May 1995 1 Spencer L. Davis Publisher and Acting Editor Ruth C. Butler...... Associate Editor Kim Nagorski...... Assistant Editor Tess Galvin...... Editorial Assistant Randy Wax...... Art Director Mary Rushley...... Circulation Manager Mary E. Beaver .... Assistant Circulation Manager Connie Belcher...... Advertising Manager

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Ceramics Monthly (ISSN 0009-0328) is published monthly except July and August by Professional Publications, Inc., 1609 Northwest Boulevard, Columbus, Ohio 43212-0788. Second Class post­ age paid at Columbus, Ohio. Subscription Rates: One year $22, two years $40, three years $55. Add $10 per year for subscrip­ tions outside the U.S.A. In Canada, add GST (registration number R123994618). Change of Address: Please give us four weeks advance notice. Send the magazine address label as well as your new address to:Ceramics Monthly, Circulation Department, Post Office Box 12788, Columbus, Ohio 43212-0788. Contributors: Manuscripts, announcements, news releases, photographs, color transparencies (including 35mm slides), graphic illustrations and digital TIFF or EPS images are welcome and will be considered for publication. Mail submis­ sions to Ceramics Monthly, Post Office Box 12788, Columbus, Ohio 43212-0788. We also accept unillustrated materials faxed to (614) 488-4561. Writing and Photographic Guidelines: Printed information on standards and procedures for submitting materials is available upon request. Indexing: An index of each year’s articles appears in the December issue. Additionally,Ceramics Monthly articles are indexed in the Art Index. Printed, on-line and CD-ROM (computer) index­ ing is available through Wilsonline, 950 Univer­ sity Avenue, Bronx, New York 10452; and from Information Access Company, 362 Lakeside Drive, Forest City, California 94404. These ser­ vices are also available through your local library. A 20-year subject index (1953-1972), covering Ceramics Monthly feature articles, and the Sug­ gestions and Questions columns, is available for $1.50, postpaid, from the Ceramics Monthly Book Department, Post Office Box 12788, Columbus, Ohio 43212-0788. Copies and Reprints: Microfiche, 16mm and 35mm microfilm copies, and xerographic re­ prints are available to subscribers from University Microfilms, 300 North Zeeb Road, Ann Arbor, Michigan 48106. Back Issues: When available, back issues are $4 each, postpaid. Write for a list. Postmaster: Send address changes to Ceramics Monthly, Post Office Box 12788, Columbus, Ohio 43212-0788. Form 3579 requested. Copyright © 1995 Professional Publications, Inc. All rights reserved

2 CERAMICS MONTHLY May 1995 3 4 CERAMICS MONTHLY VOLUME 43, NUMBER 5 • May 1995

Feature Articles

Patrick Crabb Contemporary Archaeologist in Clay a review by Allan Peterson ...... 35 Diane Kenney: An Autobiography ...... 37 Eduardo Andaluz by Celestino Hernandez ...... 42 Handbuilding with Suspended Clay by James Thomsbury...... 44 Hawaiian Functional Forms by Bob McWilliams ...... 47 The Mysterious Hole Determining Correct Burner-Orifice Size by Marc Ward...... 50 Jatun Molino In this tiny communal vil­ Baptism Through Fire by Stefan Emmelmann with Nancy Arrowsmith ...... 54 lage in the Amazon Basin of Ecuador, pot­ ters (such as Dora Gualinga, above) use A Gathering of Tea by Barbara Hamaker...... 60 dried gourds, strips of wood and corn husks Jatun Molino to shape and smooth their coil-built ware; A Pottery Village in the Ecuadorian Amazon Basin by Joe Molinaro...... 63 the pots are then intricately decorated with human-hair brushes and fired individually The $1200 Studio by Lili Krakowski...... 89 over an open fire; see page 63.

The Mysterious Hole The most misun­ Up Front derstood feature of a gas kiln is probably the burner orifice, says Marc Ward. But, with Nova Scotia’s New Ceramics Collection by Holly McCurdy...... 12 the help of a calculator, anyone can “figure Sunken Treasure Realizes Nearly $3.5 Million ...... 12 out the exact Btu (British thermal unit) Rosemary Aiello ...... 14 output of a burner or determine what size Michigan Ceramics ’95 ...... 14 orifice is needed”; page 50. John Cheer by Diane Stauffer...... 14 Gretchen Wachs ...... 16 Lothar Fischer Retrospective a review by Kurt Spurey ...... 18 Barclay’s Design by Richard Meyer ...... 18 Nordplus Workshop by Jorgen Hansen ...... 20 Design and Applied Arts Database ...... 22 Cynthia Spencer...... 22 Tom Rippon ...... 22 Yasuhisa Kohyama ...... 22 Nancy Youngblood-Lugo ...... 24 Touring African-American Craft Show...... 24 Lucie Rie, 1902-1995 ...... 24

Departments

Baptism Through Fire German potter Letters ...... 8 Group Ceramics Exhibitions ...... 74 Stefan Emmelmann describes the con­ New Books ...... 28 Ceramics in Multimedia Exhibitions ...... 76 struction of handbuilt radiant-heating Call for Entries Fairs, Festivals and Sales ...... 78 stoves, or Kacheldfen; see page 54. International Exhibitions ...... 68 Workshops ...... 80 National Exhibitions ...... 68 International Events ...... 82 The cover Colorado potter Diane Kenney Regional Exhibitions ...... 70 Questions ...... 86 in her Carbondale studio. “Potters say as Fairs, Festivals and Sales ...... 71 Classified Advertising ...... 94 much about their...attitude toward their Suggestions ...... 72 Comment: pots in a mug as sculptors do in monumen­ Calendar Facing Tradition tal pieces,” she notes in her autobiography International Conferences...... 74 by Makoto Hatori ...... 96 beginning on page 37. Photo: Glenn Rand. Solo Exhibitions ...... 74 Index to Advertisers ...... 96

May 1995 5

Letters musicians, technically. Their souls, their (0.05%). This amount represents five ten- voices, are what made their music brilliant thousandths of the total. Giving glaze recipes and honest. in this way has no sound basis in science, and I can’t think of a better way to develop can only confuse the layman. Couldn’t CM Clay Voice and hone wheel skills than to become a have rounded them off? Recently, I helped another potter fire his production potter. And if you’re into the Reid Harvey, El Obeid, Sudan wood kiln. He had asked around the ceram­ tradition thing, that’s great. But it is develop­ ics department at my school for help prepar­ing your voice that really counts. Making Good Use of Time ing for a wood firing: mixing slips and glazes, Maybe we should instill self-trust and About potters today, Uncle Jim says: etc. In return, I’d get access to his facilities, confidence in others, and try to see their Some should spend ¾ of their time digging different clay bodies, the wood firing and work through their excitement, rather than ditches and ½ of their time producing Imowledge. Good deal! hold them down. clayworks so that they do not lose themselves In between stokings, I asked this potter Yes, I am a student. Some of the most in pseudo-intellectualism and contrived for his critique of the few pieces that I had inbrilliant work that I’ve seen has been by aesthetics. Kevin Hluch [January 1995 Com­ the firing. After all, he had been making pots students. I love it. I love being a student so ment] is quite perceptive. for 30 years longer than I had. He might much that I plan to teach, so I can continue Gale Greenwood, Farmington, Penn. have the ability to see something in my work to grow and learn from students! that I couldn’t. Patrick Faville, Frederick, Md. Change and Discovery In response, he dryly said: “They are I have been employed as a graphics de- student pots.” No more, and no less. Disclosing Addresses signerlartist for nearly 20 years. In my spare It wasn’t the potter who offended me. I I was disappointed to learn that if I had time, I’ve experimented with various forms of actually like the guy and respect his opinion. articles or photographs of my work publishedart. In 1988,1 discovered clay and CM. It was the outlook that he was coming from in CM and collectors or galleries were inter­ Now, clay is a passion, but it’s hard to be that really bit. This potter had come from a ested, the magazine would not release my creative for 8-14 hours a day at work, then long tradition of apprenticeship, with a rigid address to them. In a perfect world, I would continue to be creative (although in a differ­ hierarchy. In this scheme of things, my pots expect CM, for a small fee, to act as a catalystent mode) in the evening when the gears are didn’t rate serious consideration. for commerce with this elementary request. still turning from the day job. I agree with I am, after all, a student. There is this Jean Eskra, Pueblo, Colo. “Part-time Passion,” which appeared in the matter of paying your dues. You have to mix February 1995 Letters, and would add “how clay and glazes, mop floors, cut firewood, It's true, CM does not release addresses, but to break out of a part-time and into a full­ etc., before you are allowed to make pots. we have always been happy to forward written time passion” to the list. Then you learn to make correct pots by inquiries to the artists at no charge.—Ed. I also agree with “Chill” and “All in making other people’s pots. After spending a One,” also in the February issue. The view­ lot of time collecting a palette of techniques Teapot Departures points go together; they are extensions of to make slick-looking pots, you can change Just how far can the design of a teapot each other. your mind and try to transcend technique to depart from the theoretic ideal before its I don’t like weird, and I’m a perfectionist find what was there in the beginning— functional efficiency deteriorates toward (much to the disgust of my wife and some passion, excitement and freedom. uselessness? I am thinking in terms of heat fellow potters), but after viewing “the weird Maybe I was lucky. I had already come retention, speed of brewing, ease of cleaning,and unusual,” I have to admit I’ve been able into my voice—in music and poetry. Aes­ direction of pour, minimization of drip and to loosen up (a bit), and try not to be so tight thetics and sensitivity were already the do­ dribble. Do jurors who applaud and select in my potting. main of my process. Adapting to a new frequently illustrated examples of florid Art is all about change and discovery, and medium was relatively easy. ornamentation and appended form consider is a continual learning process. If we view Somehow fate was good to me and gave these issues? everything with tunnel vision, we deprive me a teacher who could see beyond my lack Ivor lewis, Redhill, South Australia ourselves of the culture and vast landscape of of technical ability with clay to my voice. the art world. With patience and, most importantly, enthu­ It Takes More Joseph Smith, Spruce Grove, Alberta siasm, he helped me find my way over all the CM is my monthly open window on the technical hurdles. He fed my hunger for world of ceramics. Thanks. Please do not Svend Bayer Kudos knowledge without any hesitation. The publish too much discussion about “art I’ve been waiting all year, wading through greatest thing of all, though, was that he versus craft,” though. Let’s all be modest like contemporary intellectual fads and clay always treated me (as well as any other stu­ the famous Flemish painters Van Eyck, gymnastics, to see the article about Svend dent) as an equal. This only deepened my Brueghel, etc. They were all craftsmen. Bayer’s pots [March 1995]. Thanks to CM bond with clay, and let me grow as an artist It takes a lot more than clay to make and Mark Hewitt for giving us a real class act. and human being. ceramics. Frank Polizzi, Mineral Point, Wis. Sure, technique and skill fit in some­ Frans Gregoor, Bilzen, Belgium where. It isn’t nearly all of it, though. It is Short-circuited Creativity easier for me to think of examples in the Poindess Reconciling the artist with the need to sell world of music. John Lennon and Kurt Harold McWhinnie has done a great can short-circuit creativity. Cobain, for that matter, were not very good service in selflessly providing ceramists with Charlotte Heath, Washington, D.C. so many glaze recipes. But there is nothing Share your thoughts with other readers. All letters helpful in listing constituents to the hun­ Nothing Rewards Like Clay must be signed\ but names will be withheld on dredth of a percentage point. For the glazes Thanks for a great magazine. I teach art at request. Mail to The Editor, Ceramics Monthly, given in the February issue, no constituent a basic education-alternative junior high that Post Office Box 12788, Columbus, Ohio 43212- could possibly have much effect in amounts is struggling to build itself up. I devote one- 0788; or fax to (614) 488-4561. of, say, five one-hundredths of a percent third of the half-year (six weeks) to ceramics

8 CERAMICS MONTHLY May 1995 9 Letters Oldsmobile to a paperweight in four hours. with ceramicslpottery. In I960,1 made my The smell of the pigs and goats isn’t too own kiln from a safe that had been busted bad when the wind is right. And still, in spite open at a local store. for two reasons (equal): I love ceramics, and of everything, clay worlds its magic—the Today, after restoring a 150-year-old doing pottery is the first thing written in elemental, basic, first magic. A 12-year-old country house, I am setting up a small studio when the students fill out a wish list. The holds his pinch pot or coil pot and his face where earthenware instead of stoneware will schools all over are losing art teachers to lights up. be fired in order to keep electric bills to a financial hardships and still the kids want to Somehow, teaching clay is more than the minimum. do clay. sum of its parts, and most all of the draw­ I enjoy reading CM, but am disappointed My clay class works outdoors on old backs can be handled. I wouldn’t want to do with the trend in so-called “artistic” teapots cafeteria tables. The water supply is in white any other job. Nothing rewards like pottery. and the like. Please let us have more “down- plastic buckets. When I recycle clay, I slake, Vangie Allen Blau, Mesa, Ariz. to-earth” pottery. mix and wedge by hand. In Arizona, the Yves Seguin, Deschaillons, Quebec weather cooperates, so that is no problem. Down to Earth I have access to two kilns. One “toasts” I’m a retired telegrapher from a Canadian Indexing bread fine; the other could melt an railroad, and have always been captivated I would like to have a year-end index of articles by subject matter. I can never find an article in back issues of CM without going through the whole year. Jane Woods Salisbury, Sisters, Ore.

