues Vol. 12 No. 6 5 November/December 2006
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contents
®
TIMES
Clay
November/December 2006 • Volume 12, Number 6 courtney frisse
Following his successful replication of a prized “lost” Asian high-fire yellow glaze, California potter Otto Heino has become a living legend—with a very notable following of real-life collectors. To find out why, turn to page 34.
features 34 Otto Heino: Is he Really a Millionaire Potter? Many have doubted the story behind this 91-year-old’s financial success in the clay world; so CT editor Polly Beach visited him in person to see if she could set the record straight ...
42 A Sense of Balance Oregon potter Deborah Shapiro shares her secrets to beautiful pots and an eye-catching display.
46 Buying Spray Equipment From spray booths to airbrushes, here’s an in-depth look at what to consider before you purchase spray equipment for glaze & slip application.
Pair of Flower Vases by Deborah Shapiro. Wheel-thrown porcelain fired to cone 10 in oxidation. Story appears on page 42.
workshops 18 Crystalline Glaze Workshops 2005-2006 A group of potters meet in Palm Springs to experiment with crystalline glazing formulas and techniques.
38 The Way of Clay Mark Lancet leads participants in traditional Japanese forming techniques at Sierra Nevada College, Lake Tahoe, Nevada.
50 A Perfect Marriage: Jan Jacque’s Mixed Media Forms of Clay & Wood When her woodworker boyfriend dropped into her life, this handbuilder opened up her thinking —and her product line—to a new medium.
Slab-built platter by Marc Lancet. Fired to cone 10 in reduction during the final workshop at Sierra Nevada College’s Luria ceramic studio. Details on page 38.
®
contents
TIMES
Clay November/December 2006 • Volume 12, Number 6
Tango in Green by Jan Jacque. 15" x 16" x 3". Multiple-fired white earthenware with cherry wood. Story appears on page 50.
departments
columns
11 EDITOR’S DESK
23 AS FAR AS I KNOW
Clay-related gift options in time for the holidays
“Tae Kwon Potter” by Pete Pinnell
13 YOUR WORDS
27 BENEATH THE SURFACE
Letters from our readers
14 WHAT’S HOT Clay world news, events, and calls for entries
This spray gun offered by Bailey Pottery Equipment features quart-size plastic containers to hold a considerable amount of glaze or slip. Complete information on what to consider when buying spray equipment begins on page 46.
Striking crystalline formulas & more
54 THE GALLERY A selection of new works by CT readers
“Making Goblets” by Bill van Gilder
59 TOOL TIMES “Hands & Tools: Shaping Your Message” by Vince Pitelka
61 KILNS & FIRING “Instruments for Measuring Temperature, Part II” by Marc Ward
57 SLURRY BUCKET TIPS Save time and trouble with these studio-tested tips & techniques
62 STUDIO HEALTH & SAFETY
67 POTTERY CLASSES Where you can learn claywork in the United States and Canada
“Lead Glazes in Schools” by Monona Rossol
65 BOOKS & VIDEOS
72 CLASSIFIED MARKETPLACE
“Wheel-Thrown Pottery” review by Steven Branfman
Goods and services offered especially for active clay artists
29 TEACHING TECHNIQUES
SARAH HOLDEN PHOTO
53 GREAT GLAZES
On the cover: Ojai, California potter Otto Heino poses with his yellow-glazed pot. Story begins on page 34. Photo by Polly Beach.
“Techniques & Inspiration” by Lana Wilson & Janis Mars Wunderlich
74 AROUND THE FIREBOX Vase by Tom Wallick, one of numerous participants in Crystalline Glaze Workshops 2005-2006. Mink glaze sprayed over Amber. Glaze formula on page 53; story on page 18.
“Dancing About Architecture” by David Hendley
When Adam Silverman went to work in Mashiko, Japan the only tool he brought was a Giffin Grip. giffingrip.com
ceramic art trends, tools & techniques
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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 Assistant: Jeremy Ogusky 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 Contributing Writers: K.T. Anders • Polly Beach Diane Creber • Jenna McCracken Barbara McKenzie 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 November/December 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.
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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.
by PoLLy beAcH
A
s the holidays draw ever closer, we face the annual challenge of providing our loved ones with the gifts of their dreams. Lucky for our loved ones, the ability to locate the perfect gifts for most of us—active clay artists, that is—is easier now than ever. With the convenience of shopping at home via ceramic-related Web sites (check out the online store at www.claytimes.com!), catalogs, and (of course) pottery magazines, those soughtafter potter’s books, tools, equipment, and accessories are easily located and purchased with the click of a computer mouse.
