States Series

Early on in my brainstorming about the baby's room I wanted to include maps. Maps are cool, educational, and they usually have great colors. Also, I wanted to use maps to tell the story about our family's origin. I searched for 'state' artwork, then when nothing seemed to work I began sketching. Originally I wanted to put together a single poster with all of our various states but that just wasn't working out. So the format below is the one I settled on. I let each state stand individually. The images are 9”x9” each and will each be framed separately.

Matthew contributed a lot to this process. As a result each state conveys something about the unique character of the place and how we remember and know them. We really like the colorful, graphic nature of the images and how they subtly tell our story. I'll post again once they are framed and hung but I couldn't wait to share!

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Work on my studio shelves

I like these more as a series than as individual pieces.  I had a bit of trouble with the glaze:  applied too thin at first.  Sprayed the glaze and refired two more times, to cone 6, with little change in the surface.  I like the glaze because it is so pale and it has a matte finish.  I just wish for a thicker coating. 

Below you can see that I've been experimenting with a variety of very sculptural forms.  All of these begin as wheel thrown pieces, two part forms, that have been manipulated. 

This grouping is my favorite.  I hope I don't mess it up too much with the glazing.  These forms all share botanical references.  Grass and stems.  Bulbs and onions.  Artichokes and pine cones.

 

Here I was experimenting with the inversion of forms.  The shape is consistent but the weight of the decoration challenges their association.  Which way is up?  

2 Part Forms

One of our later assignments in the semester was to create forms that were concieved as 2 seperate parts, and then joined together.  From looking at the pieces it is pretty obvious where many of these are joined.  Others it is a little more difficult.  There are several ways to create forms in two parts on the wheel, and I did experiment with a few methods.

I was interested in a certain shape, and these are 3 attempts at getting there, but none of these were my intention.  I have photographed these so that the terrible unevenness of the pieces isn't the first thing you notice.  The method of attachment I used on these forms was not my favorite and I blame it for the horrible irregularities.  The way it works:  throw the bottom form and then allow it to dry to leather hard on the bat.  Then throw the top portion upside down on a different bat.  Use a caliper to insure that the top of the new form is the same diameter as the opening of the first.  You then put the bottom section back on the wheel, take the new form and turn it over on top of the bottom.  Then cut the bat off the first form and use the wheel to join the two pieces together and continue shaping the top section of the piece.  

It is a process I think that reveals all the flaws of your work, especially if things are not centered.  I also had problems with the attachment, because there is not enough resistance at that point to continue shaping the top, thus twisting the whole piece.  Again, not my favorite method.

On to a new method of attachment.  Here, the two pieces are formed and mostly finished separately and allowed to dry to leather hard.  The top is  removed from the bat, slipped and scored and attached to the stem, or base.  Much cleaner, and everything is centered and much more symmetrical.  The rest I combined in this fashion.  The two goblets were conceived as a pair.  The other form really came out nicely... I was thinking of a bulb, with spring shoots coming forth from the base.  I'd like to play more with similar forms, and maybe carve into it and so some hand modeling to finish.

These are fun, right?  It's amazing to me how these forms each develop their own personality.  I was really interested in height - that is, using this process to double the size of form that I could typically throw.  Being petite myself, I feel like was getting a chance to dabble in the tall and thin aesthetic that is not mine.  Elegance is what I was trying to achieve.  Though I was thinking about plants when sketching many of these forms I think these are all more human and feminine in nature.  On many of these I want to just pull the 'waist' tighter, or take off a couple of inches of the 'shoulders' or 'hips'.  

The form on the far right was my favorite.  I wanted to create the sense that this was formed from two slabs of clay, and that line is where they overlap.  There was alot of hand manipulation and carving after the two forms were joined on the wheel.  The one next to it was thrown earlier, a study.  They look as if they are wearing dresses.  The form all the way to the left is solider with its hands at its sides.  I really like the symmetry of the form second to the left.  It stands tall and is the thinnest - good proportions.

Ceramics Progress Report

Shelves full of work!  First round of bowls and cylinders ready to be glazed.  I experimented with scraffito with white slip as well.  Second round of cups with handles ready to be bisqued.  

Maybe the best work I've done.  These bowls are 12.5"-13" in diameter, thrown of 6 lbs of clay.  Our next assignment is to make 5 bowls that are identical, and I've got 5 of these on my shelf now, waiting to be trimmed.  I finally feel like I'm being challenged and finding my aesthetic.  I'm very proud of these. 

