Tag-Archive for ◊ Art ◊

28 Jun 2010 Tip Toland Workshop
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Tip Toland came to Mudfire this past weekend to give a three day workshop titled “Putting Expression Into The Face.”  As one could guess it was a workshop about figurative sculpture. The workshop started off very similar to Debra Fritts workshop in that a head needed to be created and the features added in the correct locations and proportions.  We learned the slight differences in the placement of the eyes of a male versus those of a female – something I never knew.  She explained how the proportions differ as a person ages.  She also taught how to appropriately show age in a face.

Tip stands in front of the classroom in something of a ballerina pose and in a very soft, sweet voice explains what the face does when we are experiencing various emotions.  If you study emotions you can see slight changes in brow and cheek as well as eyes and mouth.  It helps to really try to feel the emotion you’re trying to create in your sculpture.

Getting good flesh tones is something that many artist find difficult, I know I have.  Tip taught the class various methods she uses for creating her very real looking figures.  She uses a combination of methods including adding house paint with a toothbrush and brushing on chalk pastels.

This workshop was fun.  Tip really has a passion for her work but she also doesn’t seem to take life too seriously.  I never had the feeling that she was running through a planned script and trying to fit in appropriate jokes at an appropriate time but we all laughed a lot throughout the workshop.  It seemed that her spirit and intellect was infused in the class.  I don’t do much figurative sculpture but I still learned some things that I will use in my work (I already have some new ideas for my plates) and I met someone who I’d love to just hang out with and discuss art or politics or whatever.  I would highly recommend taking a workshop with Tip Toland.

11 Jun 2010 Charlie’s Home Brew Terra Sig’
 |  Category: Glazes and Slips  | Tags: , , , , , ,  | Comments off
Tear Drop Horse Hair Pot

Horse Hair Decorated

This sig’ recipe is for all of us non-technophiles and first timers.

1)  Relax, and crack open a cold beer.
2)  Pour 3 1/2 gallons of water into a bucket.
3)  Stir in a tablespoon of sodium silicate and/or soda ash.
4)  Mix in 17 lbs of XX saggar or 9 lbs. OM 4 ball clay* and put the bucket up on a table.
5)  Finish your cold one and wait a day (20 hours).  This time factor (20 to 24 hours)  is very important.  If you wait any longer all the particles will settle to the bottom and you won’t have workable terra sig.
6)  Siphon off the top 1 gallon.**  (This includes the little bit of water off the top)  This top 1 gallon is your terra sig.  You can use immediately or store it for several years. Dump the rest.  It’s just dirt!  “Release it back into the wild.”
7) If you want, you can sieve it to get the little specks and cat/dog hair out. (200 mesh –or as fine of sieve as you can lay your hands on.)

That’s it.   Dip it, spray it, brush it.

* OM4 ball clay seems to produce a foamy mess on the top but don’t worry about it.
**If the finished 1 gallon of sig isn’t fine enough for some ungodly reason, then stir just that 1 gallon up again, and let it sit for a couple of hours to let the big stuff settle out. Then pour the thin liquid off the top and throw away the bottom 1/2 inch.

Terra Sig–Application and Polishing

Apply terra sigillata to bone dry clay.
Use only enough sig to bring up nice satin shine.  Caution, more than 3 painted layers of sig may start to crack and peel off in later firing processes.  Do not stone burnish a pot before applying the terra sig or it will flake off in the various firings.

Brushing
Put the pot on a banding wheel.  Coat a soft glazing brush with sig.  Spin the pot and apply an even coat onto the pot as it spins.  Buff the pot.  Repeat if necessary.

Dipping
Pots can be dipped into the terra sigillata and then allowed to absorb before polishing.  The dipping process is repeated with enough time allowed for water absorption.

Spraying
Sometimes the terra sigillata is sprayed onto the pots using a Paasche “H” airbrush with a #3 or #5 tip.  The pot is placed on a banding wheel and several coats are sprayed on taking care not to cause runs.  The pot is then buffed and the process is repeated until the desired level of shine is achieved.  (Usually 2 or 3 times).  A regular glaze sprayer can also be used successfully.

Polishing and Buffing
Before all color of water has been absorbed, buff/polish the sigillata surface with soft tee-shirt cloth, pantyhose or soft plastic. Take care to apply only enough pressure to bring up a shine but not to remove the terra sigillata. Metal/stone burnishing objects can be used but are not recommended.

