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Showing posts with label angel. Show all posts
Showing posts with label angel. Show all posts

Thursday, 3 March 2016

Chameleon One, 2016


Chameleon     (January , 2016)
 

I am back to mindful meditation. Quiet time  in my studio.

I have been looking forward to playing with curves again. Last week, I started an old familiar form, one of my bird forms.

Those who have followed my clay for thirty odd years are very familiar with my birds. I always Smoke or Raku  fired them, enjoying the happy accidents of colour and smoke.

My biggest bird ("Birdsong") was over 3 feet high. I made her in my first sculpture course with Christina McEwen in 1992. She lived cheerfully in my garden  for several years, until a lovely lady decided she could not go home without her. "Thanksgiving" left my nest. 

My tiniest chicks are about 1/2 inch high. Their plump shapes, with tails in the air have trailed behind me  for decades. Last fall I experimented with them, new glazes of colour, and colour, and colour... They too have flown.

Last week I started out with the traditional rough form of a life-size bird. It came easily. BUT, my eye saw new shape in this very familiar form. Working on my Angel, Budform  and Dancer series' has changed my view. Elements of each form are involuntarily combining to create something new, yet old. It always surprises me when I look back at my old work, and see their essence following, creating my own, recognizable style.
 
 


 
 
 

 
 
It is very interesting to be 'Diana' observing 'Diana the artist'.



 



 

Wednesday, 11 November 2015

Resting Angel June 2015

Resting Angel (June 2015)
 
 
I'd like to share a short photo-history of  "Resting Angel" with you.
 I made her in June 2015, before I started this blog.
 
I have a detailed history of her birth and growth
in a photo album on my face book page (Diana Earle Clay).
 
 
"Stirring Angel" grew out of   "Resting Angel".
 
 
Her development was rewarding. Our process was meditative.
 


















 
She now lives with a dear friend of mine,
ensuring that the sun will always shine on our shoulders!
 
 





 
 
 

(photos by Gary Viola)

Stirring Angel Complete



Stirring Angel Finished
October 2015
 
 
 
Stirring Angel and I struggled.

I was rattled by the roofers, she got too hard, her head fell off, and I blanked out on her wing until Victor draped a tendril of Bittersweet Nightshade over her shoulders.

The glazing of 'Stirring' needed to be distinctive, in order to reveal how much energy and resilience she has. I wanted to show growth in organic, but soft colours. 'Stirring' needed to look related to 'Resting'. There needed to be a similarity in their pulse, and skin tones.

 I first glazed 'Stirring' the week after Potter passed away. I was pushing her, not feeling her. The result was aggressive. I walked away from her for several weeks...

When I came back, I was feeling  'our' peaceful resolve. I sprayed on more glaze, with confidence, and she came out of her second firing looking right.

She was the first piece I sold in "Before the Rush" 2015. She now lives with a resilient woman in the home she was destined to live in.
 
 
3 photos by Gary Viola

 
 
photo by DBE
 

Monday, 21 September 2015

Glaze

Sept 21, 2015
 

It takes imagination, talent and skill to make a good piece. It takes more imagination and skill to glaze it well. 

As I have mentioned, I have been away from clay for a long time. My kiln shed is still filled with wheel thrown functional ware that I abandoned, unglazed, over 4 years ago.   

 When I started back, I decided to 'just' make anything I wanted. The making was wonderful! I made a few pieces a year, they took weeks and months to build. Then I would set them aside. There was no way I was going to waste all that work on a lousy glazing job. I kept on making, and setting aside. John Sorensen asked me into  "Before the Rush" last year, and I had to decline. I had no vision of my beautiful new work beyond WHITE!  
 
 
 
 
 
 
 
 
 
bud form bisque fired only
photo by Bill Millward
 
 
 

 

I made the commitment to myself, and John, that I would be ready in 2015.

My process as it unfolded...
 
Enter Tom Weagant.

He brought his organized brain to my maelstrom.

We focused on Terra Sigillata, which is a burnished clay surface. It is coloured by natural clays, and oxides. He transformed a 'pinch' of this, and a 'titch' of that into formulas that I can pass on. He focused on retrieving information from my brain, and making it communicable. We began to smoke fire our terra sig creations.

 
 
 
At the same time, he built me a wonderful armature that would enable me to make tall, fragile, forms.  That certainly fired me off on another making spree.
 

 

 

 

 
 
 
 
Enter Krista Cameron.

 She has been encouraging me for years, trying to 'kick start' me by making test cylinders, mixing up glazes. and generally pep talking!
 
 

 I begin making more, less involved, hand building objects, so that I could fill the kiln, and start glaze testing.
 

 

Enter Victoria Jenkins.
 

 
Our friendship as potters goes back over 30 years, but we were reconnected by our mutual love of ballroom dancing.

Victoria has prodigious knowledge of glaze chemistry, and is an encyclopedia of techniques. She is generous, patient, and a born teacher.
 
Summer of 2014, she came and stayed with me for a few days and we played in my studio. Victor made himself scarce.

She invited me up to stay over at her house for days at a time to play in her studio. Alex made himself scarce. 

We are both cooks:
... so we ate, breathed, talked, and slept clay, nonstop. 

I have longed to explore the essence of water. By means of a slip decorating technique, I worked with the flow, and feel of water.

Once back in my own studio, I was totally absorbed in that flowing and feeling. I made platter after platter. 

Still no glazes!!!!!!