This vase is for Meredith and Chase, a long overdue wedding gift.  It was thrown in 2 parts, combined, and then I distorted the thrown top.  It's about 14" tall and I'm really pleased with it, it's very elegant.  

The second is a close up on the latest series of cups with handles.  I feel like I'm starting to develop a sense of gesture with these pieces.  Also, I carved a stamp of my initials for my work.  The more I throw and work through problems on the wheel the more I learn about clay and process.  Really enjoying this semester in clay!

10 Bowls

10 (+ a couple extra) bowls, thrown, thin, and trimmed.  What a relief to work on a new form!  I really enjoyed the challenge of these bowls.  And I really like the product!  Nice, concise, economical forms.  We used three pounds of clay on each of these forms.  I experimented with tall bowls and wide, shallow bowls (which are quite tricky), but mostly worked wit the very practical, in-between shape.

In the past I actively avoided trimming my pieces.  Trimming is the process of shaping the foot of a vessel that is wheel-thrown.  One allows the clay to set up and reach the leather hard stage (where the clay is still malleable, but not so soft that you would ruin the piece if you picked it up).  Turn your piece over on the wheel, re-center it, attach with clay, and use sharp trimming tools to reduce excess clay from the piece and re-shape the foot.  I usually avoid this for a couple of reasons...
1. It usually takes longer to trim a piece than it does to just throw it on the wheel.
2. Re-centering your piece upside down on the wheel can be a very tricky process.  Not easily accomplished, requires alot of patience, and it often reveals whatever flaws exist in your piece (slightly off center pieces).
3.  It is easy to mess-up trimming.  You could accidently trim through the bottom of your piece, or trim it un even (the piece would wobble about an uneven foot) or nick it with your tool, or dig into too deep and knock it off center.

Despite all these draw-backs, I really liked it once I got use to the idea and learned a few techniques to help me control the process.  It's nice to be able to to further editing, to reduce the weight of the piece, and to get creative doing more sculpting.  Here are some images of my trimmed feet.

     

We also helped out with a bisqueware firing.  Check out the kiln, packed to the brim with the class's bowls and cylinders!

Printmaking: Monotype and Transfers

Our first printmaking project we focused on 2 processes:  monotype and transfer.  These images are a combination of the two processes.  Transfer is simple:  a line drawing is created using black ink, run a copy of the drawing in a copy machine.  Then you use the solvent 'Citrasolve' and the press to transfer the image to your high quality paper.  

Monotype was our first introduction to printmaking inks, which are thick and oil based and really sticky.  For the monotype process apply ink to a small sheet of plexiglass, lay the inked plexiglass face down on your paper and run it through the press.  The ink should be applied in a really thin coat.  

For this project we were required to create an series of three images that illustrated a sequence.  I chose to illustrate the process of decomposition of a leaf.  I wanted to zoom in and examine the vein structure of a leaf and how it breaks apart over time.  

I ran 3 versions of each image in the series.  The middle edition was the 'ghost' image, meaning with the monotype I didn't ink the plate again, I just ran it through the press to capture the ink remaining on the glass from the previous run.  I think I like these ghost images the best; it looks more natural and less fussed over.  There was quite a bit of experimentation across all 9 prints, trying to figure out the properties of these new materials and how to best use the processes.

The jury is still out on printmaking as an art form, and I must say, prospects are not looking good.  The associated processes are slow, and the ink is such a pain to work with and clean up.  I suppose I'm also getting frustrated with myself for not being more patient!  But I'll do my best to see it through the semester.

The following images are the ghosts that I liked best.

      

10 Cylinders

I know it seems a bit repetitive for me, considering I made 100 cups last semester.  But I am determined to get some college-level instruction on how to throw well crafted pots.  So this semester I'm enrolled in the first ceramics throwing course.  And our first assignment: to throw 10 cylinders, at least 6" in height, from a pound and a half of clay.  I'm a little ahead of the game, so I just threw as many quality cylinders as I could, really trying to analyze this basic process, and helping my classmates out along the way.  

Today we had our critique.  I, like many potters, can get tripped up at my beginnings and endings.  So I really tried to focus on a sturdy lip (since I have a tendency to throw thin).  And I tried to pull more clay from the bottom, making uniformly thick walls.   I also had some problems with air in my clay... which really is a wedging issue.  