12 Apr 2010 ArtsFest 2010

This weekend I participated in ArtsFest 2010 hosted by the Betty Foy Sanders Department of Art at Georgia Southern University; I would have to say this was one of my favorite festivals.  The perfect weather may have had something to do with it, but not everything.  The low entrance fee which made for quick profitability helped it to be high on my favorites list, but that was not all.  It was the people that came to my booth and the wonderful conversations we had that made the difference.  Many of the visitors were students who expressed real interest and a desire to learn.  They didn’t seem to get bored when I rambled on about processes and techniques; they asked more questions.  This same interest and excitement seemed to be contagious as even the non-students were very excited about the art they were seeing, they wanted to talk about the pottery, and hear the stories about what inspired a certain piece and what it’s like to be an artist.  Everyone who has done a show has heard “nice work” or similar words when someone is leaving the booth.  But to have someone show genuine interest is very uplifting.
At most shows I put out a box of seconds that I call “Charity Cases.”  The pieces are not priced, I simply ask for whatever donation the buyer feels is appropriate and donate that money to charity.  It made me feel really good when a young boy who was volunteering for the local humane society saw the box and said “I’d buy more stuff if everyone gave the money to charity.”  He bought a mug for his grandmother because “she loves to drink coffee.”  I could see how much that boy understood benevolence at such an early age.  I hope he never grows out of it.
I’d like to express a big thank you to my friend Laura Biering for letting us stay at Brinson’s Race which is always a wonderful experience,  to Gayle Shaw Clark a Facebook friend who made it a point to stop by and say “hi” and to all the people at Georgia Southern who helped to make this a really great show for everyone involved.

16 Mar 2010 Artist or Potter?
Brinson's Race Barn Plate by Lori Buff

Brinson's Race Barn by Lori_Buff

During a break in a recent workshop with Ryan McKearley I started painting on one of the Rustic Buildingplates. One of the workshop participants started watching what I was doing and admired the work. Then she asked “are you an artist or a potter?” What kind of question is that?
I threw the plate, so clearly that makes me a potter, but I’m also painting on the plate which would make me an artist. Maybe I’m a ceramic artist. I know some artists don’t include pottery as art, even though it is one of the oldest art forms. For some, it loses credibility as art because it is functional. On the other hand, we do raku, which is typically not functional.
I recently read Janet McGregor Dunn’s blog post about how she was treated by a fine artists group. They excluded her because the group does not consider pottery to be art, no matter how artistic her pottery. It doesn’t make sense to me. I think potters are artists and crafts people. However, some people reason that because potters don’t necessarily know what a piece is going to look like until it’s removed from the kiln, then they aren’t artists. Because we aren’t completely in control of the final product? Where it’s true that a potter also benefits from being a chemist, testing often lets us know fairly accurately how a piece should look when it’s complete. I could argue that thought often painters have an idea of what the painting will look like, many have expressed having issues determining when a painting is “done.” I would argue that there are many types of art where the end product is different from what the artist initially envisioned.
Ceramics are included in the definition of visual arts and visual arts are included in the humanities – that makes us all humanists. I wonder what types of questions that would raise when printed on a business card or used as the answer to the question “what do you do for a living?”
I don’t imagine I will be able to solve the debate in this article, or maybe ever in my life, so maybe we should think outside the box as my friend Gary Rosenberg suggests in his video about people grouping.

02 Mar 2010 Another Rustic Building Plate
Syrup Shed Plate

Syrup Shed Plate

Here’s another plate in this series.  This is a different view of the same syrup shed I painted a few weeks ago, this plate is a few inches larger at 11 inches.  I like painting the larger plates better as I can get more detail and show the vastness of the fields.  I’ve also been working with more low fire glazes and washes.  This plate uses a combination of colored slips (a.k.a. under glazes) and high fire glazes.  I really like this view and may do some variations.

22 Feb 2010 Water Carving With Ryan McKearley

When I first saw the description for this workshop I was a little doubtful; how was this process going to fill a three day workshop and who is Ryan McKearley anyway?  Then I saw Ryan’s work in the Mudfire Gallery & watched him doing a demonstration.  Ryan’s work is not only full of depth from the water carving but also from his use of glazes and soda firing.  Ryan is very interested in form and function, it shows in his work and his attention to detail.