Looking For Something? Search Clay Times Online
So this holiday season, support the growth of your claywork and the ceramic community: When shopping for fellow clay artists or when someone asks what you’d like to receive as a holiday gift, direct them to our advertisers (see the index on page 73 of this issue) or visit the Clay Times store at www.claytimes.com to select from new books, T-shirts, potter’s tools, Clay Times subscriptions, renewals, back issues, and more. Your valued support will help us all continue to serve you for years to come. Happy holidays! [
your clay question_
Find
Check out the COMPREHENSIVE Clay Times index by using the search box at
www.claytimes.com
spouting off I Editor’s Desk
Resources for Holiday Gift-giving
But it hasn’t always been that easy. I remember back in 1995, when Clay Times emerged as a fledgling newsletter, how difficult it could be to find goods and services for clay artists. At that time, if you didn’t have a local ceramics supplier and you wanted to find, say, a book on pottery, the search could be quite extensive. In my own quest to expand my knowledge on pottery, I can recall numerous occasions when I walked into my local book store or library and was disappointed to find only a handful of titles relating to ceramics. More often than not, those few titles available addressed ceramic collectibles, or the history of ceramics. Books on processes like wheel-throwing, handbuilding, glazing, or firing were rare and hard to find.
CLAyTIMES·COM n November/December 2006
What a publishing explosion has taken place since then! During the past several years, more and more national book publishers have finally taken an interest in pottery. At least once a month, a promo copy of a new title shows up on my desk. It’s so exciting to see the field of ceramics being taken more and more seriously, and rewarding for all of us as the interest in claywork spreads into the mainstream. The more available that pottery books become, the more people learn about clay. The more people learn about clay, the greater the demand for clay-related goods and services. As more goods and services for clay artists become available, the better the selection from which to choose, and the more competitive the prices become for us, the artists. It’s a win-win situation!
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$250
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In Appreciation I enjoyed reading Mac Ward’s astute article on my handbuilt claywork, and would like to add a note of appreciation for a couple of my eastern North Carolina neighbors. The two unglazed, wood-fired pieces shown in the article were fired at Dan Finch’s modified anagama kiln in nearby Bailey. Dan’s big workshop is a magnet for local potters, and I am glad for the chance to be part of the group. The fly-ash-saturated surfaces were achieved in the richly turbulent atmosphere of Dan’s kiln, a product of its long firing cycle. Since 1999, photographer Ron Sowers of Rocky Mount has documented a few of my pieces each year. His sensitive use of light and shadow, combined with his perceptive framing, have made him a trusted visual chronicler of my work. An outstanding art photographer in his own right, Ron currently has a solo show at the Rocky Mount Art Center. All photos included in the CT article were taken by Ron.
been that I really have very few other ceramic artists/mothers to relate to. None of my pottery friends and idols are moms, so they can go do residencies, travel to shows, and work whenever they want. (Pretty much my whole blog is about being a mom and a potter. Writing seems very therapeutic!) Last summer, I did have the opportunity to do a week-long workshop with Linda Christianson, who is also a mom and one of my idols.
I got to pick her brain about being a mother, as well as the challenge of trying to make it in this business. Thanks to your columns, I now feel at ease with being a mom and potter, and feel like I know all these women personally. Thank you so much, and thanks to all the moms who wrote down their experiences. I have soaked it all in, related to each one, and breathed a sigh of relief that I’m not the only one! Jennifer Mecca, via e-mail [
Spouting Off I Letters
Your Words
Sunset in West Texas
I would like to clarify one technical point: the clay used for these pieces does not accept any significant stretching or bending. I generally use “impact” to form shapes, except for the press-molded modular forms that are later assembled. In other words, this clay mixture does not bend, twist, or stretch. This awareness may help other clayworkers avoid pitfalls with their experimentation. Mark Gordon • Wilson, North Carolina
Mud Mamas
Two years after I had my son, I found out I was expecting twins. With all my children, I worked up to the day they were born. I am now going on my sixth year of being a studio potter and a mother, trying to juggle it all. All this time I’ve been working, my biggest issue has
Trinity Ceramic Supply, Inc. 9016 Diplomacy Row Dallas, TX 75247 214 631-0540
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CLAyTIMES·COM n November/December 2006
I have wanted to respond to the “Mud Mamas” articles ever since the first one came out a few issues ago ... I can’t tell you how much I needed something like this to read! I am a potter with three children under the age of 6 (two of whom are twins). When I got out of grad school, I was ready to hit the ground running and “make it big,” so to say. I got married a month after I did my thesis show, and got pregnant—all in the same year. I knew that if I gave up throwing and stopped entering juried shows, I would find myself out of the loop.