An annual index has been published in each December issue of Ceramics Monthly since 1962.—Ed

Cover Preference I wish Ceramics Monthly would return to featuring ceramic art rather than the ceramics artist on the cover. The covers are no longer appealing, and I often try to hide the maga­ zine on my coffee table. I haven’t had a cover I’ve wanted to hang on my wall for a number of years. Dee Taylor, Bethesda, Md.

As many other readers have said before, I too prefer to look at the works of the other potters instead of their portraits, because, as Bernard Leach once said, “The pot is the man.” Franco Balducci, Certaldo, Italy

Artspeak Babble Artspeak psychobabble is a waste of space when it appears in articles or descriptions of work in shows. Better to have straight talk about processes, problems, techniques, etc. College-learned artspeak is all the same, could be said of virtually any piece, and adds nothing to the individual discussion. Gary Hoover, Spencerport, N.Y.

Real Info for Real Potters Forget the esoteric criticism, which has no meaning or interest to real potters. We want to see the work and the techniques involved. These people who love to run off at the mouth are very boring. Frank Matranga, Manhattan Beach, Calif.

Addendum In addition to Mark Ferri (see page 12 in the April 1995 CM), Florida artists Steve Howell and Roddy Reed received awards for their daywork at the Walt Disney World “Festival of Masters” in Orlando, Florida.

10 CERAMICS MONTHLY May 1995 11 Up Front Although ceramics are often intended for functional use, they should be considered for their form and decorative aspects. “I don’t think ceramics need justification to be placed in an art gallery,” Elwood said. “You must assess ceramics from the point Nova Scotia’s New Ceramics Collection of view of form, because the form of a ceramic piece can be by Holly McCurdy beautiful even if it is functional.” Imagine Queen Victoria painted green and sitting in a bathtub The idea of a ceramics gallery became a reality when Jean full of beavers. Now picture a giant dill pickle with wheels and a Shaw, wife of the late Lloyd Shaw, president of L. E. Shaw Brick froglike face. Surround these two bizarre characters with beauti­ fully crafted dishes, vases, platters and bowls by some of Nova Scotia’s foremost ceramists, and you will understand the new ceramics collection at the Art Gallery of Nova Scotia (AGNS). Form has finally met function in the collection of the Lloyd and Jean Shaw Gallery-Ceramics. Showcasing works by artists who live or have lived in Nova Scotia, or whose pieces are included in Nova Scotian collections, the gallery is one of only a few in Canada to deal exclusively with ceramics. “Like Britain, Canada has always kept its museums and art galleries separate,”

Ian Symons “House Boat Teapot,” approximately 10 inches in height, glazed earthenware. Company, Ltd., made a financial contribution to the AGNS with the stipulation that a ceramics collection must be devel­ oped. “The AGNS as an institution realized that we didn’t have any significant representation of ceramic art,” explained Bernard Riordon, director. “Ceramic art is represented in major collec­ tions around the world. Why should we be any different?” Focusing on ceramics in Nova Scotia was a practical choice, said Elwood: “Some of the oldest artifacts that survive are ceramics, so if you want to establish a collection it is necessary to limit yourself in geographic and chronological range. The fact that all the pieces have an association with Nova Scotia enables the collection to chronicle the development of ceramics in this area specifically.” As there were still many ceramists to consider, the gallery forced itself to limit the collection to works by artists who were instrumental in developing ceramics in Nova Scotia. Acquisition of works by a younger, less-structured generation of artists is planned for the future. Works from the collection will also be used in multimedia exhibitions and in educational presentations for ceramics students and beginners to demonstrate the effects of different glazes, colors and firing styles. Sunken Treasure Realizes Nearly $3.5 Million Greg Payee’s “Vase,” approximately 22 inches in height, earthenware; at the Art Gallery of Nova Scotia, Halifax. An auction of some 24,000 pieces of salvaged 19th-century Chinese blue-and-white porcelain realized Dfl5.6 million explains Marie Elwood, member of the AGNS Ceramics Acqui­ (approximately US$3,476,000)—double the presale estimate. sition Committee and former chief curator of the Nova Scotia The sale, which took place at Christie s Amsterdam on March 6 Museum. “Art galleries have traditionally been associated with and 7, lasted more than 15 hours, with collectors from more paintings and drawings, so the Art Gallery of Nova Scotia is than 25 countries bidding competitively. brealdng with tradition by widening its collection.” All the ware was recovered from the wreck of the Diana (a According to Elwood, ceramic works belong in art collec­ merchant ship licensed to trade by the English East India tions because they have aesthetic value equal to most paintings. Company), which sank mysteriously off the coast of Malaysia on March 5, 1817. Loaded in Canton with porcelain made at You are invited to send news and photos about people, places or various kiln sites in South Central and South Eastern China, the events of interest. We will be pleased to consider them for publica­ ship was on her way to India. tion in this column. Mail submissions to Up Front, Ceramics After 10 years of research and 2½ years of searching 28 Monthly, Post Office Box 12788, Columbus, Ohio 43212-0788. square miles of sea bed, Dorian Ball, managing director of

12 CERAMICS MONTHLY May 1995 13 Up Front 36, but she doesn’t “remember a time without art in my life. As a child, I was greatly influenced by my maternal grandfather’s work. His work penetrated my thinking and stimulated my own imagination. Even so, it took quite some time for me to realize my own talents and to emerge and establish myself as an accomplished artist in the field of ceramics.” This exhibition focused on her recent transition from pottery to sculpture. Handbuilt and thrown, her earthenware pieces are embellished with carvings or “cut-throughs,” allowing Aiello to create negative and positive space. “The forms and surfaces are intended to recall primitive vessels while retaining a contempo­ rary character,” she explained. Aiello burnishes and pit fires or, more recently, raku fires her work. “In both the raku and the pit-firing methods I must completely surrender my work to fire and air, bringing the clay and the fire cycle together before my eyes,” she stated. “I like to keep the ritual beginnings in mind by treating the clay with respect and reverence. At the same time, my intent is to stretch it to its limits, capturing the spontaneous transformations that lead to new ideas.” A treasure trove of over 24,000 pieces of Chinese blue-and- Michigan Ceramics ’95 white porcelain was hauled up by the basketful from the merchant ship Diana, which sank in 1817. A juried exhibition of works by Michigan ceramists was pre­ sented recently at Habatat/Shaw and Edge Galleries in Pontiac. Malaysian Historical Salvors, discovered the ship, with much of From the 191 works submitted by 82 artists, juror Patti Wara- its cargo intact, in the Straits of Malacca. shina, professor of art at the University of Washington, selected On board were blue-and-white decorated place settings, 64 pieces by 50 artists. According to Warashina, this exhibition vegetable tureens, fruit and chestnut baskets, and bowls; as well as undecorated white tableware, glazed porcelain figures of immortals and dignitaries, and various “toys,” such as cockerels, ducks, hounds and parrots. Pairs of blue-and-white oval fruit baskets and large oval tureens were the top sellers—one pair of fruit baskets realized Dfl28,750; the other reached Dfl21,850 (approximately US$17,470 and US$13,270, all prices include a 15% buyers’ premium); while a large tureen sold for Dfl20,700 (approxi­ mately US$12,580). Other top sellers included a pair of chest­ nut baskets and stands, Dfll9,550 (approximately US$11,880), and a set of four oval dishes, bought by the National Museums of Malaysia for Dfl 18,400 (approximately US$ 11,180). Rosemary Aiello Pottery and sculpture by New City, New York, artist Rosemary Aiello was on view recently at the Piermont (New York) Fine Arts Gallery. Aiello did not start her career in ceramics until age Robert Rancourt “Beasts of the Field,” 8 feet in length, merit award winner in “Michigan Ceramics ’95”; at Habatat/Shaw and Edge Galleries, Pontiac, Michigan.

“is a reflection of some of the strongest daywork being done in the U.S. The diversity of ideas, scale and intent of the entries reflects a maturity and long tradition of clay, which this region has long supported.” Surprised at the large number of sculptural entries, Wara­ shina also was pleased to see “some fine examples of utilitarian and functional objects.” Both types of work “reflected the total range of Michigan ceramics.” She also noted, “It was illuminat­ ing and rewarding to see that Michigan artists’ vitality and creativity are alive and well during these economic times.” John Cheer by Diane Stauffer Rosemary Aiello’s “White Surf,” 15 inches in height, white crackle glaze, on steel base, raku fired and reduced in “Inspirited” describes the essence of John Cheer’s thrown and sawdust; at the Piermont Fine Arts Gallery, New York. sculpted stoneware pieces. While their definition is elusive, their

14 CERAMICS MONTHLY May 1995 15 Up Front studied ceramics in high school, inspired by the dragon-shaped oil lamps of his instructor. His first love being sculpture, Cheer experimented over the next eight years with different styles, spirit is unmistakable—temptation with comfort, provocative ranging from animal and human forms to functional/decorative mystery with subtle yet persistent optimism. vessels and teapots. “The flow and energy of nature have always been my inspira­ Moving reluctantly to Allentown, Pennsylvania, six years tion,” Cheer said. “I like the wildness in living things, especially ago, he was fortunate to study with a master ceramist from Italy. sea creatures. A living thing is both fragile and strong. Put all The purchase of a small, run-down home overlooking the city that into a beautiful flowing form and you start to feel the paved the way for his new career. The basement became his ceramics studio, and a 6x8x6-foot softbrick gas Jdln, a throw­ away from a local college, found a new home in his backyard. A former dungeonlike living room became his showroom. Full-time production came to a jolting halt, though, when a few neighbors decided the kiln was not a creative mystery but an eyesore, and was depreciating their property values. This, together with a city zoning technicality, forced Cheer to stop firing and cancel shows during the holiday season. A search ensued for a new kiln location that was both practical and affordable. After five months of uneasiness and frustration, the kiln and most of his working studio were relocated in a rented building near the river. Depending on ceramics sales has been a “wild” adventure. The public’s interpretative reaction to his trademark “energy squiggle” design (a loose coil with a ball) turned out to be very literal. “There’s a snake in this pot!” and “I don’t care for any kind of snakes, not even decorative” were heard again and again, causing Cheer to reflect on his style. He admits appreciating snakes as much as other living things, but says he never con­ sciously intended the design to represent them or cause custom­ ers to “recoil.” He has received a positive response to what has come to be called the “Sting Ray Series,” though. Dramatic-looking wall pieces/candle holders, they are reminiscent of horseshoe crabs and stingrays. Gretchen Wachs John Cheer wall form, from the “Sting Ray Series,” An exhibition of wall sculpture by ceramist/printmaker 32 inches in height, thrown and handbuilt, stoneware Gretchen Wachs (Tesque, New Mexico) was on view recently at with glaze and glass, fired to Cone 10 in reduction. Running Ridge Gallery in Santa Fe. Changes in her life—the birth of a son, the move to a new home and studio—are re­ power of life. That’s what I want my work to be about. I want flected in her latest pieces. “Working as an artist gives me a my pieces to have the feeling of life.” mirror, an opportunity to continually reflect on my life and my His works are reduction fired to Cone 10. “Reduction firing environment; to take the images, forms and ideas that are in a gas kiln is always a gamble for me, and always exciting,” meaningful to me and translate them,” Wachs commented. Cheer commented. “I’m still experimenting, so no two firings “Often my work informs and illuminates my life, teaching are ever the same. I used to take a lot of time applying glazes, me a great deal,” she continued. The process “is a journey into imagining how each piece should look, and it would seldom turn out that way. At first, this made me feel disappointed, but now I like this element. Total control over the colors wouldn’t suit my work. With reduction, the flame is partly in control. Reduction glazes have richness and warmth. They’re more translucent, more wild.” Sometimes he also adds broken glass to the glaze surface to add depth and mystery. Although it looks like water, it takes on varied appearances, depending on the size of the glass shards and the glaze combinations (the glass itself is clear). Though tantalizing, the melted-glass effect is frustrating to produce consistently. Since clay and glass expand and shrink differently, many larger pieces (up to 24 inches in diameter) crack during firing. Cheer is presently experimenting with clay bodies and temperature to keep breakage at a minimum. Born in mainland China, Cheer began working full time in Gretchen Wachs with “Desert Seascape,” 70 inches wide, clay two years ago. When his family moved to California, he installed at Santa Fe Community College, New Mexico.