The dissection:

Not too bad.  Hopefully I'll sell all of these at the student ceramic sale at the end of the semester.  Lord knows I don't need any more cups!  Next assignment: 10 bowls of 3 lbs. of clay, trimmed.  I can't wait to do something new!

Art 399: CUPS 91-100

All this talk about firing kilns... it is no small undertaking and a highly variable process. Even in an electric kiln, the easiest way to fire ceramics, generally takes 24 hours to reach temperature and then cool down.  Gas kiln firing to cone 10 (which is high fire, rarely are pieces fired above cone 10) takes 48+ hours to fire the kiln and then let it cool.  Gas kilns and reduction firing is such an involved process... I think it is what one of those things I am meant to learn in a university setting.  


At the end of the semester I was aiming to learn the process when the kiln we were firing set off the fire alarm at cone 3.  The sprinkler's went off, fire trucks came out, it was quite a scene.  I think in retrospect what happened was that we didn't plug the sides of the kiln door with enough clay, too much heat was escaping, and that caused the alarm to go off.  The kiln was also in reduction, which produces an open flame at the spyholes, and those flames could have also caused the alarm to sound.  I wish it had been a more positive experience.  Looks like I'll have more to learn in the fall.  


Here are a few photos of the kilns, just in case you have never seen one.  If you are a visual thinker like me it always helps to have an image.

We call this the 'Red Kiln' at USC.  Gas kiln, in this photo fired to reduction.  This is a student made kiln, so it is imprecise to say the least.

Electric kilns, most often used by ceramicist who build with low fire clay.  Very easy to use and program.  Many ceramicist who work out of their home use electric kilns.

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Ocean Green and Chun Clear, Electric Fired cone 6

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Ball Celadon.  Gas firing interrupted at cone 3.

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Ocean Green and Chun Clear, Electric Fired cone 6

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Cannon Ball Blue, Gas firing interrupted at cone 3.

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Choy Blue, Gas firing interrupted at cone 3.

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Emerald Green, Gas firing interrupted at cone 3.  This is a brand new glaze that I made and I didn't do a test tile... and since the firing was interrupted I still don't know what this glaze is suppose to look like.  But the red accents are nice.  See cup 98 also.

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Cannon Ball Blue, Gas firing interrupted at cone 3.

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Emerald Green, Gas firing interrupted at cone 3.  No signs of green at all on this cup!

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Choy Blue, Gas firing interrupted at cone 3.

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Chun Clear, Electric fired Cone 6.

That's it!  If you want a cup let me know which one and I'll set it aside for you until we meet again.  

Art 399: CUPS 81-90

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Last cup made with porcelaneous stoneware.  2-part cup.  Interesting how the cup went off center after it was glazed.  Basic Green Celadon and Ocean green glazes.  Fired in reduction, interrupted at cone 3.

The rest of the cups are made of porcelain (the real stuff, with grolegg).  I always heard that it was difficult to throw with on the wheel... but I thought it was a little easier to work with than the porcelaneous stoneware.  What I wasn't prepared for was how much it shrank!  These last few cups all feel just a little too small.

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Porcelain, carved design.  Choy Blue.  Fired to cone 10 reduction 4-16-10.

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Porcelain, carved design.  Choy Blue.  Fired to cone 10 reduction 4-16-10.

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Porcelain, carved design.  Chun Clear.  Fired to cone 6 electric.  4-16-10.

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Porcelain, carved design.  Chun Clear.  Fired to cone 6 Electric. 4-16-10

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Porcelain, photo transfer to greenware.  Sana's Green.  Soda Fired to cone 10 reduction 5-1-10.

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Porcelain, photo transfer to greenware.  Chun Clear.  Soda Fired to cone 10 reduction 5-1-10.  This is how I hoped most of the photo transferred cups would turn out.  The glaze is applied thick on the rim because the greenware was damaged and chipped in the kiln room.

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Porcelain, photo transfer to greenware.  Cannon Ball Blue.  Soda Fired to cone 10 reduction 5-1-10.  This piece was also damaged in the kiln room, so I had to remove the handle.

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Porcelain, photo transfer to greenware.  Choy Blue.  Soda Fired to cone 10 reduction 5-1-10.

Handle also chipped in the kiln room.

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Porcelain.  Chun Clear over Ocean Green.  Electric Fired to cone 6, 5-4-10.