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d
What’s Hot ceramic art world news • events • calls for entries
tural ceramics by current and recent Bray resident artists including Jennifer Allen, Melissa Mencini, Tara Wilson, Rosalie Wynkoop, Joe Pintz, Koi Neng Liew, Andrea Marquis, Josh DeWeese, Deborah Schwartzkopf, Christina West, Jesse Potts, and new Resident Artist Director, Steven Young Lee.
Conferences ‰
The 22nd Alabama Clay Conference will take place February 2-4, 2007 at the University of North Alabama campus in Florence, AL. The annual conference will feature lectures, exhibitions, and demonstrations by artists Linda Arbuckle, Sandra Blain, Bill van Gilder, and Lisa Orr.
The event will continue through December 23. Gallery hours are Monday-Friday, 10 am to 5 pm, and Sundays 1-5 pm. For more information, contact Emily at (406) 443-3502, ext. 18.
Pre-registration for the conference is $110 through December 30th ($45 for students). On-site registration will be $135 ($55 for students). For further details, visit www. alclayconference.org or write to 1809 N. Wood Ave., Florence, AL 35630.
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The Billings Holiday Exhibition and Sale will be held December 1-2 at the Bill McIntosh Gallery, 2507 Montana Ave, Billings, MT, 59101. An opening reception will be held on Friday, December 1 from 5-9 pm, and the sale will continue Saturday, December 2 from 10 am-4 pm. For details, call (406) 252-2010.
Art Sales ‰
CLAyTIMES·COM n November/December 2006
The 28th Annual Women’s Building Celebration of Craftswomen takes place the weekends of November 25-26 and December 2-3 at the Fort Mason Center’s Herbst Pavilion in San Francisco, California.
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Burnt Offering XVIII by Celebration of Craftswomen participant Judy Stone. San Francisco’s largest holiday fine crafts retail fair, The Celebration of Craftswomen offers both contemporary and traditional handcrafted items as well as fine art. Featured are functional and decorative ceramic and glass vessels, plus works in many other media.
Detail of work by Celebration of Craftswomen participant Barbara Sebastian.
The Herbst Pavilion is located at Buchanan Street and Marina Boulevard. The show is open 10 am-5 pm daily and features a changing roster of more than 150 different artists each weekend (over 300 artists total). Oneday admission is $8 for adults, $6 for seniors and students, and free for children ages 12 and under. Two-day passes are available for $14 and may be used any two days on either weekend. For tickets or more information, telephone (415) 431-1180, ext. 15, or visit www.celebrationofcraftswomen.org.
‰ The Archie Bray Foundation for the Ceramics Arts, located at 2915 Country Club Avenue in Helena, Montana, presents the following holiday exhibitions/sales:
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The Bray Holiday Exhibition and Sale opens with a public reception on Thursday, November 16 from 6-8 p.m. The Exhibition and Sale features functional and sculp-
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The Bozeman Holiday Exhibition and Sale will be held at the Emerson Center for Arts and Culture, 111 S. Grand, Bozeman, MT 59715. An opening reception will be held on Friday, December 8 from 5-9 pm, and the sale will continue Saturday, December 9 from 10 am-4 pm. To learn more, call (406) 587-9797 or visit the Web site at www.archiebray.org.
Workshops ‰
The Carbondale Clay Center in Colorado will host a raku workshop with Jim Romberg February 24-25, 2007. Internationally renowned for his work in the realm of ceramic art and raku, Romberg will demonstrate techniques on and off the wheel while leading participants in alternative firing techniques. The Carbondale Clay Center is located at 135 Main Street, Carbondale, CO 81623. For more information, call (970) 963-2529 or visit www. carbondaleclay.org.