16 CERAMICS MONTHLY May 1995 17 Up Front work were on view recently during a retrospective exhibition at Kulturhaus in Graz, Austria. the unconscious—searching for archetypal, emblematic images Barclays Design and shapes.” by Richard Meyer Images from nature—plants, trees and birds—are promi­ My father-in-law’s name is Barclay. My wife, Cathra-Anne, nent. “There has always been a strong figurative tendency in my credits him with planting the seed for her appreciation of work, not only in prints and drawings, but also in the gesture of beautiful things. That appreciation extended to the beautifully the pots. The new work has allowed even more of that to come through,” Wachs noted. Lothar Fischer Retrospective a review by Kurt Spurey Lothar Fischer, a sculptor living and working in Germany, is probably little known in the United States. Born in 1933, he studied with Heinrich Kirchner at the Akademie of Fine Arts in Munich and, since 1975, has been a professor of sculpture at the Hochschule der Kiinste in Berlin. He was also one of the founders of the artists’ group SPUR. Although Fischer works mainly in clay, he has also cast some forms in bronze and iron. Clay, however, is the material in which he excels and is best suited for his form of expression. He seems to have an innate understanding of the material without the burden of fancy techniques. To make his sculptures, Fischer uses slabs of ordinary brick clay “stitched” together with wire. The pieces are left unglazed, often creating a rough, unfinished look that reveals the process involved. The main theme of his work is the human figure—in particular, the female figure. The male figure seldom appears in

California potters Richard and Cathra-Anne Meyer with one of their vases made in collaboration. made and remains a key part of what makes her the artist she is today. She’s had lots of practice—painting from the time she was about four years old. It was to her pottery studio, the Sunstone Gallery in La Jolla, California, that I came in 1974.1 began a four-year apprenticeship by sweeping. I swept the front steps, the kiln yard, the glaze room. It was a good start. I learned about discipline in work; I acquired a respect for my craft; I won my wife; and I discovered I was color-blind. I maintain I merely have a different perspective of the world from color-sighted people. I am both cavalier and stick-in-the-mud (pun in­ tended) with regard to color. Also, I have a strong relationship to form. Barclay recognized that immediately. He was visiting one time and casually mentioned to his daughter (careful man that he is) that she had a superior and keen sense of color and design, and that my pottery forms Lothar Fischer sculpture, slab built from brick clay; were strong, but my designs were missing something. It would at Kulturhaus in Graz, Austria. be interesting if Richard threw a pot and Cathra-Anne glazed it, he said. Fischer’s work, and then mostly with women—pairs, facing or Wisely, Cathra-Anne didn’t pass along this thought of sitting next to each other. Parallels to Henry Moores “King and Barclays, since it would have sent me into orbit. I was rather Queen” can be seen; however, while Moore s figures are pol­ busy exercising my artistic independence. Working with ished, permanent and aloof, Fischer’s figures, through his use of someone, collaborating, even with my wife, was an anathema the clay and rough surfaces, remain human, earthy, transitory. to my artistic development. In fact, I was in a phase stated in Another theme seen throughout Fischer’s work is the earth, some Eastern philosophies as “a goal of the apprentice is to kill connected with birth (mother earth). To symbolize the concept the master.” Well, I wasn’t looking to kill my wife. So, I set up of protecting and embracing, he flattens the forms and uses my own studio in 1985—across town. them to enclose a negative space. Examples of both types of In 1993,1 started a series with Greek origins. I’ve always

18 CERAMICS MONTHLY May 1995 19 Up Front liked these classic pieces, and enjoyed researching the names of specific forms and their historical function. That foundation seemed grounding. Not surprisingly, I had no interest in the histories depicted in the design. I much prefer to read Greek mythology. So, I liked the idea that the glazing would suggest that my pieces were relics. Perhaps they’d spent a few centuries on the bottom of the ocean. I loved the results. I loved making the forms, and I was content to keep my color range on the conservative side, because I could see it. Then it hit me. The way I interpret these Greek forms communicates strength, a solid foundation. Cathra-Annes designs are strong, complex and so colorfully intricate I cant even tell what some of them involve. They would look beautiful together! And that’s what we both love to do—make beautiful pots. A lot of her designs have enough whimsy in them to keep my pots from taking themselves too seriously. So, Barclays inspired idea has begun to take shape. While Cathra-Anne and I still do our own individual work, the collaborative series has become a bonus, creatively and financially—the pieces are selling like hotcakes! It’s great to know that something is in its infancy; to feel like a superior vein of something precious has been uncovered, and to be content with the unknown aspects of its length or breadth. I expect we will become one of those old crotchety couples making pots in our 80s and 90s because it’s what we want to do. Participants constructed the second column from Nordplus Workshop rectangles of clay that had been slapped on the ground. by Jorgen Hansen “Nordplus,” a raku workshop for fourth-year ceramics students angles, creating a spiral movement. The middle (and tallest) from craft schools across Scandinavia, was held recently on the column was made from clay slapped on the ground, cut into grounds of the Trapholt Museum in Kolding, Denmark. Forty long rectangular pieces, then folded. The third was built using students, along with fat coils of clay pinched at the edges. workshop leaders Nina Once each column had reached its full height, a small fire Hole and myself, built was lit in the bottom for two days. Despite the pouring rain, and fired three oval this dried them out. To transform the columns into kilns, columns, ranging to 10 ceramic fiber blanket was wrapped around each; a small feet in height. The opening at the top allowed the flames to escape. group decided to work As the temperature climbed, so did the excitement. Was it with columns because possible to reach the wanted 1000°C (1832°F)? At 8 P.M., the the simple form and evenness of the shape would allow for varia­ tions in rhythm and structure. We also felt that vertical elements would work well with the surrounding land­ scape and buildings. Since the building and firing of the columns One of the workshop columns were equally important, was built from thrown plates they were done in one that were folded and leaned uninterrupted process. against one another in opposing rows. After erecting a rough shelter (since the forecast promised storms), we began with the construction of the foundations, which were also the fireboxes. A ton of heavily grogged clay was used to build the three columns. Each structure was unique: One was constructed from Columns from "Nordplus,” to 10 feet in height; on the quickly thrown plates, folded and placed against one another at grounds of the Trapholt Museum in Kolding, Denmark.

20 CERAMICS MONTHLY May 1995 21 Up Front She” series. Although nonrepresentational, some works incorpo­ rate hints of a torso in the “waists” or “hips.” Each sculpture was formed from ½- to 1-inch-thick slabs of flames were booming up through the top vents into the black sculpture clay, cut out, then dried to leather hard over padding. night. At 9 P.M., all three columns had reached 1000°C, and the Once the slabs were assembled, lines and curves were empha­ firing was stopped. sized using a carpenter’s Surform blade. The big moment had come—the ceramic blanket had to be A fake ash glaze—50% Albany slip, 30% whiting and 20% pulled away. Sawdust was then thrown on the glowing red ball clay—was sprayed onto each bisqued piece. After a Cone columns. When the sawdust hit the structures, the flames 10 glaze firing, 23-karat gold leaf was applied to some works. jumped in all directions, filling the shelter. It was the greatest fireworks display ever seen. Tom Rippon Porcelain sculpture by Tom Rippon (art department chair at the Design and Applied Arts Database University of Montana, Missoula) was on view recently at John Design and applied arts index (daai), an international indexing Natsoulas Gallery in Davis, California. Formal in stature, service begun in 1987, now covers over 320 publications whimsical in nature, Rippon’s figures are described as half worldwide; daai also includes basic biographical information and brief summaries of articles. Through 1994, the daai index included 1312 annotated references from Ceramics Monthly. A new CD-ROM edition of the daai database contains volumes 1-8 (approximately 60,000 references on designers, craftspeople, studios, workshops, firms, publications, etc.). Also included are four new international directories—with informa­ tion on 1700 design/craft schools; 320 design/craft journals; nearly 300 design/craft organizations, associations, societies and centers; as well as art galleries, museums and archives with significant design/craft collections. Studio potters/artists may find the subscription price a bit high (£795/US$1200 for the first year on CD-ROM), but daai is available at some 250 universities, colleges, art organizations and public libraries in North America. To order daai in either printed or CD-ROM format, contact Subscriptions Department, design and applied arts index, Design Documentation, Bodiam, Robertsbridge, East Sussex TN32 5UJ, England; or telephone (58) 083-0877; or [email protected] Cynthia Spencer Ceramic sculpture by Oregon artist Cynthia Spencer was presented through March 16 at Hallie Brown Ford Gallery of Willamette University in Salem, Oregon. To create a feminine vocabulary of sculptural forms, Spencer explores feminine gestures and the essence of the human figure in her “Beautiful

Tom Rippon’s “Dance of the Hours,” 16 inches in height, porcelain; at John Natsoulas Gallery, Davis, California. human, half creature. Their surfaces are brushed with low-fire lusters, then layered with acrylic paint, colored pencil and pigmented epoxies to emphasize their luminosity. Yasuhisa Kohyama “A Slice of Earth,” an exhibition of sculpture and functional works by Japanese ceramist Yasuhisa Kohyama, was presented recently at the Toraya Shop, Tea Room and Gallery in New York City. Working in the Shigaraki tradition—characterized by rough textures and lack of glaze—Kohyama fires his pieces to 1250°C (2280°F) in an anagama to create a feeling of warmth and strength. According to Yoshiaki Inui, vice chairman of the Interna­ tional Ceramics Academy and a researcher in contemporary Cynthia Spencer’s “She II,” 15 inches in height, with fake Japanese ceramics, Kohyama focuses on functional forms, but ash glaze and 23K gold leaf, $600; at Hallie Brown Ford because of their strength and dignity, they can be appreciated as Gallery, Willamette University in Salem, Oregon. artworks. “All of Kohyama’s works show simplicity as well as

22 CERAMICS MONTHLY May 1995 23 Up Front Touring African-American Craft Show “Uncommon Beauty in Common Objects—The Legacy of African-American Craft Art,” a traveling exhibition of more than 100 works by some 50 artists, was on view through March 12 at Mingei International Museum of World Folk Art in San Diego, California. Contemporary African-American craft still reflects African symbolism and images, but these themes have been reinterpreted and combined with American experiences as

Yasuhisa Kohyama’s “Volcano,” approximately 10 inches in height, Shigaraki clay, wood fired in an anagama; at the Toraya Shop, Tea Room and Gallery, New York City. originality,” Inui stated. “Many geometric forms are used but, nevertheless, the forms are asymmetrical and delicately different. The rich variation of Kohyama’s work is a most noteworthy characteristic of his creative abilities.” Nancy Youngblood-Lugo A handbuilt vessel by Nancy Youngblood-Lugo was recently acquired by the Cleveland Museum of Art—the first daywork Kwabena Ampofo-Anti’s “Mampong Porpinong,” 35 inches by a Native American in the museum’s collection. From the in height; at Mingei International Museum of World Folk Art in San Diego. the artists express their dual identity. Many of the works depict elements of African culture while offering insight into the suffering and endurance, as well as the joy, characterizing the African-American past and present. Lucie Rie, 1902-1995 As this issue was going to press, CM learned of the death of world-renowned potter Lucie Rie. Born in Austria on March 16, 1902, Rie studied at Vienna’s Kunstgewerbeschule and earned awards for her pottery in several European competitions before the rise of Nazism forced her to move to London. Start­ ing over, she opened a studio in Albion Mews, augmenting her Nancy Youngblood-Lugo’s “Carved Vessel,” approximately income from war work by making ceramic buttons. Reestablish­ 6 inches in height; at the Cleveland Museum of Art. ing a reputation for elegant vases and bowls in a country enam­ ored of the thick-walled folk styles championed by Bernard Santa Clara Pueblo of New Mexico, Youngblood-Lugo has Leach was not easy, but Rie soon won the respect of Leach, developed an individual style that draws on traditional forms other potters and collectors. Perhaps the most significant impact and colors. on her pottery was the result of allowing another refugee (Hans The piece commissioned by the museum was carved, then Coper) to work in her studio. As her reputation grew, so did sanded and burnished. Youngblood-Lugo carried the work to recognition—Rie’s work was featured in exhibitions worldwide; the museum herself, conducting a two-day workshop while she she was the subject of numerous magazine articles, two book was there. and a BBC film; and, in 1991, she was made a British dame.

