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Sunday, 10 January 2016

Dust Has Settled! January 2016


Back to Play   (December 7, 2015) 
The dust from "Before the Rush" has settled, my studio has been purged and tidied, and washed! Cupboards in my show room are filled.
Today Kevin Anthony, carpenter, and very old friend came by to pick up a surprise gift for his wife. We poked about, looking at old and current work.
Expressing my ideas to him has stimulated me to write again.
At the moment, I am fooling around with tiles. I bought myself some lovely handmade tile cutters. They are sized to allow 12% shrinkage of the clay.  I have some old clay that I am willing to squander.
Lyne, a new student came in for the first time last week. She truly loves pottery, but has had a very busy career. Now she has touched clay for the very first time!
I decided to start her off with some tiles, using my Living Fossil technique. (There are still a few hardy leaves out there.) I handed Lyne some clay, and encouraged her to handle it to 'clay' exhaustion! She managed that very nicely!
We collected some leaves from my garden, and I taught her about negative space. I demonstrated a  little bit. She is a natural. Sliding the tools over to her seemed like breathing. She caught on to the design elements, and was meticulous at handling the clay. As she was off on a trip, I have tidied up her coasters, (AKA tiles) and will glaze them soon.
Kevin, who came in today, drooled over her little tiles. I told him that they would be black and turquoise.
"They will pop!" he exclaimed.

I am experimenting with my tile cutters, improving my technique, and planning composite Living Fossils, framed with small tiles. There are some technical issues with that that I need to experiment with.

I am not very painterly. Texture, relief, shading and highlighting of colour
appeal much more to me.
 

Leaves and grasses have been pressed into wet clay. A first layer of  black/blue glaze has been sponged on, and the tiles are bisque fired.
 
 

 
 
 
 
The tiles have been reassembled, and sprayed with a turquoise glaze.
The faint imprint of leaves and grasses are somewhat visible.
 
                 

Finished piece looks like the forest submerged in the river!
 
 
January 10, 2016

after the festivals of friends, food and foolishnesssss!

 
Lyne was in this week for a double header. She prepped tiles on Wednesday, and carved on Thursday. Her project at the moment, is to make some Provencal style tiles. She will carve and paint them. Time flew on Thursday, and she insists she will bring her sleeping bag next time! Take a peek:


 

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.

 


Sunday, 13 September 2015

LIFELINE

 
 
Accidents create wonderful art. The challenging part for me, is to view an accident in an opportunistic, and positive way.
 
 
A platter, which I call "Lifeline" evolved accidentally.
As I was rolling out my slab of clay, the fabric sandwiching it, wrinkled as the clay went through the slab roller. I was at Victoria Jenkins 'Clay Camp', and working on her fabulous slab roller. It can handle big, glamorous chunks of clay. I was enjoying 'pushing my envelope' by making HUGE slabs with it.
 
 

 
Once the slab came through, I peeled back the top layer of fabric. Victoria was hovering over me, helping out.
The fabric had wrinkled in several places, indenting the clay.
 I paused, and Vic said,
"You can fix it!"    
                                                                                                                                                (You have to know, that Vic and I could fix anything, if necessary.)
We pulled it the rest of the way out, and set it aside. I've learned that that is the best way to deal with clay disappointments. My eyes need to view a piece with fresh eyes, in order to adapt to surprises.
 
 
Two minutes later, the decision was made. Leave it alone, and take a new approach.
 
 
 
 
Even before "Lifeline" was glazed, everyone who saw it OOooohed!

 

Because the indentations were soft, I wanted the glaze to be soft, too. It is a platter I just want to stroke.
 

"Lifeline" is inspired by the creases on the palm of my hand!

Photos courtesy of Gary Viola