‰ Traditions Mexico offers tours and workshops focusing on the artisans and folk artists of Oaxaca and neighboring states in southern Mexico. A 10-day pre-Columbian woodfiring workshop and exchange will take place in the indigenous Zapotec and Mixtec villages December 31, 2006 through January 8, 2007. Participants will not only learn from master potters, but will also help with firing and surface treatment experimentation, as well as help traditional Mexican masters gain exposure to outside ideas and techniques. For more information on this workshop/ exchange and on other tours and workshops, visit www.traditionsmexico.com.
New Ceramic Acquisitions ‰ The Fred Jones Jr. Museum of Art at The University of Oklahoma has announced a major gift of ceramic art from the collection of Harrison Jedel of Kansas City, Missouri. Adding substantially to the museum’s holdings of work by artists such as Ken Ferguson and Paul Soldner, “The gift also deepens the breadth of the ceramics collection as a whole with the addition of work by artists new to the museum: Shoji Hamada, Jim Leedy, John Gill, John Glick, and others,” says Eric Lee, Museum Director. For further details, call (405) 325-3272 or visit www.ou.edu/fjjma.
Ceramics Exhibitions ‰ Bulldog Pottery of Seagrove, North Caroli-
Featured works range from wood-fired stoneware to polished porcelain, both handbuilt and wheel-turned, with variations on every mode. The earth tones of the anagama kiln will be seen, along with the delicate filigree of fired paperclay and vessels with lively, patterned surfaces. The exhibition will be on display until December 31. Gallery 31 North is located at Route 31 and Hunt Place in Glen Gardner, NJ 08826. Hours are Tuesday through Sunday, 12-6 pm. Call (908) 537-7044 or visit www. gallery31north.com for more information.
‰
“Our Cups Runneth Over,” a biannual celebration of ceramic cup forms, will be on display at the Society of Arts and Crafts in Boston, Massachusetts from November 4 through January 21, 2007. Sixty artists from across the country will exhibit their interpretations of the cup—a humble form, yet one with endless functional and sculptural possibilities. Pieces range from teacups to tumblers and from limited production to one-of-a-kind cups. The SAC is located at 175 Newbury Street in Boston, MA 02116. Hours are Monday through Saturday, 10 am-6 pm, and Sunday, 12-5 pm. For further details, telephone (617) 266-1810, ext. 13, or visit www.societyofcrafts.org.
‰
“Ruth Duckworth, Modernist Sculptor” will be exhibited at The Renwick Gallery in Washington, DC through January 15, 2007.
The Nature Art Gallery is located at 11 West Jones Street, Raleigh, NC 27601. To find out more, call (919) 733-7450, ext. 360, or visit the Web sites at www.bulldogpottery.com or www. naturalsciences.org.
The Renwick is located on Pennsylvania Avenue at 17th Street in northwest Washington; and is open daily, 10 am-5:30 pm.Tours may be arranged by calling (202) 275-1693. For further information, call (202) 633-2850 or visit the Web site at http://americanart.si.edu/renwick/ index.cfm.
‰
‰
Gallery 31 North in Glen Gardner, New Jersey, is hosting “Claybash!”—an exhibition of contemporary functional ceramics—as a benefit for the Hunterdon Museum of Art.
Red Lodge Clay Center in Montana will present an exhibition of new works by Boomer Moore in November. An opening reception will be held on Friday, November 3 from 5-8 pm.
CLAyTIMES·COM n November/December 2006
na, presents the works of Bruce Gholson and Samantha Henneke at the Natural Sciences Museum in Raleigh. More than 100 works by these artists are on display in the museum’s Nature Art Gallery through November 26.
Among the artists in the show are: Jerry Bennett, Peter Callas, Chrissy Callas, Marty Fielding, Julia Galloway, Chris Gryder, Chris Gustin, Ron Hand, Ayumi Horie, Shizue Imai, Alec Karros, Liz Kinder, Jeffrey Kleckner, Heeseung Lee, Allison McGowan, Willi Singleton, Rob Sutherland, Jack Troy, and Jordan Taylor. These artists have been recognized for their extraordinary creativity and individuality, and many are represented in important museum collections.
hot stuff I News & Events
Trips
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Hot Stuff I News & Events
Throughout December, “Holiday Show 2006” will follow, featuring works by Robert Briscoe, Sam Chung, Bernadette Curran, Sarah Jaeger, Paul McCoy, Warren MacKenzie, Ron Meyers, Jeff Oestreich, Steve Roberts, Jan Schachter, Bonnie Seaman, Andy Shaw, Gay Smith, and others to be announced.