24 CERAMICS MONTHLY May 1995 25 26 CERAMICS MONTHLY May 1995 27 New Books move happily in and out of techniques, such as salt, vapor glazing, sawdust firing, pit firing and lusters, etc., not wishing to be confined to Raku what is perceived as ‘true’ raku. A Review of Contemporary Work “For myself, I would rather see the word by Tim Andrews ‘raku,’ as a generic term, slowly disappear from the potter’s vocabulary. For hundreds An international survey, this book “con­ ofyears the Japanese style has remained largely tains a good deal of technical information, the same and deserves to retain the title ‘raku’ techniques, recipes and advice gleaned from for itself. Now, after only three decades, potters around the world. But above all, ...modern or American-style raku has come whether you are a fellow maker, a collector, a of age and outgrown its ‘borrowed’ name. student or just have an interest in pots and Perhaps in the West, it should be replaced potters, I hope that this with a range of more apposite terms to cover book may enthuse and what is now a very diverse range of making inspire you to explore and firing techniques.” 160 pages, including more deeply the magic raku glaze recipes, material equivalents in the of raku,” states the U.S. and U.K., temperature conversion chart, author. bibliography, and index. 62 color and 135 The book opens black-and-white photographs; 1 sketch. with a history of raku $34.95. Chilton Book Company, 201 King of in Japan, followed by Prussia Road\ Radnor, Pennsylvania 19089- its introduction to the West by Bernard 0230; (610) 964-4839. Leach in the 1920s. Bernard’s son David (with whom the author shared a studio for a Revolution in Clay number of years) recalls anecdotes of some of his father’s experiences in Japan and subse­ The Marer Collection of Contemporary quent raku firings at Saint Ives. Ceramics The next chapter covers the materials by Kay Koeninger, Martha Drexler Lynn and needed and the techniques involved. “There Mary Davis MacNaughton is a popular myth that raku-fired pots inevi­ Published in conjunction with an exhibi­ tably have to be thick and heavy and made of tion of the same name at Scripps College in highly grogged clay,” the author says. “This isClaremont, California, this catalog/book il­ not true!...Anything from earthenware to lustrates 71 of the 900 works in Fred Marer’s porcelain bodies can work, and it is really a collection. A mathematics professor at the matter of finding the clay which will serve Los Angeles City College from 1937 to 1976, your needs and your own style of work.” TheMarer began collecting ceramics in the mid same holds true for glazes, he adds. 1950s, when he attended a sale sponsored by The majority of the book focuses on the college. His first purchase was a bowl works by 50 potters from around the world. by California potter “They represent only a small sample of count­ Laura Andreson. As less thousands of smitten firemongers, many his interest grew, so of whom produce work of extraordinary skill did his collection. and originality,” the author admits. “But very “There is evidence early on it became apparent that it would be of his discerning eye impossible.. .to try to include a really compre­ in the large number of hensive choice of work. Instead, I have opted emerging artists he for a mix of potters—some well-known, oth­ identified who later ers not—who manifest a range of approaches, became major tal­ styles, techniques and philosophies.” ents,” states Mary Davis MacNaugthon, di­ Each listing includes information about rector of the Ruth Chandler Williamson the potter’s work and background; some Gallery at Scripps College. provide in-depth technical and firing infor­ Although the collection includes Ameri­ mation. Hawaii artist Gail Bakutis, for in­ can, British, Chinese, Japanese and Korean stance, uses a stacking, sectional, fiber, gas ceramics, its main focus is West Coast work, kiln. “A large, rolling, reduction chamber is especially pieces by artists associated with the then pushed around the piece, which is left inOtis Art Institute during the mid 1950s. “No place on two pads of ceramic fiber. The doorother collection offers such an intensely fo­ is closed and reduction materials such as cused look at the turning point in the history banana leaves are added and a lid put on.” of contemporary ceramics,” asserts Mac­ “Potters have reveled in the new freedom Naughton. “The works from this period were to explore fresh ideas which raku has opened not acquired years after the fact, but at the up to them,” the author concludes. “Some time they were made, and by a collector who

28 CERAMICS MONTHLY

New Books dipitous personal connections. Fred was Arranged in alphabetical order by city or drawn to ‘things not done before’ in clay, andtown, each entry provides an address, tele­ the Marer Collection reveals his brave eye andphone number, hours and the name of the knew the artists personally. Consequently, an affinity for powerful yet casually crafted curator of ceramics (or related field), as well as these pieces offer unparalleled documenta­ works.” 183 pages, including glossary, check­a short description of the museum/gallery tion and special insight into the creative lists of the exhibition and collection, bibliog­and its collections. A list of represented pot­ development of that period. raphy and index. 78 color and 17 black-and- ters and the number “Our goal in assembling [this exhibition] white photographs. $30, softcover. University of works each has in has been to examine the ways in which ce­ of Washington Press, Post Office Box 50096, the collection is also ramics has been transformed during the last Seattle, Washington 98145-5096. furnished. 50 years by certain artists who have seen ex­ Various museums panded expressive possibilities for art in clay.”A Guide to Public Collections of and galleries with “no The catalog is broken down into three Studio Pottery in the British Isles significant ceramics sections: the first looks at the studio pottery compiled by Robert and Sheila Fournier collections” are iden­ tradition from 1940 to 1970; the second, the Of interest to potters and collectors tour­ tified in a second, “Otis Era” from 1954 to 1960; and the third, ing the British Isles, this directory lists muse­ smaller section. contemporary ceramics from I960 to 1990. ums and galleries that exhibit studio pottery. Finally, the guide All are viewed in the context of the Marer In compiling information, the Fourniers provides a cross index collection. found, “in general, a somewhat haphazard of potters and the collections in which their “The Marer Collection is an intensely approach to collecting, with hundreds of work is included. 164 pages. £11.95, in­ personal one,” says Martha Drexler Lynn, doubtless worthy but little-known names, cludes shipping/US$25, includes shipping. associate curator of decorative arts at the Los while some of the most professional and Ceramic Review, 21 Carnaby Street, London Angeles County Museum of Art. “While significant potters occur infrequently or not W1V1PH, England knowledge of ceramics history helps us to at all. Many that are represented are obvi­ understand the individual pieces, an appre­ ously local potters, which is useful, while Claywork ciation of the Marer Collection is possible several collections are based on, or consist Form and Idea in Ceramic Design only through an examination of Marer’s in­ wholly of, a gift of pots often from the earlierby Leon I. Nigrosh terests and collecting habits. Guided by a loveor middle years of this century... .Few depart­ An updated and revised third edition, this of the medium and enriched by the friend­ ments appear to have adopted either a wide- text was “conceived as a basic studio course” ships he nurtured with many of the artists, ranging and representative approach or, for beginners; it also features many examples Marer made selections as the result of seren­ alternatively, to be selective and specialized.” of works by contemporary American ceram-

30 CERAMICS MONTHLY May 1995 31 New Books

ists. “Photographs taken especially for this book show time-honored forming methods along with modern time-saving ways to ac­ complish similar results. Of particular im­ portance,” notes the author, are “the picture sequences photo­ graphed as if the reader were actually perform­ ing the operation.” After a brief intro­ duction to the history and properties of clay, Nigrosh describes various construction methods (pinching, coiling, slab building and throwing). Design, decorating, glazes and firing are also covered, as is the necessary studio equipment, including kilns and wheels. He also includes information on making plaster drying bats, casting and jiggering molds, and life casts; a separate chapter fo­ cuses on the business and art of slip casting. The final chapter includes tips on market­ ing—“how to get started selling ware and how to receive a fair market price for it.” New to this edition are ‘spotlight’ sec­ tions, short essays throughout the text on a variety of topics ranging from taking care of your body to constructing a gas kiln. An essay on inspiration and where it comes from, for instance, suggests that artists “constantly be on the lookout for new images and experiences... .A good place to go for an inspi­ rational visit is a local museum. It does not even have to be an art museum.” A series produced by Nigrosh was inspired by inter­ national armor designs at the Higgins Ar­ mory Museum in Worcester, Massachusetts. “To be creative yourself, take time to look around,” he says. “Take notes and make sketches—you never know when they might spark your inspiration.” Throughout the book, information relat­ ing to health and safety hazards is printed in bold face type. Also included is advice regard­ ing proper ventilation for clay and glaze preparation areas and kiln rooms, as well as appropriate maslcs and protective clothing. 280 pages, including dictionary of ceramic terms; bibliography; index; and appendixes on ceramic raw materials, atomic weights of common elements and their oxides, ceramic raw materials—formula and weight charts, clay and glaze recipes, solutions to glaze prob­ lems, list of manufacturers and suppliers, and temperature-equivalents chart. 34 color and 527 black-and-white photographs; 17 draw­ ings. $44.95. Sterling Publishing Co., Inc., 387Park Avenue, South, New York, New York 10016-8810; (212) 532-7160.

32 CERAMICS MONTHLY i 34 CERAMICS MONTHLY Patrick Crabb Contemporary Archaeologist in Clay

a review by Allan Peterson

In his book Architecture: The Natural and the Manmade, Vincent Scully dis­ cusses the proposition that human sa­ cred and secular architecture recalls the original landscape, the natural earth, in its forms of temples as sacred moun­ tains, evidenced by everything from the Navajo hogan to the Mayan pyramid to the looming outline of New York “Temple of Spirit Teller,” 19 inches in height, City seen from the distance. The re­ handbuilt, accented with glazes and luster, multifired. cent sculptural work of California art- ist-educator Patrick Crabb evokes the power of these archetypal situations by calling them all together in a series of forms that refer to, and combine with, aspects of ancient ceremonial sites: pyra­ mids, ziggurats and kivas. Crabbs “Temple Series” is imbued with the presence and power of the ancient sacred places, not just in their basic shapes, but in the natural surfaces and textures that activate each piece. There is also a strong feeling of the archaeological, as if some of these forms had been recently unearthed and dis­ played as found. Rough edges, raw natural colors, surfaces perhaps cracked and bubbled from the years, are set ofF by occasional bursts of inscribed sym­ bols or the striking gold luster of a small mask or guardian figure. Whether incised or slip-trailed, the symbols pro­ vide a contextual and decorative au­ thenticity. The effect of the whole, as seen in his recent exhibition in the Visual Arts Gallery at Pensacola Junior College in “Temple de Gato,” 23 inches in height, Florida, is both powerful and reveren­ assembled from press-molded and extruded elements, tial. Crabbs metaphoric and symbolic oxidation (in an electric kiln) and raku fired. borrowings are not dollhouse minia-

May 1995 35 “Temple of Dreams,” 16 inches in height, wheel thrown and handbuilt, raku fired, by Patrick Crabb, Tustin, California.

turizations; these pieces have that char­ to, it is clear that Patrick Crabb is not The author A 1992 National Endow­ acter of perfect scale where, despite their just a visitor to his sources of inspira­ ment for the Arts fellowship recipient, size, they have the effect of monumen- tion, but a traveler who carries a mes­ visual artist/poet Allan Peterson resides in tality. Whatever his current work leads sage the way a strong dream lingers on. Gulf Breeze, Florida.