Ryan McKlerley Workshop

Ryan McKerley demonstrates his technique

One of the reasons I enjoyed this workshop is because Ryan is very entertaining.  The workshop wasn’t filled with uproarious laughter but more of a genial smile and quite a few chuckles yet at the end of three days we had all discovered we had learned quite a bit.  Not just how to carve into clay using wax resist and water but different throwing techniques, some hand building and attaching processes, glazing tricks, how to design a and fire a salt/soda kiln, glaze recipes and even a little bit about the city of Austin, TX (where Ryan lives & works).

I highly recommend taking a workshop with Ryan, it’s very through, moves at a comfortable pace and is a good balance of hands on and lecture.  I also recommend picking up some of his pottery while it’s still affordable.  The Gallery at Mudfire almost sold out this weekend just from people who took the workshop.

11 Feb 2010 Horse Feathers

I wanted to decorate a raku pot using feathers and horse hair.  I didn’t want to buy the perfect feathers in a craft store because it seems weird and I hate shopping.  But I don’t find very many feathers in my travels.  The last feather I found was from a hawk, it’s very pretty but way too big for the pot I was planning to raku.  Besides, I am not ready to set fire to it.  I’d rather sharpen the end and use it to carve decorations.  So while I was wondering where I would find the perfect feather I happened to be walking through the train station and there it was!  I only had to look for it.  I wanted two feathers for the design but now I knew that the other feather would be showing up soon.  I was right, in a few days I found another feather that I liked for my pots; again it was in the train station.

Horse Hair Pot

Horse Hair Pot

I’m not trying to get all metaphysical or spiritual, with this idea, what I’m trying to say is that when we need something; we can often find it just by looking and knowing we will find it.  I think that’s a pretty good outlook to have.

26 Jan 2010 Syrup Shed Plate

I went to Brinson’s Race for New Years, it’s an enchanting place that inspires me to view, feel, think, and even act differently than when I’m at home.  For example, when I was there this past summer I was outside when it suddenly started raining very hard.  At home I most likely would have run for shelter but here I opened my arms and threw back my head and actually felt the rain on my face; I enjoyed and embraced it.

Syrup Shed Plate

Syrup Shed Plate

One of the buildings on the farm that attracts me is the old syrup shed.  It’s a few hundred years old and out of service so it’s not in pristine condition but the old bricks are still in place and the metal work, including the huge iron cauldron and gears are still there (albeit a bit rusty).  I’ve even found some of the old, empty syrup bottles in tact.  Being around the shed is a reminder of times long past; seeing it’s decline reminds me of our impermanence.  So I have created a plate with it’s image to save it for just another moment.

19 Jan 2010 Emergence

I’m working on a new series of pots called “Emergence.”  The idea came to me from seeing walls where the brick had been

Emergence Tea Pot

Teapot

hidden by plaster.  After many years the plaster stops sticking well and the brick, the foundation of the wall, starts revealing itself.  I’ve also been noticing what appears to be an increase in graffiti lately.  This has me thinking about the message people are painting on walls.  I’m not an advocate of defacing property but I have seen some graffiti that is really amazing.  The difference, in my opinion is tagging vs. urban art.  I can get into a big discussion about that but I’ll save it for another post.  It just got me thinking about what graffiti used to look like and what message I would like to present.  This teapot is just one example of the series in progress.

06 Jan 2010 Counting Pots
chocolate and rocky road tea bowl

Tea Bowl

A friend on Facebook recently posted about counting glazes instead of counting sheep when sleep is allusive.   I do the same type of thing but it doesn’t normally get me to sleep, it has the opposite effect.  I’ll be laying there all warm and snugly with the Whiggle as ideas start popping into my head.  Which of course makes me want to jump out of bed and rush to the studio to start working on these ideas.  Of course the problem with pottery is that it requires patience.  When I have an idea for a great glaze design I can’t just start doing it, often the correct piece needs to be made first.  Sometimes it’s several pieces in a series.  These pieces have to be thrown, trimmed, dried, and bisque fired before they will ever see the glaze.  Please understand, I’m not complaining, I love the process of ceramics and the time it takes.  I even love the fact that, unlike some other art forms, the results are not instant; pottery always has some nervous anticipation to it.  Opening the kiln is like Christmas, and I’ll never complain about that joy even when it does mean you get something that you don’t want (think pink bunny pajamas).  Pottery forces us to become patient.  Patience is a virtue.  It’s such a nice feeling to be a virtuous potter.
Right now I have several series ideas running through my head, they have started to take shape into the clay.  I’m so excited to see the results and share them with you.