‰ “40 Under 40” opens The Clay Place exhibit season at a new location: 1 Walnut Street in Carnegie, Pennsylvania 15106. The exhibition features 40 ceramic works by 40 artists under 40 years of age, and runs through November 25.
Red Lodge Clay Center is located at 123 South Broadway, Red Lodge, MT 59068.
“40 Over 40” will follow, opening December 1st and continuing through Saturday, January 27, 2007 with 40 ceramic works by 40 artists over the age of 40.
More information may be found online at www.redlodgeclaycenter.com, or by calling (406) 446-3993.
For complete lists of participating artists, visit the Web site at www.clayplace.com. The
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Introducing our new Low-Stone 900 Series colors. We’re coming out with 36 brand new colors for our most popular low-fire glaze line. As always they are lead-free and dinnerware safe. Each color will work with the existing colors to create new layered effects. Watch this space for pictures of the other 18 new colors and some great new layering ideas.
Clay Place may be reached by telephone at (412) 276-3260, or via e-mail at clayplace1@ aol.com. Gallery hours are Monday through Saturday from 10:30 am to 5 pm, and by appointment.
Calls for Entries January submissions deadlines
‰
The National Council on Education for the Ceramic Arts (NCECA) 2007 is now accepting applications for “By the Ounce,” an exhibition in celebration of Kentucky bourbon—open to all ceramic shot glasses. The exhibition will be juried by John Neely. Entry deadline is January 1, 2007. A fee of $15 is required for up to four images (accepted on CD only). “By the Ounce” will be held during the 41st Annual NCECA conference in Louisville, KY, March 12-16, 2007. Cash awards include: $800 for first place, $500 for second place, and $300 for third place. For more information and an application, e-mail Lindsay at aoesterritter@yahoo.com.
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The Guilford Art Center is calling for submissions to the Biennial Exhibition of North American (Functional) Clay. The exhibition will be juried by Val Cushing and will take place from May 4 through June 17, 2007. The entry deadline is January 26. A fee of $25 is required for up to three submissions, slide format only.
CLAyTIMES·COM n November/December 2006
Each artist may submit up to three functional pieces or sets. Each work may be represented by two separate images: one full view and one detail. All entries must be non-production work executed within the past two years. Size may not exceed 30" in any direction or 20 lbs. in weight.
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E-mail gallery@guilfordartcenter.org for a prospectus, write to The Guilford Art Center, 411 Church Street, Guilford, CT 06437, or call (203) 453-5947, ext. 12. Further information may be found online at www.guilfordart center.org.
‰
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929 to 932 P.O. Box 874 Lewiston, NY US 14092-0874
933 to 937
938 to 943
Phone:(800)970-1970 or (416)747-8310 Fax:(416)747-8320 www.spectrumglazes.com info@spectrumglazes.com
Target Gallery of Alexandria, Virginia is accepting submissions for “Roots and Branches,” an all-media show exploring ancestry, migration, and history. The show date is March 24-April 29, 2007; submission deadline is January 3, 2007. For a prospectus, visit www.torpedofactory.org or call (703) 838-4565, ext. 4.
‰
The Lincoln Arts Culture Foundation, in Lincoln, California, announces its annual call for entries to the “Feats of Clay XX” exhibition. This is the 20th year of “Feats of Clay,” one of the nation’s most prestigious and unique ceramic contests. The call is extended to artists working in the United States and its territories, and—for the first time—to artists in Mexico and Canada. The exhibition will be held from April 28th to May 27th, 2007. The application deadline is February 9th.
of the work. Both functional and sculptural forms are encouraged. Work must fit through a standard door frame and weight must fall within a range easily handled by two people. Accepted works must be for sale, available for the duration of the exhibit, and made within the last two years. The Artery is located at 207 G Street, Davis, CA 95616 and may be contacted by phone at (530) 758-8330 or by e-mail artery@davis.com. More information is also available online at www.arteryart.com. [
NH White Mountains: 4BR,2BA house with attached 1,100 ft² barn & detached 2-car garage on 3.2 acres, 430 ft. water frontage. Located in Chocorua Village on busy NH 16. Ideal location for studio/shop & raising family. View at www. forsalebyowner.com ad # 20706071 or (603) 323-3375.
