Cracking up, again.

I made a whole body of work, a lot of handbuilt round 45cm (18") platters a few months ago at Central Institute of Technology.  I slowly and patiently dried them, and lost a few, and bisqued some, and lost a few, and fired them, (and over fired some), and lost a few - and I find there aren't that many survivors.  You may recall I posted a few pics as I went along, I covered some with engobe/underglaze, printed on others and imprinted the last few with my own rubber stamps.  I made them carefully, took all precautions I knew of to nurse them along.

So what did I learn?  Not much new apart from noting that I am either really stupid (no can't be that) or unlucky (mmmm?) or just a ridiculously pragmatic optimist.

I learnt .....

• about draughts - from which I tried to protect my work as they dried slowly while loosely clad in plastic.  Draughts are obviously sneaky little buggers, they hide themselves well and then dry a part of a rim, cause an imbalance of tension as it dries and woo hoo - an insidious crack in my lovingly formed work.
• that I am remarkably patient and that although I went into that residency with a plan, it somehow shifted and became less important as the weeks went by.  
• that hand carved rubber stamps have a lot to add to a chunky piece of work, this was a direction I had not seen coming, I enjoy carving my own rubber stamps to press into my clay - as do several of my students.  So - a win.  
• about letting go with your losses and losing the angst fast.  I'm good at that, the piece is dead, move on, make more.  
• that some dark clays have so much iron in them that when you fire them to their highest recommended temperature you gain a gritty dark toastiness that obliterates many surface finishes.  Actually I already knew this, but the overfiring was a bit OTT.
• that sometimes 'burnt toast' work can look like woodfired stuff - even though that is not one's aesthetic and I'd rather leave that to the experts.  
• that blaming the clay doesn't get you anywhere (It was BRT dark, gritty and plastic) and possibly the one I used would not be suitable for large thick flatware.  It made up beautifully, but I got a lot of cracking in the drying alone.  
• I even threw some shallow cylinders to add as stands or feet on my platters, and noted that though the clay is super gritty, it is manageable and quite pleasant to throw, as long as you arent a total wuss about the dermabrasion bonus.
• I learnt for this body of work I may need a white mid fire clay - and stop getting this mucky dark stuff in among my porcelains, or maybe stop with the low and midfire platter idea - or work out how to do something in that vein in porcelain ; >7  
• I learnt the path to the skip and the catharsis of first smashing and then dumping the stuff and walking away.  
• I learnt that I am really glad I hadn't committed to a solo exhibition anytime soon based on that residency.  

I know I will go back and do it all again, with different clay, just not too soon.  Interestingly, I was mucking out (because it sometimes feels like that) my home studio yesterday and found five platters kept aside for glazing from the first time I had a go at platters, and I liked them again once I'd removed all the cobwebs and dust.  Fun will be had getting them tidied up and glazed and overall reinvented.  I have come full circle and I like it.

 See you over at Mud Colony where many other potters are sharing their news and views. 

Printing on clay, again.

I presented a workshop on printing on clay yesterday at The Potters Market in O'Connor, Perth.   Although it was pretty cold, being the Australian winter, I felt very welcome by the Proprietor Julie Drury and the atmosphere was warm as I already had a connection with about one third of the audience.  My intentions to get some pots thrown the night before on which to print, were thwarted by the cold, I had the good sense to stay warm at home.  We covered all the usual things and a little more :-

• transferring your own drawings onto clay using tissue and under glaze
• using Japanese printed tissue transfers, 
• printing your own with silkscreens 
• decals, making your own
• open stock decals
• making, using and firing iron oxide laser decals
• making your own rubber stamps and printing with them.  

I try to pack in many techniques to make it good value but it is so easy to overdo it and cause information overload.  I've been teaching this introductory workshop for a few years now and tinker with it each time.  There are techniques I want to offer but some could only really work in a one topic workshop as some processes are a bit complex in sequence.  But that is the nature of ceramics isn't it?  It is all about materials, processes, options and let's not forget skill, no small factor.

Fellow blogger and clay pal Patricia Fernandes who makes porcelain jewellery and home wares, kindly took photos for me to share (must brush hair, fix lipstick, suck tummy in, wear brighter clothes and aprons for photos in future and smile more often - tut).

Elaine Bradley explaining the use of decals

The class were a great bunch, good humoured and quick with the wit and insights.  I love teaching and it is all about the people when you teach.  Potters 'Rock'.

Here I am below applying a tissue print  to a slab of clay.

Very briefly ....

1. Take a wide hake brush, dip brush in water and then remove the excess water leaving you with a wet but not sopping brush.
2. Have a glass or mirror tile ready.  Dip brush into powdered under glaze or oxide of any colour (with some fritt added) and draw it across the tile in long even brushstrokes to lay down an area of wet pigment.
3. Allow the under glaze to dry, or use a gentle hairdryer to assist.  
4. Lay a sheet of tissue paper (10c from art shops) and tape it tautly over the pigment area.
5. Use a soft pencil or good roller ball to draw or write what you wish to transfer to clay. Do not touch the paper area except when using the drawing implement or it will smudge)
6. Remove the paper (use a scalpel for ease)  your image is on the reverse of the tissue paper.
7. Apply face down to the work you onto which are transferring print.