 

With Victoria's expertise in glaze chemistry, and unconditional encouragement, I began. Books, articles, internet clay publications, friend's clay recipes all fluxed through my brain.
(I did have my  self- imposed deadline to participate in "Before the Rush" in 2015.)

 

Every time I mixed up a new glaze, I needed to fill the kiln, in order to test fire. There was no way I was going to 'gamble' with my good stuff.

So, I used bits and pieces of my student's work, threw together textured, rough forms, and got creative with space.

This took months...............................................

 

As I came up with some possible glazes, I would combine them over and under each other, two or more layers at a time. I have gone back to spraying these glazes. Some glazes would run off a piece if it were a vertical surface. Some glazes with terrific visual appeal are so crazed (crackled), that they can only be used on a flat non- functional surface. It has been very complicated.

I pick up a combination of test tiles, and try to imagine them combined.


 

I glaze the way I cook.... a taste of this, a titch of that, lots of guessing about the combined flavours, all in my imagination.








One difference. I do not combine Wine and Clay! (from bitter experience!!)

 

 

At this point, a month before the show, I am very excited about Water. Bud Form 2  is finished, with four different layers of glazes, very organic. My terra sig pieces are lovely. (Tom's help with that made me very confident.) My earthy leaves have pleasantly surprised me.
 

Yesterday, Victor and I opened another firing. There were some major pieces in it, and more tests. Two of the major pieces have me dancing, and the tests are really speaking to me! Success is palpable!
 

I was so excited yesterday, that I hijacked my neighbours, Brent and Sonya Argue, and their 3 children as they drove down the road, to come and see!
 
There will be 3 themes.  Earth...Air...Water. The Argues loved guessing. Tyler would exclaim:

"This is water!"

Ella interrupted:

"What is this?"





Brent questioned:
"I don't think this is water, I think it should be earth?"
Bryden agreed!









 






 










 


 
 


Then we had a general discussion of what my unfinished pieces would be. Sonya was full of suggestions...then they whisked away home to bed!

 
 
 
 
 
 
 
 
 
 
This morning I woke up with decisions made!
                
Bud Form 1 decided
 
Water Fall is decided.

Two angels are decided.

My ball room dancers still hang in the balance. not sure about them. Tests were not good enough. I want to make more dancers, but won't, until I know I can finish them in stunning fashion!

 

Pretty wordy today!

There are even more images flashing in my brain.

Now my fingers need to go to work again.

 

Think I'll eat my oatmeal first.

 


Monday, 7 September 2015

Stirring Angel Day 2






 
 


Aug 25, 2015
 
My lump of clay sat for 10 days while we got a new roof on our house. I was too discombobulated to work on anything that involved much thinking.

I've been away from my little lady for several days. When I unwrapped her this morning, I was surprised to see a coating of mold creeping up her skirt. I gently wiped her down, and blew some hot air over her.

 


 
 
 
 
We are making strange with each other - I start again, gently stroking and smoothing her surface. My fingers are communicating with the clay, until my brain can engage itself.
 

Some new ideas are growing, and we begin to work as a team again. 





 




 
 Here I am paddling the lump with a wooden ball, to wake up the clay after its long nap. This serves to compress and strengthen the piece, and create some rudimentary flow to the lines.
 

 

 

 
 

This little wooden tool is a favorite of mine.  It has created channels for my  fingers for over 30 years. Once indented, my fingers follow and deepen those tracks that have become characteristic of my work.
 
 
 
 

 
Surform tools are a necessity for sculpting. I use tiny ones, to create curves, and tightening up the surface tension of a piece.


 
 
 
 
 
 
 Here I am adding tiny coils to build up the sensuous folds of  my little lady's skirt.
 
 
 
 
 
 
 
 
 
 
 
Once it is deep enough, I will smooth and push it over my 'thumb' channel
 


 
 
 
 
 
 
 
 
 
 
 
 
Examining my 'lady' 360 degrees is necessary to observe shadows, and lines. I scrutinize everything for visual interest, loose tension, and future planning for enhancing shadows when I spray the glazes. I will not push the fold until later. I needs to be kept just moist enough, so that the manipulation does no damage.
 
 
 
 
 
 
 
 
 
 
 
 
Here the clay is scored and ready to attach another coil, to create a softer sense of movement to the body. I build out softness. Wood carvers take away. Clay carves, and adds.
 
 


 

Now I begin to push over the fold that has been waiting patiently for its turn.


 
 
 



 
 
 
 
 
 
 
 
 
 

Details of the bottom of the skirt that was developing in the photo above. 


 
 
 
 
 
 
 
 
 
 
 
Love my Tools
 



 
 
 
 
 
 
 
 
I very gently tap the flat spots out of her head. This little neck, is very precarious 

 Victor nervously watches the angling of the head.
 

 
                                     

I want her head with a slight tilt up, and backwards.


 
       I am stuck here, she is at a point where I have to build the wings. Time to take a break.
 
 
Later,
Well, Monica, today I thought about you a lot. I was intent on your 'wing challenge'. From experience, I knew that my little lady  has to be all cleaned up, and fine tuned, before I add wings. Three tries on the left, and two on the right. It all looked cutsey! I am finally left with only one acceptable wing 

 

Then Victor wandered in, with a piece of bittersweet nightshade, the berries glistening in their colour change. He draped the vine around her neck. If only that could be immortal!


 

 


But, the gesture loosened me up, and the final wing came together. I was concentrating so hard on keeping up with my hands, that I forgot to photograph the wing 'parade'. 


"Stirring Angel" is not resting, but tremulously  fluttering one wing.