Hot Stuff I News & Events
February submissions deadlines
Submissions will be juried from slides; submission fees are as follows: $15 for one entry, $25 for two entries, and $30 for three entries. Awards total nearly $21,000 in place, merit, and purchase awards. For a prospectus, send a #10 SASE to Lincoln Arts, 540 F Street, Lincoln, CA 95648, call (916) 6459713, or visit the Web site at www. lincolnarts.org.
‰ The Artery of Davis, California is now accepting submissions for the 2007 California Clay Competition, to be held April 27 through June 2, 2007. Home of the Artists’ Cooperative of Davis, The Artery has sponsored the Competition since 1990, giving California ceramic artists an opportunity to display their work during the California Conference for the Advancement of Ceramic Art (CCACA).
Submission of slides, fees, and entry form must be postmarked by February 20, 2007. A $15 non-refundable fee is required for each entry. Entry forms may be accompanied by up to three slides per entry. All submissions must be made of either clay or mixed media, with clay being the major emphasis
CLAyTIMES·COM n November/December 2006
Jim Melchert will serve as this year’s juror. The competition is open to all artists living in California. Approximately 35 works will be accepted from an expected 400 entries.
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Hot Stuff I Crystalline Glazing
Crystalline Glaze Workshops 2005-06 STORY by DIANE CREBER • IMAGES BY SARAH HOLDEN
Vase by Ginny Conrow, with “Gold Stuff” glaze.
Gold Stuff
CLAyTIMES·COM n November/December 2006
è
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used by Ginny Conrow
Frit GF106 Calcined Zinc Oxide Silica (325 mesh) TOTAL add Bentonite Rutile Ilmenite
68.42% 24.13 7.45 100.0% 2.0% 5.0% 3.0%
Fired with a neutral/reduction atmosphere in a Geil auto-damper kiln.
C
rystalline glaze potters have benefited greatly by recent advancements in computer technology. By being able to pre-set firing programs, firings have become less labor-intensive and more accurate, encouraging more potters to experiment with these glazes. Consequently, there has been far more development in crystalline glazes in the last few years than in the past. A variety of events have recently taken place to bring crystalline glaze potters together to explore this evolving art and technology. In September 2005, Jesse Hull organized LatticeStructures™, a conference and
exhibition of crystalline glazing in Kansas City, Missouri. This two-day event brought together more than 100 potters for discussions and exchanges of ideas. An exhibition was held simultaneously in the gallery at Red Star Studios. The gathering generated such enthusiasm among the participants that a subsequent conference was held again this year. The second gathering was a five-day workshop held in May at the studio of Kris Friedrich in Palm Springs, California. Together with Peter Ilsley, John Tilton, Jesse Hull, and Glen Doyle, Friedrich planned the workshop and pre-mixed the glazes, although participants were
Hot Stuff I Crystalline Glazing
Dusty Rose
è
furnished by Peter Ilsley
Ferro Frit 3110 Zinc Oxide EPK Amorphous Silica Titanium Dioxide TOTAL add Bentonite Copper Carbonate
48.40% 24.35 1.50 17.95 7.80 100.0% 2.0% 2.0%
Fired in an oxidation crystalline firing peaking at 2340° F, followed by a second reduction firing descending from 1450° F.
also encouraged to mix their own. Guest potter Peter Ilsley from Daventry, England led the group of 22 invited potters and showed slides of his work, shared new glaze recipes and firing schedules, and demonstrated making a portable gas-fired kiln. Each participant brought several bisque pots to glaze and fire in Friedrich’s many kilns. His colleague, Tom Wallick, fired the kilns late into the night. The studio was equipped with four electric kilns, two gas (one a large car kiln), and a gas raku kiln for post-firing reduction. We also had use of a spray booth, and anything else one would need for doing crystalline glazes.
Interestingly enough, we found that one glaze could give a variety of results depending on its firing atmosphere. For instance, a glaze containing 2% copper carbonate first fired in oxidation in the electric kiln resulted in green
crystals on a green background. The same glaze fired in slight reduction in the gas kiln resulted in a mirror-like surface with a grey background and golden tan crystals. Up until recently, most crystalline potters have avoided reduction when growing the crystals because it was thought to interfere with crystal growth. However, by introducing slight reduction toward the end of the crystal-growing phase, we found it possible to have crystals in combination with effects unique to reduction firing. A pot first fired in the electric kiln and re-fired in a reducing atmosphere in the raku kiln resulted in a pink back-
ground with bright red crystals. This effect was achieved by first taking the temperature to 1500° F, then dropping to 1300° F in a reduction atmosphere. More interesting results came from Jesse Hull’s experiments with glazes containing silver nitrate and small amounts of other oxides. The first electric firing left them looking rather flat … but after re-firing in the raku kiln in heavy reduction, the results were spectacular! A mirror finish with crystals of rainbow translucence could be seen, and as the pots were turned, other subtle colorings emerged as well.
