Tuesday, December 14, 2010
Wednesday, December 8, 2010
I have also noticed that I like the pitchers to be more narrow and cylindrical shaped. I think that on the wider ones the angle created by the two planes meeting is too sharp visually. I made a couple pitchers in various sizes to create a sort of set. I'm not sure if I will photograph the finished pitchers as a set or as individuals. But I think if done well, sets like these can be a pretty powerful image.
Thursday, December 2, 2010
Shoji Hamada Ruggles & Rankin
Monday, November 29, 2010
Mug with flashing slip (a favorite of this firing) Rice Bowl fired upside downLidded Pitcher
Thursday, November 18, 2010
I have been having some problems with these inset lids. I need the knob to be a certain height to be easy to grab but I do not want it to be too tall and break up the flow of the pot. I have also been working on cleaning up the knobs and adding the same texture to them as the rest of the pot.
I also revisited a faceted bottle form I haven't made for a little while. These pots are really about the small details and proportions, which makes them very difficult and frustrating to make. I'm not sure if I will make anymore of these, they may have to be one of those pots that I admire of others but never make myself.
Tuesday, November 9, 2010
Monday, November 1, 2010
Another aspect of these pitchers I am working on is continuing the flow of the form in the handle. I want the handle to continue the line created by the profile of the lower section. I like the idea of creating a form that needs a handle to make it work visually. I think that this helps to integrate the handle as part of the pot and not as an afterthought. These are probably the last pots I will make before my next firing, more on that later.
Thursday, October 28, 2010
Monday, October 18, 2010
The two pitchers above are quite small. I think I would envision them as personal teapots. I am avoiding telling you to many of my ideas about them because I would like to request some feedback on them. I would like anyone who has time to give me a one word critique of the two pitchers above. Just simply comment on the post with the word that comes to mind when you see them. All feedback will be much appreciated.
Friday, October 15, 2010
I spent the better half of this past September in Gresham, Wisconsin assisting Simon Levin in firing his Anagama. To date, this has been my most influential experience in ceramics. Working with Simon and his apprentices, who are all very talented potters, has taught me a lot. Through working with them I have learned the importance in deciding who you surround yourself with. It is very inspiring to me to be at the bottom of the pack and feel the need to catch up.
We fired Simon's Anagama for six days and then downfired. Downfiring is a technique Simon developed. It is similar to reduction cooling but he lets the kiln re-oxidise after every stoke in the downfiring as opposed to keeping the kiln in reduction during the entire cooling cycle.
Simon also fires his kiln a lot cooler (in temperature) than most people. Cone ten's were down in the hottest parts after firing for six days. The kiln never got over 2200 degrees. The ash was melted by the heat work as opposed to just temperature, meaning heat over time.
The kiln is fired in a very controlled manor with a detailed hourly kiln log and thermocouple. Simon's goal is to produce lots of "information" on the surface of the pots. He has adapted the firing schedule in order to emphasize the surfaces he wants. He is also very conscious in loading the kiln. Every pot is very carefully wadded in place and some wads are hung between pots to create more information and flame path on the pots.
Wednesday, October 13, 2010
Thursday, September 30, 2010
I have also been working on a new yunomi form. This form is kind of inspired by a Michael Simon cup that I saw at Guillermo Cuellar's house. I think that it is a very interesting form with a lot of potential. My cups are definitely still in a very rough prototype stage but I am interested to see how they work out. I like how the foot kind of stands out in the profile of the cup.
I have been looking at a lot of Michael Simon pots lately. I think Michael is probably one of my favorite potters. I think he is very under appreciated currently, it is pretty obvious when looking at his pots to see how many people have been inspired, or flat out copied them.
Tuesday, September 28, 2010
The point that I am trying to get at is that I am back in a very "investigative" place in making pots. I am trying lots of new things and following lots of new influences. I am very excited about these new influences and new ideas to try out. This has caused me to get back into the mode were all I want to do is make pots. I am trying new things with clay bodies and also I have been throwing almost everything off the hump. I was inspired to throw and trim off the hump by Simon. He throws most of his pots off the hump, including plates.
Throwing off the hump can be difficult to begin with but provides many advantages in my opinion. There are the obvious benefits of not having to make individual balls of clay and increasing how fast you can make pots. But for me one of the biggest things is that the pot is raised up on a pedestal of sorts (the hump). This allows you to see the pot from a more objective angle while you are throwing it. I also like the freedom of making many pots quickly and I also like the process and the marks left from cutting the pot off the hump.
Trimming off the hump (soft clay chuck) allows you to keep the pot steady without using wads and without flattening the rim by sticking it to the wheel head. The pot also moves around a little which allows you to have a little more movement in your pots.
I believe that working in this way, using the processes described above, allows me to move closer to making the pots that I like. I have a lot more ideas I am currently working on and I will share them with you soon.