During the workshop she demonstrated her techniques for surface decoration and give an interesting slide show and talk about her artistic and career motivations.  Each participant was invited to make a vase using hand building techniques that Molly demonstrated and then decorate the piece with one or more of the surface decorating techniques that were demonstrated during the work shop.

Molly showed the class how she does the Japanese “Mishima” style of engraving and then inlaying underglaze on the surface as well as scraffito, and resists with latex and shellac.

The work shop was a lot of fun and it was clear that Molly was very interested in each participant having plenty of take-a ways from the weekend in the form of ceramics and new knowledge.  Molly is one of those artists who is very happy to disclose her methods in creating art and in creating a successful business.

If you ever get a chance to take a workshop with Molly Hatch I highly recommend that you do so.

Show Dates:

February 10 – March 4, 2012, 2012
Reception February 10, 5-9 pm

Robin writes a good bit about the aesthetics of good form.  He even starts the book with a brief history of functional pots and includes many, many pictures of great work from ancient pots to contemporary works.  It’s a joy to simply look at the pictures and be inspired.

Only one thing about this book really annoyed me and I can’t be unhappy with Robin about it as his main talent is making great pots.  Most of the chapter titles ended in a preposition.  I know it’s a small thing in many peoples minds, some people only think of prepositions as something they had to learn in school and could then forget.  However, I don’t think his editor should have been one of those people.  I hope that mistake does not distract any readers from what is otherwise a wonderful book.

Other Stuff:

Funtional Pottery eBook

Robin Hopper

I’d love to know the results others have seen with this glaze.  I appreciate your comments.

The workshop covered how Ronan throws and builds the forms from the clay and how he builds the surface decoration.  One of the steps he stressed a lot during the forming process was to compress everything very well.  This may sound pretty elementary but it is something easily forgotten when we start working in new ways and I was glad to hear it.  It’s so sad to take pieces out of a kiln that are broken because of a lack of compression.

Surface decoration consists of lots of layers using slip, slip trailing, tera sigilata, wax & paper resists, and glaze.  The beauty of learning all of this in one workshop is that, even if you don’t use all of them on one pot, as Ronan does, you’ll have them in your bag of tricks.  He did give out the recipes for the slips, and some glazes also.

After the workshop I’ve been working in my studio thinking about the processes that Ronan showed us and trying to apply them to my work.  As expected some things I tried worked well, some need more practice.   I like that, I feel like if I practice with a new process I’ll also be inclined to work it into my style.

Check out the gallery page – Future Relics Gallery

1 package active dry yeast

1  tsp sugar

1 1/3 c warm water

3 1/2 c all-purpose flour

1  tsp salt

3 tbs olive oil

3 tbs cornmeal for the pan

a little more olive oil for the pan

Stir yeast and sugar into warm water and let stand for about 10 minutes until it’s foamy.  If using a food processor install a metal blade into work bowl.  Mix flour and salt then add yeast mixture while mixing until dough pulls away from the sides of the bowl easily.  Add the oil and knead for about another minute.

If the dough sticks to the side of the bowl add more flour 1 tbs at a time until dough stops sticking but remains soft.

Roll dough on a floured surface into a circle, rotating and turning (wedging) often and using enough flour to prevent sticking.  If the dough resists wedging let it rest for a few minutes before trying again.

Oil pizza pan or stone lightly and thoroughly then sprinkle lightly with cornmeal to prevent sticking.

Toss or roll dough and place on pan, pull out towards the pan’s edges and squeeze to make a crust.

Top with your favorite sauce, cheese and/or other toppings then bake at 375 for 20 minutes or until dough reaches your desired level of doneness.

Wally is also very through in his teaching.  He gave everyone very detailed handouts and then reviewed them to be certain everyone was clear on the content and how that pertained to their pots.  After explaining the process of naked raku and how to think about the surface decoration it was time for everyone to try it.  People spent a lot of time decorating pieces and trying the different options available to them via the naked raku process.

One thing that Wally did that I’ve never seen anyone do during a raku workshop was to teach people how to use the tongs and maneuver the pots (we used test pieces).  I thought this was brilliant and now use it whenever I teach anyone how to raku.

Participants Smoking Pots

The workshop was a complete success.  Everyone got some very nice pieces, the loss was the least I’ve seen in any raku workshop, everyone learned, and (it seemed) everyone had a great time.

Wally Asselberghs hails from Belgium but frequently does workshops in the US, he is also the moderator of the naked raku yahoo group that is a great resource for anyone interested in learning more about naked raku.  Of course I highly recommend a workshop with Wally also.

Akira has lots of positive energy that just filled the room for three days.  No question was too big or small, nothing was held back, all the details of each of Akira’s processes was shared in a way that inspired people to go forward in their work with something that was learned in the workshop.

Akira says his work is “inspired by nature” and that is easily seen in his Kohiki technique.  The work resembles the bark of a tree or a rock carved by the forces of erosion.  It’s also seen in his traditional Japanese work and he did discuss and demonstrate the Japanese aesthetic in detail.  He also gave us an extensive list of potters, both American and Japanese who incorporate this aesthetic into their work.

This was a hands-on workshop and people made a lot of beautiful and interesting pieces during the workshop but they probably made less than they anticipated due to the amount of time Akira spent sharing his techniques.  So instead of going home with a big box full of pottery they went home with a head full of new knowledge and ideas.

An Akira Satake workshop would not be complete without some banjo music.  Akira is not only a brilliant ceramic artist but also a very talented musician.  Although he does play music that I think of when I think of the banjo (jig’s & the like) he also makes music that we in the Southern US might not associate with the banjo, and it’s really beautiful.  Everyone who bought a CD said they really enjoyed it.

I’d highly recommend taking a workshop with Akira, you will learn something and have a great time.  Check out a short video of the workshop by clicking this link:  Akira Workshop Clip