CLAyTIMES·COM n November/December 2006
Ilsley opened the workshop with a talk, followed by a planning meeting and constant juggling of activities as the workshop progressed. We glazed pots and shared ideas both one-on-one and in larger groups. Throughout the five days, we glazed and fired continuously. Whenever a kiln was opened, we gathered around to see the results—sometimes burning fingers with impatience! Discussions followed, results were compared, and new kiln loads were fired in turn.
Vase by Peter Ilsley, with “Dusty Rose” glaze.
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GINNY CONROW PHOTO
Hot Stuff I Crystalline Glazing
Although most of the participants were interested in achieving macro crystals, John Tilton and Marsha Silverman worked with crystalline mattes. Their results were so outstanding that many of us are now going to be experimenting with the matte glazes. Meanwhile, Tilton and Silverman also achieved some pretty exciting macro crystals, and plan to experiment with some of these glazes, too.
Workshop leader Peter Ilsley loads the post-fire reduction kiln.
Matt Evans, a potter who often works with Friedrich, demonstrated throwing large, tall vessels to be crystalline glazed. On another day, professional photographer Sarah Holden took photos of our work on black glass with indirect lighting bouncing off the walls. She discussed how to photograph pottery and how to deal with an unwanted glare from the shiny glaze surface. Kiln manufacturer Paul Geil visited the studio and demonstrated temperature control and the use of oxygen probes and controllers. Working with other professional potters in this setting allowed ideas to flow, and the results were outstanding. I feel I learned more about this glaze process in five days than I have in the past five years! I predict crystalline glazing will change dramatically, and it will be exciting to see where these potters take this process after experimenting together and sharing their results.
Gold Silver Nitrate è
furnished by Jesse Hull
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add Titanium Dioxide Silver Nitrate Cobalt Carbonate M.A.G.M.A. Binder
LEAH SHEA PHOTO
CLAyTIMES·COM n November/December 2006
Fusion Frit 75 Zinc Oxide Silica Grolleg Kaolin Calcined Alumina TOTAL
Vessel by Jesse Hull. Decorated with “Gold Silver Nitrate” glaze.
51.50% 23.50 22.00 1.00 2.00 100.00% 4.00% 5.00% 0.25% 0.30%
Fired in an oxidation atmosphere peaking at 2350° F, followed by a separate heavy reduction firing descending from 1500° F. Pedestal fired in oxidation with gloss and crackle glazes to cone 2, then masked and glass etched. Finial lid and pedestal accented with low-fire enamel and 18K gold.
Hot Stuff I Crystalline Glazing
The participants all have Kris Friedrich to thank for making this workshop possible, and inviting us to use his studio. He created a CD of the workshop’s results, so we will each have a lasting record of glazes used, kilns fired, firing schedules, and other useful information. By sharing our processes, each of us has come away richer in our knowledge of these fascinating glazes. [ Diane Creber is a full-time studio potter specializing in crystalline glazes. She is the author of Crystalline Glazes, published by A & C Black, London, England and The University of Pennsylvania Press, USA. She is also the author of numerous magazine articles and a forthcoming book, Potters in Residence. For details concerning future crystalline glazing events, e-mail Jesse Hull at latticestructures@gmail.com.
Golden Snow/Snair 1 Base è
used by John Tilton
Ferro Frit 3110 Zinc Oxide EPK Amorphous Silica Titanium Dioxide TOTAL add Bentonite
48.40% 24.35 1.50 17.95 7.80 100.00%
Vase by John Tilton, glazed with “Golden Snow/Snair 1 Base.”
2.0%
Fired in a neutral/reducing atmosphere in an auto-damper kiln.
Crystalline Matte
è furnished by Mark & Scott Winner
MM Frit 4067 (German) Custer Feldspar Zinc Lead Bisilicate Amorphous Silica TOTAL
6.0% 1.1%
Fired in an oxidation crystalline firing peaking at 2345° F, with holds between 2100-1850° F.