The flower and handwriting are mine but the little bird was done by simply pressing a store bought rubber stamp onto the tissue over the tile and pigment.  You could stamp directly onto the pigment and then onto the clay too, and of course, you can have rubber stamps made up from your own artwork or better still carve your own.  

The tile and pigment, the tissue, and the print.

There you are how's that for a freebie little lesson for you? Is this blog good value or what?   Paul Scott taught me that method.  It is useful  if you want to apply your own text or handwriting onto your work.  One potter at my workshop had the most enviable beautiful script.  If you try this technique please comment here or email me to tell me how you like it.

drybrushing underglaze/fritt onto soft slab using a Riso Screen #100 mesh

Most people know I am a great fan of RISO Screens (available from Nehoc.com) or Jacksons Art Supplies) as they are cheap, reusable, lightweight and easy to clean and store.  I use these on paper, cloth and ceramics.  Every high school or art school should have a Thermal Printer to make Riso Screens.   Perth folk just have to talk to a Jacksons branch to organise getting a screen made for them, (you need a high contrast black and white non tonal image). Van in the Beaufort Street shop is happy to help.  

Here I am above silk screening the 'ink' of bright blue under glaze/fritt and print media across a large Riso screen on to a sheet of tissue paper.  Below I have applied the tissue onto a slab of clay and am using a rubber kidney to gently ensure 'contact' so the print transfers to the clay.  This works on soft to medium leather hard clay with some moisture still in it.  It is part of an old medieval image.

And below is the TADAA!! moment of pulling away the tissue to reveal a nice print.

At the end of a workshop I make all my materials and tools available for people to try out, it is always fun and nobody ever abuses it.

Patricia Fernandes, if you read this, bless you girl for the photos.  Lindsay, Prina, Marika, Merilyn, Tijana, Marie and everyone else - it was a joy to have you there.

But wait, there's more!  In the middle of the day my lovely husband Henry Sheil dropped in on his motorbike, to borrow my car to take a son to a hip-hop dance class, then returned and set about replacing a blown brake light bulb for me.  Mmmmm!  Impressed?  I was.
So, shall we pop over to Mud Colony to see what other potters are chatting about on their blogs?  Come on .... X Elaine

The long and winding road, CAAWA Members Selective 2012

I am a city girl through and through so on making my way to the ZigZag Gallery in Kalamunda for the opening of the CAAWA Selective Exhibition, I was glad to have some navigators with me through the unfamiliar, twisty, hilly (zig-zaggy) roads up into the Perth Hills.  I strongly dislike TomToms and freeways so we got a bit of teamship going as my lads helped get us there.  I wished I still had my little MG Midget I used to drive round London in - but then, there'd be no room for the navigators and those hills might have tested it.  The small country town of Kalamunda is the most gorgeous little well kept secret and all the nicer last weekend in the winter sunshine. The Cultural Centre is especially lovely and well maintained, clearly the pride of the shire and a great tourist attraction.  A visual tour on the ZigZag website explains everything.  The gallery was a knockout - look here to see it on their excellent website and here  for background info on the building itself.

Image from http://www.architectureanddesign.com.au/article/Zig-Zag-Cultural-Centre-Western-Australia-designed-by-Woods-Bagot/534141.aspx

On arrival we wondered why we'd not visited Kalamunda for ages, and learnt from locals in the know of the  fab patisserie there, a great pizza place and a great looking Thai eatery.  I feel some family jaunts out of Perth coming on.

The standard of work in the selective was very high, as always, and it felt good to be exhibiting my work in such company.   I had our three sons with me, they like seeing my work in galleries and I like them to get a perspective of the possibilities in ceramics - and to meet my friends.  The boys are used to attending these events and make me feel proud.  Gaelan (16) enjoyed being plied with OJ in fancy wine glasses and Oscar (14) now requests that we buy cheese and crackers such as those enjoyed at the selective.  How do young men get sophisticated?  Bring them to art shows and treat them like adults.  I loved when Emmet (19) sauntered over to me, smiling, to report on a cluster of women admiring my work.   Then minutes later he  jostled back more urgently, to advise that one of my pieces had just sold. 

photo, Vanessa Robinson.

The awards were given by the judge Dr Ric Spencer (click link to read a nice interview).  The Kusnik award went to one of my favourite WA artists Alison Brown.

Alison Brown

I got a very positive sense about WA ceramics having a future and longevity and that there was some new talent bubbling to the surface and putting work out there.  For example the group of thrown porcelain bottle forms by Stephanie Hammill and the thrown, carved and pierced set of three white stoneware domes by Natalie Acton - which blew me away.

