05-14-11 - Pots 3

Potting becomes a bit less fun as I start to take it more seriously. It's really nice to do something where you just feel like a noob and everything is learning and you have no expectations. If you fuck up, no big deal, you learned something, and you didn't expect to succeed anyway.

Doing something creative and being a beginner makes me aware of what a dick I've been to other people in similar situations. When people say "hey look what I made, do you like it?" , my usual response is "erm, yeah it's okay". I should be like "yeah, it's wonderful!". I'm always careful about showing too much approval because I think of my approval as a way of directing behavior, but that's just being a dick.

It's getting annoying to go into the studio, so I feel like I have to either get a wheel at home or quit.

Some pots, in roughly chronological order over the last two months or so. Notes under each image.

Oribe on the left, with grooves cut in to try to accentuate the glaze variation. Ox blood on the right, makes a really nice red. The foot of the little red bowl is unpleasantly rough, I need to burnish the feet on the rough stoneware pots.

On the left is yellow salt base over dakota red clay, then I turned it upside down and poured temmoku to make the drippy look; I used a wire rack for that which was not a good method, the glaze bunches up on the rack. On the right is a bowl that I threw way too thick so then I cut away lots of facets; glazed temmoku.

On the left is cobalt stain under clear glaze; the cobalt on white clay body is a great blue; my drawing is horrible but I'd like to try that color again in a non-hand-drawn way. On the right is a crappy cup that I tried the "rub ink into crackle" method; it's okay but it's a pain in the ass.

Some experiments with leaving portions of the piece unglazed. I sanded the bowl a bit, but it's still quite rough, a smooth burnished outside would be better. I was hoping the inside of the bowl would pop with color more, maybe I'll try this idea again.

Experiment with making glaze run. Trying to throw some classical vase shapes. Base dip in yellow salt (white clay body). Then I dipped the rim 4 times in black glaze, dip, wait a bit for it to dry, dip again. Before firing it was a clean line on the rim, the idea is to get it to run in the firing. Pretty successful I think; I really like the unnexpected organic things that happen in the firing to lock fluid flow patterns into color, so I'm trying to find more ways to get that. It's crazy how much the pot shrinks between throwing and finished - it shrinks in bisque, then shrinks again in glaze firing ; I thought this pot was a nice big size when I threw it, but it came out awkwardly small.

This is some crap that didn't come out great. I do like the symmetrical shape on the right, might try that again, but taller, and better glaze.

Trying a band of unglazed clay; first iron oxide stain, then wax, then glazes.

I tried a funny technique on this one to try to get some irregular patterns; I dipped the pot in slip after it was bisqued, which you normally wouldn't do, because it doesn't stick well. Glazed in yellow salt.

This one I painted some wax around in a wavy band before glazing, then sand-papered off most of the wax, leaving a thin irregular bit of wax. Then glazed. At that time it looked like it was all covered, the spots only revealed themselves in the kiln. Shino glaze with the pour-on method to create irregularities in thickness.

No comments:

old rants