36 CERAMICS MONTHLY Diane Kenney An Autobiography

(Establishing individual vision and in the mountains, so I accepted a teach­ focus is a life-long task. For me, putting ing job at the Colorado Rocky Moun­ together a body of work and a life as a tain School, a private high school in potter is a lot like trekking up a moun­ Carbondale. I taught ceramics and Span­ tain, simply putting one foot in front of ish for one year, and ceramics only, for the other. three years. Twenty years ago, when I decided I The decision to move here and teach wanted to be good at something, to high school influenced my studio work, have a skill, I stumbled into clay as as ones life tends to do. The students much by chance and instinct as any­ were not especially interested in the thing else. I was enchanted the first subtleties of reduction-fired glazes. They time I saw someone throw a pot. When wanted color and more immediate re­ I tried it myself and realized how hard it pay more attention to the folk pottery sults. This experience, along with the was to learn, I decided to either do it tradition of majolica-glazed earthenware difficulty I was having selling simply full time or not at all. I had no idea from Italy, Spain, Portugal, et al. glazed porcelain pots, prompted me to what it meant to be a potter. Nor did I The first thing I did after graduation explore low-fired, decorated terra cotta. anticipate the endurance necessary to was build a softbrick gas kiln and set up I also began to make tiles, at first by stay with a profession I loved. a studio in Kansas City, where I worked hand, then by majolica glazing com­ My education, prior to ceramics, had for five years before marrying and mov­ mercially produced tiles. mainly to do with words, ideas, litera­ ing to Colorado in 1984. My husband, In 1988, I left teaching to return to ture and language—all of which I still John McCormick, and I wanted to live nearly full-time studio work. I taught love. Pottery, however, offered me the needed experience of working with my hands and giving vent to artistic sensi­ bilities. The primal quality of clay suits me well. I consider myself fortunate to have studied ceramics with Clary Illian, Vic­ tor Babu and Ken Ferguson at the Kan­ sas City Art Institute, where I received an excellent foundation in making pots, building kilns and setting up a studio. In that environment, we simply assumed that making pots for a living was a le­ gitimate occupation and way of life. The prevailing aesthetic influence was probably the Leach/Hamada/Cardew tradition as expanded upon by my teach­ ers. That sense of form and connection to the clay set the standard for func­ tional ware. And, of course, we looked at wonderful historic/classic pots from all over the world, especially China, Ja­ pan, Korea and medieval English ware. Tropical Casserole,” 12 inches wide, wheel-thrown It wasn’t until years later that I began to terra cotta with majolica decoration.

May 1995 37 PHOTOS: WILSON GOODRICH, DIANE KENNEY-MCCORMICK, GLENN RAND

Eat Your Vegetables,” majolica platter, terra cotta with on-glaze brushwork, 19 inches in length.

part-time evening Spanish classes at a brick, except for the floor and firebox, out of necessity, I have to admit that I local community college to maintain with a single chamber, three shelves deep, enjoy working with brushes and using some definite income. Having my own enclosing approximately 60 cubic feet. color unabashedly. I do not see the terra­ kiln and space to work have always been It has a Bourry firebox and requires 12- cotta pieces as flat canvases for the brush- extremely important to me. With the 14 hours to fire. work but rather as full-blown, help of family and friends, we built a Wood firing had always appealed to three-dimensional pots reflecting the studio on 2 acres in the Crystal Valley, a me, but I didn’t think I could feasibly potters touch and inviting decoration. few miles outside the town of Car- build and manage a wood kiln on my A workshop with Linda Arbuckle, a bondale. The fact that I have such a own. The collaboration with Peggy has few years ago, helped me more than great studio represents more of an act of been tremendously supportive, fun and anything to make the terra-cotta pots faith than a symbol of “success.” I am productive for both of us. We fire sea­ my own. still growing into the space. sonally, about four times a year. So why the floral imagery? Maybe Two years later, another Colorado Working in more than one area of for my father who worked with brushes potter, Peg Malloy, and I combined our ceramics has required time to develop as a sign painter, or for my mother who materials and built a wood kiln together the work in each area; i.e., majolica- worked in her family’s flower business at my studio, with encouragement and glazed terra-cotta pots and tiles, plus for over 60 years, or for me, because I technical advice from Doug Casebeer wood-fired porcelain. Even though I grow flowers, find them interesting, fun at Anderson Ranch. The kiln is soft- began making low-fire pots and tiles to draw and even a little bit naughty,

38 CERAMICS MONTHLY “Pair of Pasta Jars,” 12 inches in height, wood-fired porcelain.

Wood-fired porcelain covered jar and pitcher, 7 inches in height.

May 1995 39 after all, considering their “form and function.” Also, I have long felt very much at home with the warmth and vitality of the Spanish language and culture. Ten years ago, I worked in production at a Nicaraguan cooperative where we made terra-cotta pots. I like the tradition of earthenware as the “peoples pottery.” Sometimes I think my majolica-glazed pieces may be my Spanish-speaking pots. The wood-fired porcelain makes me happy just to be making pots. I never stopped loving those porcelain glazes I couldn’t sell, and I was delighted to find that some of my favorite recipes work well in the wood kiln. I like showing the richness of the glaze inside the piece in contrast with the outside wood-fired surface. Making pots for the wood kiln pushes me to really think about form and pay attention to the handling of the clay. A mug is a mug is a mug—not ex­ actly. Potters say as much about their Majolica-decorated cup and saucer, 5 inches in height, energy with the clay and attitude to­ wheel-thrown terra cotta. ward their pots in a mug as sculptors do in monumental pieces. I find making functional pots exciting and limitless in possibilities. There are always many so­ lutions to the important question, “What if?” What if I try this instead of that? I keep trying to get it right and keep it fresh so I can make the pots from within that I’m given to make. Utilitarian pots can be as diverse and amusing as human bodies. In fact, I think about human shapes, stance and fashion a lot as I work—things like broad hips, narrow waists and strong shoul­ ders; leaning, stretching and full-bel­ lied; ribbed, dimpled and often asymmetrical. Words like strong, hon­ est, generous or humorous describe qualities I want in my pots. Oval casserole, 12 inches in length, thrown-and-altered On a more pragmatic note, I market porcelain, with Shino slip and black glaze, wood fired. my work increasingly through direct stu­ dio sales. I have an annual holiday sale plus I sell at a few local shops. I try to participate in at least one or two na­ tional shows a year, and I also do tile

40 CERAMICS MONTHLY Recipes St. Johns Black Glaze (Cone 9-10, reduction) Albany Slip...... 68.18 % Nepheline Syenite ...... 31.82 Babu Porcelain Body 100 .00 % (Cone 10-11) Add: Cobalt Carbonate...... 4.55% Custer Feldspar...... 20 lbs. I use half true Albany slip, plus half Bentonite...... 2 Alberta slip. Grolleg Kaolin...... 55 Flint...... 13 Shino Glaze Pyrophylite ...... 13 (Cone 10, reduction) 103 lbs. Soda Ash...... 8.08% The Grolleg content may be halved, and Spodumene...... 30.30 22½ pounds of 6 Tile Clay substituted. Nepheline Syenite...... 39.40 I dip or spray all porcelain pieces (when Ball Clay...... 17.17 bone dry) with the following Shino slip: Edgar Plastic Kaolin...... 5.05 100.00% Anderson Ranch Shino Slip (Cone 10-11) Shaner Kiln Wash Soda Ash...... 3.20% Alumina Hydrate...... 300 grams Spodumene...... 12.16 Kaolin...... 100 Kenney’s 60-cubic-foot, wood-burning Kona F-4 Feldspar...... 8.64 400 grams kiln takes just 12-14 hours to reach Nepheline Syenite...... 36.00 Cone 10-11. Edgar Plastic Kaolin ...... 28.00 Add a handful of Epsom salts. Kentucky Ball Clay (OM 4) .. 12.00 Wadding for Wood Kiln 100 .00 % Alumina Hydrate...... 60 % installations on commission and take I add 3%—5% bentonite for use on por­ Ball Clay...... 20 orders for dinnerware, etc. I turn down celain. Kaolin...... 20 very little. 100% Doug Casebeer s Black Slip Recently, I have also taught some Feldspar...... 25.0% workshops and some ongoing classes at Arbuckle Majolica Glaze Ball Clay...... 25.0 my studio. Teaching feels natural and (Cone 03) Edgar Plastic Kaolin ...... 25.0 instinctive to me. I find it highly ener­ Flint ...... 25.0 Frit 3124 (Ferro)...... 65.72 % gizing, and I really like the interaction Kona F-4 Feldspar ...... 17.23 and genuine exchange with the students. 100 .0 % Add: Black Iron Oxide...... 5.0 % Nepheline Syenite...... 6.24 I compare teaching to coaching; i.e., Edgar Plastic Kaolin...... 10.81 trying to coax the best work possible Cobalt Oxide...... 0.5% Mason Stain 6600 ...... 15.0% 100.00% from each student. Its wonderful to see Calcined Kaolin...... 5.0 % Add: Tin Oxide...... 5.00% the process the students go through. Zircopax ...... 10.00% I have been fortunate in that the Oribe Green Glaze Bentonite...... 2.00 % move to Colorado affected my work in (Cone 9-10, reduction) ways I had hoped it would. The West is For onglaze colorants, I begin by mixing Bone Ash...... 1.05% a state of mind as much as a physical approximately 10,000 grams of Gerstley Talc...... 7.81 place. Almost everybody here has a story borate with water, then strain. The vari­ Whiting...... 22.36 to tell of making a break with their past. ous colorants are then mixed with the Custer Feldspar...... 30.91 What this environment provides for me strained Gerstley borate by eye—gener­ Edgar Plastic Kaolin...... 12.55 as a potter is room to grow, permission ally, approximately 1 cup of Gerstley bo­ Flint ...... 25.32 to experiment and take risks, and the rate solution to 1 tablespoon of stain or . % solitude necessary to produce the most 100 00 oxide. For greater intensity, more color­ Add: Copper Carbonate...... 5.49% honest work I can. A ant is added (in small increments).

May 1995 41 Eduardo Andaluz by Celestino Hernandez

A solo exhibition of ceramic sculp­ ture by Eduardo Andaluz was featured recently at the Centro Cultural Cajacanarias in Santa Cruz de Tenerife on the Canary Islands of Spain. Born in Buenos Aires in 1946, Andaluz visited the Canary Islands in 1971 for a show of his paintings. Five years later, he re­ turned to settle in Gran Canaria, hav­ ing decided to live on and draw his inspiration from an island whose ori­ gins are in the fire and lava of ancient volcanoes. The decision was by no means a casual one, for he has an intrin­ sic need to walk on the warm earth. About Andaluz s work, Italian ceram­ ics artist Carlo Zauli has observed: “The smooth forms remind one of the sexu­ ality that always infringes; they take their genesis of structure from the continen­ tal corrosion of sea rocks and the stones forged in the heat of volcanoes.” Andaluz s work as a potter and sculp­ tor is a perfect combination of forms, “Confrontacion Posible,” approximately 23 inches in height, the one enriching the other. He studied stoneware, built solid, brushed with red slip, manganese at the National School of Ceramics in and copper, $1000. Buenos Aires, then trained in the work­ shop of sculptor Ana Mercedes Bour- nichon. Since settling in the Canary a new personal language that will not the design of the pieces remains bright Islands, he has also taken great interest only give meaning to his ceramic jour­ and unblemished, consequently afford­ in the pottery of the native Guanches. ney, but will also be of value to us, his ing us a clearer reading of their inherent Sacred world of idols, altars of ado­ traveling companions. qualities. His works are ruled by exact­ ration—these are among the historical This is, furthermore, an option ness; profiles sharply separate the planes sites the artist searches for answers to whereby Andaluz has possibly reached without losing their essential ardor. present-day life, desiring to contribute his highest levels of definition; where Along with the altar stones and idols

42 CERAMICS MONTHLY Solid stoneware form from the “Espacios de Duda” series, “Referenda Esencial,” stoneware with fired to 1180°C (2156°F), approximately 18 inches in height, red slip, manganese and copper, $800, by Eduardo Andaluz, Gran Canaria. approximately 37 inches high, $1500.

that have come to be a major part of Through his work, he has brought to reclaim his own earthy origins, a ge­ Andaluzs preoccupation is the ever-puls­ the cultures of the past to the present. netic inheritance of his first land. “Even ing influence of Eros. The insinuating He has looked with intensity into what as we move forward,” he says, “we know intimacy with the earth is a constant— has gone before (the pre-Spanish masks that the transcendental values remain sometimes with a clear reference to the of Latin America; the signs of the first in the primitive cultures, and that is erotic; at other times more veiled in his civilizations in the ideographic and cal­ why my interest is to walk the paths of desire for simplification and subtlety. ligraphic fragments that remain to us) these primitive villages.” A