Southern Ice Bottles by Stephanie Hammill, photo by Cher Shackleton

Natalie Action, photo by Cher Shackleton

We had pieces by Greg Crowe, Sandra Black, Stewart Scambler, and several less well known but equally deserving artists.  I especially loved the modernity of Stewart Scambler's and Rosemary Schoen's pieces.   This post is laden with images as I know quite a few of my readers might not get to the show. 

Cher Shackleton, Baskets, Wood fired.

Janet Kovesi-Watt, Teapots, slip trailled, wood fired.

John Blinco, Neri Komi, Bowls

Njalikwe Chongwe, Raku Fired 

Stewart Scambler, Woodfired

Rosemary Schoen

Marie Owen, Lynn Carlin, John Blinco and Christine Blinco, the superb hospitality team.

Clearly anybody who thinks the ceramics scene in WA is stale is incorrect.

Bulls by Helen Dundo

Photos,  Natalie Acton, Cher Shackleton, Vanessa Robinson from the CAAWA Facebook Page and the CAAWA website unless otherwise stated.

Well that was a bit of a marathon read, are you up for some more?  Of course you are. Let's see what the rest of the potters have been talking about over at Mud Colony.

BEING RIGHT

I knew it, I just knew it ... I knew from the combination of ingredients I used in my recent quadraxial tests that I would find among the middle tiles a 'WINNER'.  Some of the corners of the group of tests were odd ingredients in odd proportions - no I am not telling and NO there is no chrome in here.   I felt that by being extreme and not playing it safe I would score a good one.  Here it is ... I was looking for high colour and crusty texture and I found it.  Now to use this one as a starting point for more tests, line blends here I come.  There were a few other gems in there among the 25 tiles in this kiln load.  These are for more sculptural works, NOT functional work. The favourite looks a bit flakey and was only fired to 1000 C, but is in fact well bonded to the surface.  I am very, very pleased.  More in the kiln already to try out a few more temperature ranges.  Woo Hoo!  Oh boy all that study of glaze tech at ANU has really empowered me.  Thank you Gail Nicholl, Janet DeBoos and Greg Daly - MWAH!!  Now I hope you are about to pop over to Mud Colony blog to catch up with my potter pals who blog for your information and entertainment.

What a tiny little world we live in.  I just took a phone call from my clay 'Sista' Adriana Christianson (she who organises Mud Colony) who was having afternoon tea with another clay pal Connie Lichti.  Both live in Melbourne, both have studios at Northcote Pottery, and both know me.  Connie didn't know of the connection though - I met her on my first session of the ANU Ceramics Distance Diploma about six or seven years ago, and I've never even met Adriana - yet both are my friends.  AC and I are both clay bloggers and have formed a great friendship, talking more often than I do with some of my oldest and dearest pals.  Adriana is a fabulous production thrower, and decorator of the most lovely bowls, currently with two distinct series, one Retro all sixties/seventies green and orange patterning and her divine Bird Series with red, black and whites, brushwork and sgraffito and the odd carefully placed element of gold.  I have one of the bird series and use it every day.

BLACK AND GOLD, LOW DISHES - ADRIANA CHRISTIANSON

Connie is like me, I would say, more of a studio potter, she is also a quiet achiever, and very knowledgeable and capable.  Everytime I spot work of hers online I marvel at  how her works grows.  I love the texture on these pots.

REDUCTION SHINO ^9 BY CONNIE LICHTI

This week I have been testing multiple textural glazes while waiting patiently for my large vessels to dry.  One man's glaze fault is another's glory, a glaze that crazes is to another person a 'crackle' glaze, a glaze that crawls will bug the hell out of the potter who didn't want it to happen and thrill the socks off someone with a looser more adventurous view of how a pot might look.  I like not limiting myself in terms of clay or temperature ranges when I envision a series of clay work, that way I am open to more possibilities.

   Here is a little gift a very old kiln gave up when I closed the door, a sheet of rust the size of my hand.  The second snap is a close up of the hot reds and cool blues.  I was careful to photograph it in good light, no flash here, nor photoshop.  The rust is crumbling every time it is handled.  I want to preserve it and hold it together with several coats of matt laquer and frame it in a box frame.  My pal Andrea wants me to place it on some glazed work and let the alchemy do its thing.  

For my glaze tests I needed some bone ash, and it was hard and lumpy so I had to resort to the pestle and mortar, and sieve.  I was mashing up fired cow bones.  I have a lot of patience, I enjoy bowing to what a glaze asks of me hoping to be rewarded for my efforts.  The ancient porcelain mortar is about 30cm wide.  

 It is easy to see why most potters make pretty decent cooks, many of the processes and mindsets required are similar.  I added some stains and am playing with yellow ochre to see what value it can be.

 Can't wait till Monday to open the first kiln load of tests.

I wanted to tell you about all the ceramic materials I got when I bought a kiln from a retiring dutch potter last year - and to appeal for translators of the labels as Google Translate is not too good on ceramic terms, but that will have to wait till my next post.  Meanwhile, check out Mud Colony, a growing group of clay bloggers who s post together weekly when we can - worth a read!!  Ciao - Elaine