è GLAZE SAFETY NOTE: Formulas marked with this check may be considered questionable for use on functional pottery. Test thoroughly before using.
Vase by Mark and Scott Winner, with “Crystalline Matte” glaze.
CLAyTIMES·COM n November/December 2006
add Rutile Copper Carbonate
58.3% 15.9 12.1 8.4 5.3 100.0%
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Ditton Pottery
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How does the teacher balance the strength of a narrow, skills-and-tradition approach with the need for personal growth and expression? by PETE PINNELL
T
he last time I engaged in a regular, organized athletic pursuit, Richard Nixon was president. Over the ensuing years I have been pretty sedentary, even sedimentary (since I seem to be settling ever downward). My primary contact with sport has been in the role of Dad: I stand on the sideline at a sporting event, yell “good job!” at sporadic intervals, and take everyone out for ice cream afterward. Like most men my age, I live with the assumption that sports are for the young, while the rest of us simply exercise—or try to. All physical evidence to the contrary, I do exercise. I ride my bike to work in nice weather, and when the weather is not so nice I accompany my kids to the neighborhood YMCA, where I flog myself into spending an hour on those torture devices euphemistically referred to as “exercise machines.” Like my comrades-in-sweat I mount some large, diabolical-looking machine, stare at a bank of televisions, and slowly sink into a sweat-soaked stupor.
About a year ago, my youngest child (Mary Catherine) saw a demonstration
It is shocking just how little control I have over my body’s movements. Watching myself in the mirror, it looks like I’m a marionette being controlled by a dysfunctional committee. At three months, I can now mimic some of the simpler movements, while at other times my best attempts devolve into a series of painful flailings in random directions. I am delighted that there are six-year-olds in the class, so that when we’re asked to practice our “head kicks,” my highest kicks will be equal in height to at least a few of the heads in the room. One of the reasons I’m not very good at this is a simple lack of physical talent: I was never much of an athlete, and I am eternally grateful that my attempts at dancing predate both the video camera and the Internet. Besides that, we as a society have found precious few ways to integrate sport into our white-collar jobs. This has left most of us with few physical skills beyond an ability to sit for long periods of time. I’ve begun to think that changing this might
not be that difficult. In academia, it could be accomplished with a few small additions to Robert’s Rules of Order: Chair: “Discussion being closed, we enter the fisticuffs portion of the meeting: all those in favor of the motion move to the left corner and don gloves. All opposed, move to the right corner and prepare similarly.” My eye-hand coordination might not have slipped so badly if my job required a bit more physicality (a “strenuous” faculty meeting being one that is long enough to require a bathroom break). Forcing us to truly defend our ideas would certainly help in that regard. A nice side effect is that it might clean out some of the dead wood from many departments. Chair: “… The motion passes. Too bad about old Parkinson: all those in favor of granting Emeritus status to Professor Parkinson, please signify by …” The really interesting thing about engaging in a sport is that it is also the first time in decades I’ve attempted to learn something that is completely new to me. Yes, I do a lot of learning in my job as a professor, but most of it is simply an extension or a deepening of my current knowledge. With Tae Kwon Do, I’m learning totally new things (ask me to count to 10 in Korean!), and I’m learning them in public, where my progress (or lack thereof) is painfully obvious. As a teacher, it is good for me to be on the other side. It has reinforced things I know (i.e., I should repeat all important information numerous times to help retention), and has reminded me that
CLAyTIMES·COM n November/December 2006
One of the reasons I’m fairly regular about this is that my kids are enrolled in a variety of evening sports: karate, gymnastics, dance, etc. I take them to the specified locations and sign them in, then proceed to my brain-numbing session. An hour or so later I return to their rooms, usually in time to watch the end of their classes. The contrast between their activities and mine is pretty stark: they have fun and learn new kata, or movements, while I learn that commercial television is silly and soporific.
of Tae Kwon Do and asked to join the class. This class is advertised as being “for all ages,” and the membership reflects that, with everything from tiny 6-year-olds (like “MC,” as we call her) to balding, bespectacled men in late middle age. I noticed that many attendees were in family groupings consisting of a parent and one or two children advancing through the belts together. MC started asking me to join, and frankly, an invitation to join a chain gang was sounding better than another session on the elliptical trainer. So, early last summer, I signed up.
Perspectives I As Far As I Know
Tae Kwon Potter
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