May 1995 43 Handbuilding with Suspended Clay by James Thornsbury

Wflichael Cardew wrote: “Clay can be Over the years, I have researched, tory materials to the clay body and form­ anything, any form, shape, color, define experimented, attended workshops, ing in small sections for joining together any texture, suggest any surface....It is dreamed and invented to acquire the when leather hard are commonly used— limitless.” From primitive pit firing to knowledge and ability to transform clay each with limited success. The inability fused gold, electroplating to laser etch­ into visual expressions, concluding that of soft clay to support its own weight ing—todays ceramists have unlimited Cardew’s statement was bordering on still restricts the creative process. technical knowledge and space-age truth. Clay can be made to look like For a recent series of sculpture ad­ equipment at their fingertips. They are jade, to be as reflective as gold, or to dressing male characteristics resulting capable of transforming clay into per­ fold articulately like leather or cloth. from “the need to be strong” (such as sonal vision without restriction. Marilyn But soft, plastic clay, which lends itself withdrawal or absence of feelings), hol­ Levines ceramic leathers, Richard Shaws so readily to being shaped, has a mini­ lowness became the central issue. The trompe l’oeil combinations of everyday mal ability to support its own weight. visual metaphor involved creating an objects, and Richard Notkin’s minia­ The law of gravity limits the shapes that exterior shell (clothing) that revealed ture work of burnt heart teapots and clay can be formed into and the scale at both physical and personal statements cooling towers attest to the chameleon which the artist can work. about the male figure. To achieve the nature of clay. Yet raw clay is void of any There are, however, several tech­ results I envisioned, the clay had to be dominant visual quality. It is formless, niques that can attempt to compensate very plastic and thin (approximately ½ neutral in color and depends totally on for the force of gravity. External and inch), for at this thickness it would the artist to define its character. internal support, additions of nonrefrac­ stretch and fold in the desired manner.

The Vs-inch-thick slab is moistened, then sandwiched Suspended from a rigid support, the reinforced plastic allows between sheets of dry cleaners’ plastic (reinforced with tape) the thin clay slab to be positioned vertically, then shaped.

44 CERAMICS MONTHLY As shaping is completed, the clay can be dried to a leather- For the back half of the form, a second plastic-sandwiched hard state by fanning with a hair dryer. slab is suspended, shaped and dried.

The first attempts at life-size or larger stretch and fold the clay to define the then compressing with a rolling pin. At construction were with small slabs of shapes I wanted. The surface texture, this thickness and dimension, with the clay, shaped and dried to leather hard, details and interior effects were interest­ clay being very soft, attempting to lift then adding sections—with no success. ing, but anything longer than 16 inches the slab from the table surface would be I also explored nonrefractory additives, would tear and fall apart, limiting the impossible without the plastic. I moisten working with highly compressed clay scale at which I could work. the slab’s surface with water and stretch and artificial supports (all my old tricks). I then began to explore sandwiching a sheet of thin plastic (from a dry- After weeks of failed attempts and re­ the slab between sheets of plastic, which cleaners bag) reinforced with packing consideration, I was ready to abandon resulted in the ability to suspend up to tape over top, then repeat the process the project. The clay would not do what 24 inches in length. Peeling back about on the back side. I wanted. Gravity was beating me. 6 inches of plastic, I could shape the After sandwiching the clay, the rein­ Then, remembering Cardew’s state­ clay as before, stiffen it with a hair dryer, forced plastic is attached to a rigid sup­ ment, I slammed an early edition of peel another 6 inches of plastic and port so that the slab can be lifted and Glenn Nelson’s Ceramics and came continue until the shaping was com­ positioned in readiness for shaping. The across a photo of Sheldon Carey throw­ pleted. Attempting to work with larger clay’s entire weight is held by the plas­ ing a pot on an upside-down wheel. He clay slabs resulted in the plastic begin­ tic. I then peel back about 6 inches of was using gravity to his advantage, cre­ ning to stretch and tear, as it could not plastic at the bottom of the slab so that ating what appeared to be a 3-foot (or support the increased weight. I can attach it to a leather-hard base higher) pot thrown in a single sitting. Next, I tried using thicker plastic; using slip. The clay did not have to support its although it would hold the weight, it Shaping is initiated by applying pres­ own weight and was free to be shaped would not cling to the clay. So I went sure to the inside of the slab, slowly with few limitations. back to the thin plastic and added tape stretching until the desired form is My answer was suspending clay, for reinforcement. I could then suspend achieved. As major elements are defined, eliminating the need for soft clay to up to 6 feet. the clay is stiffened with heat from a support its own weight. I began by pre­ From between 20 and 25 pounds of hair dryer. Another 6 inches of plastic is paring thin slabs and “hanging” them wedged clay, I form a slab approximately then peeled back and shaping is contin­ over a wooden coat hanger. I could 1/sx28x44 inches by flopping it down, ued until the piece’s front vertical half is

May 1995 45 complete. Once the back half is simi­ larly formed, it is joined with the front half and the surface refined. The completed form is placed on a kiln shelf when leather hard, as han­ dling it later would be risky; it is then dried, fired to Cone 4, then painted with acrylics, oils and enamels. Using this plastic-sandwiching tech­ nique, I have successfully suspended clay slabs as large as /sx34x70 inches. As I become more familiar with this process, I am sure that variations and adapta­ tions will occur, affording me more free­ dom of visual expression. The success of any clay object is de­ pendent on the vision and visual sensi­ tivity of the artist. Techniques and technical prowess must always be con­ sidered a means to an end. To depend on what a process will produce, with­ out giving it direction, will result in a weak or incomplete visual statement. The best technique is that which suits the concept. Good craftsmanship does not interfere with artistic expression.

The author Canadian ceramist James “Stick Figure,” 35 inches in height, slab built from a talc body, Thornsbury teaches at Capilano College fired to Cone 4, painted with acrylics, by James Thornsbury, in Vancouver, British Columbia. Nanaimo, British Columbia.

Attached at the bottom to a leather-hard base, the soft clay Peeling back the plastic a few inches at a time allows the slab is shaped by pressing gently from the back of the slab. to be shaped and dried in self-bolstering stages.

46 CERAMICS MONTHLY Hawaiian Functional Forms by Bob McWilliams

Rice bowls and pupu platter, 12 inches in diameter, wheel-thrown white stoneware with Temmoku Glaze, Hawaii is a truly unique state. Beauti­ fired to Cone 11 in reduction, $12 (each) and $45. ful, warm, way out in the middle of the Pacific Ocean, it is a worldwide melting pot with a strong Asian influence. When I immigrated to Hawaii from Illinois in 1976 to dive hands-first into full-time studio production, I thought it would be a future hub of the Pacific, a place where East meets West, where new ideas and new cultures could congre­ gate; however, this juxtaposition did not make itself obvious in my work right away. The idea that the Asian and Polynesian cultures should gradually Saimin bowl, 7 inches in diameter, white have an effect on my pottery designs stoneware with cobalt blue-lavendar stain had not even crossed my mind. brushed on Yanagihara White Glaze, $25. While learning to throw in Chicago in the early ’70s, I concentrated on func­ tional ware and improving technique. I remember looking at pottery firsthand and in books, then trying to copy the shapes to prove to myself that “I could do that.” Some were successful, some not. Looking back, I realize that most of those designs for functional pottery were based on the way people eat, what they eat and how they eat. But the lid­ ded casseroles, batter bowls, mugs and all the other generic production items I studied were mostly based on a Euro­ pean style of eating, which centers around eating with forks, knives and spoons from plates, bowls and cups. By the late ’70s, while continuing to hone my throwing skills and settle into a production line, I became interested in the eating preferences of the people of Hawaii. With more than two-thirds of the state from Asian cultures (and me a Midwest, meat-and-potatoes guy), I Hashi holder and pupu platter, thrown-and-altered white was ready to be educated. This meant stoneware with Light Blue Glaze, $30 and $48. talking with customers and friends about

May 1995 47 Small vase, rice bowls, rectangular plate and octangular plate, wheel-thrown or drape- molded stoneware, $12, $12 (each), $25 and $35, by Bob McWilliams, Waialua, Hawaii.

their needs in place settings and serving they used were traditional forms while bowl; a small rectangular plate for pick- dishes. And, of course, it meant I had to others had evolved on their own; they led daikon or shoyu (soy sauce) and mus­ go out to eat at many Japanese, Korean, are unique to this island melting pot. tard; small rectangular or square plates Chinese and Hawaiian restaurants. Japanese eating habits have contrib­ for meat, chicken or fish; a V-shaped Rough research. uted many items to my pottery menu. rice bowl; a small open bowl for tempura I found that many of Hawaii’s eth­ Each food item is usually served in/on a sauce; a teacup; and a sake server and nic groups followed specific protocol separate dish. A typical meal could in­ cup. I doubt I would ever do a set of for this daily ritual. Some of the items clude: a lip-curved-in miso (tofu soup) dishes that would be used together in

48 CERAMICS MONTHLY this manner, but I have produced all of these pieces individually. The chopsticks (or hashi) are essen­ tial eating implements here. While it is proper to use a hashi oki (a small chop- stick rest) when eating with chopsticks, most people just stick their hashi in their rice or lay them across the rim of their rice or soup bowl. This seemed a little awkward to me. So when I had the opportunity to design an Oriental din­ ner set, I cut in a place for the chop­ sticks to rest on the lip of a bowl and plate. Since then, my saimin (noodle soup) bowl and hashi plate have be­ come two of my better selling items. Saimin seems to be uniquely Hawai­ ian, as it traces back to Japanese, Ko­ rean and Chinese cultures. The main ingredients are noodles in chicken, beef Bob McWilliams signing the bottoms of mugs before glazing or fish broth, then anything else in the and subsequent firing to Cone 11 in a fiber kiln; see the kiln plans kitchen. It is eaten with hashi and a in “Building a Modular Kiln” in the June/July/August 1987 CM. deep spoon. My saimin bowl is large enough to hold two cups of soup (a typical noodle-soup portion), and the and each summer a few other potters rim is cut to serve as a hashi rest. and I have been honored to participate Recipes Like the bowl, my hashi plate also in a sale of teabowls and related utensils has a cut rim for chopsticks. This con­ to a group from Japan led by the Grand Light Blue Glaze cept was carried over to a larger hors Tea Master. This has been an incredible (Cone 10, reduction) d’oeuvres plate. In Hawaii, appetizers education for me. Whiting...... 2500 grams are typically calledpupus (no joke). These The tea ceremony is an art form that Custer Feldspar...... 2600 are commonly served on the studio has been developing for centuries, and Edgar Plastic Kaolin .. 1900 potters generic chip-and-dip plate, a there are many requirements concern­ Flint...... 3600 platter with a bowl at the center thrown ing the design, color, clay, etc., of each 10600 grams out of one piece of clay. At the urging of of the required vessels. Not being Japa­ Add: Z560 Black Stain 13 grams a gallery owner to produce something nese, I do not want to merely imitate different, I designed a pupu plate with historical and/or traditional pieces, so I Yanagihara White Glaze an off-center bowl. Its a little more com­ try to stay within general historical (Cone 10, reduction) plicated to make, as the bowl and plate boundaries, but also include something Talc...... 12.5% are thrown and trimmed separately, then of my own influence. Whiting...... 16.3 joined; however, placing the bowl off In the end, aren’t we all making our Custer Feldspar...... 38.5 center gives the impression of much marks just by producing our own work? Bentonite...... 2.9 more room on the plate for pupus. For even when we try to imitate, we Edgar Plastic Kaolin...... 2.9 Sometimes I leave the lip somewhat flat express ourselves. The clay cannot lie. Flint...... 26.9 so the platter can be used for veggies It is a matter of where we come from, 100 .0 % and chips. On others, I turn the lip up educationally and culturally, and where about ½ inch and put in some cuts to we will take it from there. As the world Temmoku Glaze hold hashi (like the hashi plate). grows smaller and smaller, the U.S. with (Cone 10, reduction) The teabowl, with its roots in China its roots in (and chains to) Europe will Whiting...... 18.25% and Korea, finds expression in Hawaii slowly be influenced by other cultures. Custer Feldspar...... 43.40 in the Japanese “Way of Tea.” The That the Asian and Polynesian cultures Edgar Plastic Kaolin...... 10.31 Urasenke Foundation is dedicated to have had an effect on my functional Flint...... 28.04 the perpetuation of the tea ceremony, pottery is obvious to me now. A 100.00%

May 1995 49 The Mysterious Hole by Marc Ward

It’s such a simple thing. Its just a hole. the kiln temperature climbs and draft But the burner orifice is, perhaps, the Determining Correct increases, even more air is pulled into single most misunderstood and myste­ Burner-Orifice Size the mixing end of the burner. When rious item in a gas line. Every year, I you turn the gas up, more air is pulled speak with hundreds of people about per 1000 Btu’s. As any mountain climber in, the temperature rises, draft increases, their kilns or the kilns they plan to can tell you, there’s less oxygen at higher and so on. It all works well as long as build. Most have a “feel” for the general altitudes. This decrease in oxygen will things are in balance. workings of a gas kiln, but when it not affect burners until you get to 5000 Too small or too large an orifice in comes to the burner orifice, many relation to the venturi tube can throw haven’t had the chance to develop a your burners out of whack. In Illustra­ “feel” for exactly what’s happening in­ tions 2 and 3, you can see what hap­ side their burners. pens with an incorrect orifice size or a Maybe one of the things that keeps burner that is either too large or too potters in the dark about orifices is math. small for the orifice you want to use. Some people are so put off or fright­ Whether it is the burner or the orifice ened by math that they will stop read­ that is the wrong size, the result is the ing this article at the mere mention of same. The low-pressure area behind the the dread subject. Hang in there. If you orifice is changed so that the wrong can use a calculator, you can figure out amount of air is pulled into the burner. the exact Btu (British thermal unit) out­ Illustration 1: Venturi Burner Cross SectionNow this doesn’t mean that there is put of a burner or determine what size only one size orifice for a particular orifice is needed. feet above sea level. After this point, the burner. It means that there is one rec­ A burner orifice is simply a hole that orifice needs to be downsized to pro­ ommended orifice for optimum perfor­ allows pressurized gas to escape and mix duce a higher air-to-gas ratio—typically mance. I’ve found that a range of 20 with air to form a burnable mixture. one orifice size smaller at 5000 feet and orifice sizes per burner, 10 larger or 10 Natural gas and propane will burn if one orifice size smaller for every 2000- smaller than optimum, will still work not mixed with air, but the flame will foot increment over 5000 feet. With well with venturi burners. If your burner be yellow and sooty, and will not pro­ forced-air burners, this works out to a does not have numbered orifices, this duce the maximum Btu’s possible. With 5% increase in air at 5000 feet and 5% works out to be about plus or minus V32 excess air, the flame will be blue, clean for every 2000 feet thereafter. of an inch. Because different manufac­ and cool. This can be just as wasteful as To draw air, venturi burners depend turers make burners with slightly differ­ a yellow, sooty flame. So, the trick is to upon their shape and the orifice to cre­ ent lengths and tapers, you’ll need to provide the correct proportion of air ate a suction of sorts. In Illustration 1, follow their recommendations on opti­ and gas. you can see how the cone of gas released mum orifice size. In venturi burners, the shape of the by the orifice follows the shape of the If you don’t know who made the burner and the size of the orifice help venturi tube. When this happens, a low- burner or can’t find any reliable infor­ bring about this proportional mix. With­ pressure area develops behind the ori­ mation to go by, it’s going to take trial out getting too complicated, this pro­ fice. Air rushing into this area is pulled and error. When the burner produces a portion at sea level is 10 cubic feet of air along, then is mixed with the gas. As nice tight blue flame and can also be

Illustration 2: Orifice Too Large for Burner Illustration 3: Orifice Too Small for Burner

50 CERAMICS MONTHLY put into a heavy reduction with a soft their structure and operation, forced- Whatever gas you choose, determin­ yellow flame, it has an orifice that will air or power burners should be oper­ ing your orifice size is basically the same work well. A burner that just cant seem ated on low-pressure gas (½ psi or less). procedure. If you can’t find an orifice to get a good clean blue flame probably The stream of gas does not pull in the chart that is applicable to your situa­ has an orifice that is too large. On the correct air ratio, as in the venturi burner, tion, you’re going to have to use that other hand, if you’re having trouble re­ so the blower and the resulting turbu­ math I warned you about earlier. Most ducing, the orifice is probably too small lence mix the gas and air. If the gas is orifice charts are based on a set pressure for the burner. injected with too much speed (pres­ or only one type of gas. This is the Orifice-size relations are formula I use for determin­ not the only variables. Gas ing Btu output per hour: pressure is another. Imagine that the gas is a liquid and you can see what happens when you increase the pres­ I know seeing that will sure—there is an increase in make a few eyes cross and speed. Even though you in­ palms sweat, but you don’t crease the pressure (speed), have to be a rocket scientist the cone of gas leaving the to use this formula. It’s easy orifice doesn’t change shape if you take it one step at a much. This velocity increase time. Once you know what will strengthen the low-pres­ the letters stand for, and plug sure area behind the orifice lllustration 4: Forced-Air Burner Cross Section in the numbers for them, and help draw in more air. it’s simple. V is the Btu-per- Lower the pressure and the reverse hap­ sure), it can stay “bundled” together cubic-foot value of the gas. If you are pens—less gas and less air. and not mix properly with the air stream. using natural gas, V = 1000. If you use Now, there’s a practical limit to rais­ When dealing with low-pressure gas, propane, V = 2500. ing the pressure to increase the burner which is considered anything below 1 A stands for the area of the orifice output. As the speed of the gas increases, psi, you’ll see the term inches of water- hole in square inches. When using num­ it enters and leaves the kiln faster. The column pressure, or just WC. This term bered orifices, you’ll have to refer to an less time the burning and heated gases is based on the amount of pressure it orifice chart, your gas company or some­ are in the kiln, the less time they have to takes to raise a column of water a cer­ one who sells burners to determine the transfer their heat to the ware. Specially tain number of inches. There are 27.7 area. When using regular drill bits, figure designed high-velocity burners can over­ inches of water column pressure in 1 the area the same way you would any come this limitation, but most venturi psi. That means that 7 inches WC is circle 71R2. Remember that 71 = 3.14. To burners cannot. For this reason, I rec­ equal to about ½ psi. This pressure, 7 determine the radius (R), divide the di­ ommend keeping gas pressure at 3 psi inches WC, is the normal pressure at ameter in half. (pounds per square inch) or less. which natural gas is delivered. Propane Now, I know you’re thinking, “This While the orifice size and gas cone for household use (water heaters, stoves, is way too complicated.” Don’t give up. shape are very important to the func­ etc.) is generally delivered at 11 inches Grab a calculator and work through tioning of venturi burners, forced-air WC. With propane, you have the op­ this example. To find the orifice area burners (with blowers) are more forgiv­ tion to change your working pressure made by an ½-inch drill bit, we need to ing. With forced-air burners, the air is with the use of pressure regulators. With know the diameter. Simple—divide 1 pushed into the burner and mixed with natural gas, you get what they give you: by 8. What does the calculator say? The the gas as shown in Illustration 4. There’s 5-8 inches WC. Because of the low diameter is 0.125. The radius is half of not as much of a balancing act, and the pressure and Btu value of natural gas, that, so we divide 0.125 by 2. The ra­ chimney need not provide draft to help you may have to use forced-air burners dius is 0.0625. The R2 symbol means pull air into the burners. Because of on larger kilns. the radius squared or the radius multi­

May 1995 51 plied by itself (0.0625 X 0.0625 = 0.00390625). All we do now is multi­ ply n (3.14) by R2 (0.00390625) and we have the area, A = 0.012265625. Pick any other fraction and work out the area. Try several till you get the hang of it. K stands for orifice coefficient. Any­ time gas passes through a restriction such as an orifice, there is friction loss. So, think of K as a percentage of the full flow of gas. Standard orifice plugs run around 0.80 (see Illustration 5). An ori­ fice drilled in the side of a pipe or in a pipe cap runs about 0.75 (see Illustra­ tion 6). Looking back on our Btu for­ mula, we see the number 1655. Think of this number as the full flow of gas. Our orifice is only going to give us 75%-80% of this flow. For our pur­ pose, K = 0.75 or 0.80 depending on the type of orifice you’re using. H is simply the pressure in inches of water (WC). Remember, if you’re using pressure based on psi, you need to con­ vert to WC inches. For instance, if you’re using 3 psi, multiply 3 X 27.7 (27.7 inches WC in 1 pound of pressure). G represents the weight of the gas (specific gravity). Regular air is the stan­ dard weight and is expressed as 1. If you’re using natural gas, which is lighter than air, the specific gravity is 0.65. Illustration 5: Cross-Sectional View of Mixing Pin and Orifice Plug Using heavier-than-air propane means you would use the number 1.52 for G. operation: 7 +- 0.65 = 10.76923. Now, Here’s what we want to know: How simply hit the V button. The number many Btu’s per hour will we get using 3.2816504 appears in the little win­ an ½-inch orifice in a venturi burner on dow. Just keep multiplying back through Time to push those buttons again. natural gas (7 inches WC)? Plug in the the equation. 3.2816504 X 1655 X 0.80 As before, start with the square root numbers and this is what our formula X 0.0122654 X 1000. You now have side of the equation. 83.1 + 1.52 = looks like: 53,292—the Btu’s per hour that the 54.671052. Hit the V button and we burner is capable of producing. get 7.3939875. Keep multiplying; To see what a change in pressure and 7.3939875 x 1655 x 0.80 x 0.0122654 type of gas can do, let’s hook up this X 2500 = 300,185 Btu’s per hour. To the calculators! Since you have a same burner with its ½-inch orifice to a The same hole, made by an ½-inch square root function, we’ll start with high-pressure propane line operating at drill bit, has yielded two completely that so the calculation is one smooth 3 psi. different results. The next time you grab

52 CERAMICS MONTHLY ral gas. To do this, you’ll need a stop­ watch. Your gas meter should have a ½- or 1-cubic-foot hand. Simply time how long it takes for the kiln to use 1 cubic foot of gas while all the burners are on high. If it takes 3 seconds, you know you’re using 20 cubic feet of gas in a minute (60 seconds +- 3 seconds); 20 cubic feet a minute X 60 minutes = 1200 cubic feet an hour. Remembering the value of natural gas from our for­ mula, simply multiply the value of the gas by the amount used; 1200 cubic feet X 1000 Btu/CF =1.2 million Btu’s. If you’re using six venturi burners, you know each is producing 200,000 Btu/ hour (1.200,000 h-6 = 200,000). Determining Btu output for propane is a bit more complicated. You buy pro­ pane by the gallon (liquid) and use it by the cubic foot (vapor). In our formula, the vapor value of propane is 2500 Btu/ CF, but you’ll know better how many gallons you’ve used. A gallon of pro­ pane has about 92,000 Btu’s. Since you probably can’t measure vapor flow dur­ ing the firing, you’ll have to check how many gallons you’re using per firing and estimate how much of that usage took place at the burners’ highest setting. Then figure out the per-hour usage. You’re making an educated guess. The only way to actually measure propane- Illustration 6: Cross-Sectional View of Pipe with Pipe Cap gas usage is with a flow meter. They are very expensive and have to be installed your drill to ream out that pesky orifice gotten it right, but there are other vari­ in-line as part of the gas manifold. This or walk out to the propane tank to ables (such as kiln design, stacking, bag brings us back to math. crank up the pressure, remember that walls, flue and firebox size) that can If you’ve double checked your figures small actions can cause large changes. affect how the Idlnperforms. To truly and feel comfortable with them, you Have you gotten it right? test Well, the the efficiency of your burners,can depend you’ll on them. Humans have ultimate test is to fire the kiln. Does the need to check the atmosphere. This can been to the moon by depending on temperature climb evenly and at a good be done with either an oxygen or a math (trajectories, ballistics, thrusts, rate? Can you reach temperature in rea­ carbon dioxide probe. These instru­ etc.). Armed with nothing more than a sonable time? Can you adjust the atmo­ ments will tell you if your burners are little determination and a calculator that sphere as you desire? Of course, the producing complete combustion. has a square root button, you can figure answers to these questions are going to Checking your burners’ Btu output out any burner orifice size and its Btu give you some idea of whether you have while firing is easy if you are using natu­ output. ▲

May 1995 53 Baptism Through Fire by Stefan Emmelmann with Nancy Arrowsmith

Two-chamber, wood-burning kiln with tandem Bourry firebox.

^Jne of two memorable experiences and came to realize how important repe­ only have taken two or three that has had a lasting impact on my tition throwing and routine are, not hours to melt down the cone in career was a visit to the traditional wood- only for production studios, but also second chamber, but we were sim- burning Idlns in the German Wester- for the potters concentrating on indi­ too tired. A new kiln is like a mon­ wald. In 1977, the huge old kilns were vidual pieces. Only then is it possible to ster that has to be tamed. Since then, still being used to produce salt-glazed throw pots of high quality that are easy we have been able to reduce the firing ware. I had just returned from a two- in form without being worked to death. time to 25-26 hours. year visit to England, where I had The other decisive experience was The local fireclay produces wonder­ worked in various studios and was meeting my wife, Reinhild Freeh. When ful surfaces when fired with wood; how­ steeped in the Leach tradition. It turned we moved to Austria in 1979 to set up ever, because of its high alumina and out to be a blessing in disguise that I our own studio, we already knew what iron content, it is not good for salt didn’t get to work in the studio of my we would produce: functional, wood- glazing. We were able to achieve soft idol Michael Cardew. For, as the saying fired, salt-glazed stoneware pottery based and silky glazes only by using large on traditional forms. amounts of salt. The iron content of We found a lovely, if somewhat run­ 4%-5% yielded a wide range of beauti­ down, farmhouse in an area in which ful brown colors, which contrasted the clocks seemed to have stopped 50 nicely with cobalt decoration. It took years ago. The remnants of these de­ about five years and many shards to cades were deposited in the barn in finally come to terms with our local which we wanted to build our kiln. It clay and the wood-burning kilns. We was filled to bursting with hay, straw recycled the shards by using them to fill and agricultural relics. A neighbor up the potholes in the unpaved road helped us cart the hay onto his field and leading to our farmhouse. burn it, loosing a fire storm that was a Demand for our pots grew, and one forerunner of the flames that were soon of the measures of their success was that to go roaring through our new kiln. similar pots started appearing in various The results of this first conflagration Wheel-thrown stoneware platter, were several sacks of wonderfully clean 25 inches in diameter, with brushed ashes. Since it takes a bale of straw to feldspathic glaze and masked produce just a handful of ashes, you can pigments, wood fired to Cone 8. imagine how much we had to burn! Our first kiln was 10 cubic meters in goes, nothing grows in the shade of a capacity, with two chambers. I will never big tree. My own development would forget the first time we tried to fire it. A traditional Austrian farmhouse probably have been stunted by my en­ There were only the two of us, and my became Emmelmann’s home/studio— thusiasm for the work of another. wife was several months pregnant. After the left wing houses the studio. Just It was a time of plenty. I began to 40 hours of uninterrupted stoking, we behind and to the left, the stack for the work in earnest on the potter’s wheel, had to give up, totally exhausted. It 10-cubic-meter wood kiln can be seen.

54 CERAMICS MONTHLY Wood-fired stoneware plate, 27 inches in diameter, with fly ash and pigments on feldspathic glaze. Emmelmann’s studio: the table at the left holds models for tile stoves; stacked on their sides beside it are slabs for stove making; additional slabs are drying in the rack on the right.

corners of Germany. Others had been into the Kachelofen as we know them inspired to “borrow” from us. today: the ceramic layer is the tile skin; In 1982, when my wife decided to while the skeleton consists of a heating quit working in the pottery (because of chamber and a complex system of walled our second child and her increased in­ flues that keep the heat from going di­ terest in farming), I was faced with the rectly up the chimney. Through this necessity of adapting the old kiln to gas recycling effect, it is possible to obtain or building a smaller one that I could, if maximum heat from wood. The heat need be, fire by myself. Various bureau­ slowly and evenly radiates into the room, guaranteeing a constant and agreeable cratic problems (the prerequisite use of Teapot, 10 inches in height, wheel- union technicians, fire-prevention de­ source of warmth. thrown stoneware with porcelain slip vices, prohibitive cost and the usual red The first step in planning the instal­ and ash deposits, Cone 8 wood fired. tape) ruled out the first alternative, so I lation of a Kachelofen is to insure that decided to build a smaller Idln. the chimney through which the stove It is a great pleasure to sit at the will vent has the right dimensions. Typi­ accumulate throughout the heating sea­ wheel and count the completed pots by cally, chimney diameters range from 6 son. After primary combustion, the the board. But things began to go too inches for small stoves to 8 inches for firebox is closed, and embers in a bed of smoothly. I had the uncomfortable feel­ large ones. When there is any doubt, a ashes keep glowing longer. Only when ing that my pottery had become rou­ professional chimneysweep (commis­ burning coal is a grate needed, due to tine. My working days began to lose sioned by our public administration) the large of amount of ash coal renders. their contours. It seemed there simply will measure the draft rate and give per­ As a designer of Kachelofen, my work wasn’t any room for the development of mission for the stove. The stove draft is is mainly concerned with the aesthetics new ideas. I wasn’t in a position to start higher than in any open fireplace due to of the object and, of course, the making all over again by going back to art school, the small size of the firebox door, usu­ of the tiles. The “setting” of the stove is which I would have liked to do. Slowly, ally 8x12 inches. done by another professional; it is highly though, new possibilities began to The firebox itself is large—on aver­ skilled work, requiring a good deal of emerge. When several people asked me age 16 inches wide by 24 inches deep experience. When designing the stove, if I would be willing to make ceramic and a minimum of 32 to 38 inches one has to follow guidelines concerning stoves—Kacheldfen—I approached the high. Because the door is situated very measurements and construction to en­ subject sculpturally, with an emphasis low (usually 4 to 6 inches above the sure that the setting can be done prop­ on surface textures. floor), there is plenty of space for the erly and that the stove will function Kachelofen have a long tradition in combustion gases in the upper part of satisfactorily. Central Europe, especially in the Al­ the firebox. The price depends on the size and pine region. In the Middle Ages, the The only air supply is through this surface work. I usually charge $2000- first walled stoves were substituted for door. When burning wood, no grate is $2500 per square yard of tile. This in­ open fireplaces. These slowly evolved necessary either. The ashes in the firebox cludes the planning and design. An

May 1995 55 average stove (with 6 square yards of surface) will be $12,000-$ 15,000. The setting (including labor and materials) will be $7000-$8000. My designs are based on the so-called basic stove (Grundofen), which has evolved through the centuries from the hearth and open fireplace. With major improvements in refractory materials and firebox design, it has turned into a highly efficient means of heating homes. Nevertheless, the principle has re­ mained unaltered: In the firebox, the temperature is about 700°-800°C (1290°-l470°F) during combustion. On their passage through the flues, the Emmelmann builds a Kachelofen in one combustion gases cool down to a tem­ piece over a wooden substructure; he perature of 180°-200°C (350°-390°F) begins with clay latticing, which serves at the point of entry into the chimney. as anchor points for the slab skin. The heat is absorbed and stored in the thick walls of the stove. The thick­ ness varies from about 5 inches in the Stiff slabs are then attached to the firebox area to 2 inches in the last flue. latticework and joined to one anotherAlso, the flues vary in diameter accord­ with a thick (peanut butter ing to the volume of the combustion consistency) slurry. gases, which diminishes as they cool down. The surface area is calculated from the energy required for the rooms to be heated. Usually the interior construction fol­ lows this scheme: firebox; vertical flue (down); horizontal flues. The length of the flues varies according to the overall surface of the stove; however, a ratio of 2 feet of flue per 1 square foot of surface can usually be applied. One of the design “tricks” is a door that seals the firebox and keeps the whole stove airtight. This prevents cold air from entering and cooling the stove down from the inside. When closing the firebox door, it is essential that primary When the completed stove is leather combustion be complete; i.e., that no hard, cuts are made through the yellow flames are visible. If the door is surface and underlying latticework to sealed too early, the wood starts to smol­ allow shrinkage without cracking. der, which might cause an explosion. As a precaution, stoves have to be built with a “gas slot” at the top of the firebox; The lattice-backed tiles are removed to this opens into one of the last flues. racks for final drying. After the firing, the To avoid any leakage of gases, the latticework allows the tiles to be joined walls are constructed in layers. The tiles with metal brackets. are joined with mortar—usually a lean clay with some sand, but refractory ce­ ment and specially formulated mortars are used for parts of the stove that are under stress.

56 CERAMICS MONTHLY Free-form Kachelofen (a European radiant-heat stove), 6 feet in height, wood-fired stoneware.

Usually a “basic stove” is loaded with wood and lit only twice a day (one load being between 18-35 pounds of wood, depending on the size of stove). After the primary combustion has taken place and the visible flames are gone, a small mound of glowing embers continues to radiate heat through the walls. The peak surface temperature in the hottest areas, which is where the firebox is situated, should be around 80°C (175°F) now. You are just able to touch it without getting burned. As the warmth radiates from the stove, the temperature slowly diminishes. After 10-12 hours another loading is due; when you open the door and rake the ashes, you’ll probably find a few glowing coals left to light the wood again. The benefits of this kind of heating are worth considering: As these stoves emit the same kind of heat as an open fireplace, they create a physiologically pleasing atmosphere in the rooms. En­ ergy efficiency is about 80%-90%, as compared to a fireplace that utilizes only about 30% of the released energy—the rest of which goes up the chimney. Effi­ Kachelofen, 9 feet in height; an efficient system of flues keeps cient heating with wood seems like a the heat from burning wood from going up the chimney. sensible ecological alternative, too. Emis-

May 1995 57 Some Kachelofen serve multiple purposes; this model includes a bench, plus facilities for baking and heating water on the left (above the airtight firebox door at the bottom).

sions can be kept at a low level if the bility and serves as anchoring points for work mostly with fire, and the “mud stove is well tuned. And, after all, burn­ the components. Slabs anchored with and water men” like himself who fire ing wood is C02 neutral. This means slurry as thick as peanut butter form their pots out of a feeling of obligation. there is no additional carbon dioxide the outer skin. When the clay becomes In the last few years, fire has begun released into the atmosphere; all of it leather hard, the entire structure is cut to fascinate me more and more. Our has been absorbed from the atmosphere apart, and the pieces removed for fur­ life here on the farm, embedded in ever- by the trees in the process of photosyn­ ther drying on racks. changing natural rhythms, has given me thesis before. After the firing, the latticework on the possibility of developing a better Work on a Kachelofen takes several the back of the tiles allows them to be sensibility for the materials and pro­ weeks. Since I construct only individual joined to one another with the aid of cesses that pass through my hands. I designs, it is necessary to plan each stove metal brackets. The space between the have only recently become aware of the carefully. The stove has to be tuned to latticing is then filled with firebrick slabs great forces I unleash when I heat up the architectural peculiarities of the and mortar. the kiln. room, as well as to the aesthetics of the After at least three weeks of con­ Years ago, every firing of the smaller people who are going to live with it. tinual work (not including time spent kiln was a battle to produce as many First, I jot down my ideas and sketches, in the design of the Kachelofen, and saleable pots as possible in a minimum choose the best and make a model. visits to clients), it is sheer pleasure to sit of time. What a strain! On my feet Simpler designs consist of a number down again at the wheel and fall back from early in the morning until late at of single tiles of the same size, but more into routine work. night, debilitating exhaustion and complex, free-form stoves have to be In his film Mud and Water Many wracking headaches the next day from put together as one piece. I begin with a Michael Cardew points out that there the heat—it wasn’t exactly an easy way clay latticing, which gives the stove sta­ are two kinds of potters—those who to earn our bread.

58 CERAMICS MONTHLY A professional is hired to install the Kachelofen tiles over a complex system of flues, as shown in this schematic drawing: 1) lattice-backed tile; 2) metal bracket: 3) firebrick slab; and 4) mortar.

Since then, I have become more re­ and the same time. The colors vary from laxed in my relationship to the fire. I white to yellow, and on to red, brown, have learned to wait. I have become the violet and even black hues, an unprec­ servant, and no longer try to be the edented color display! Sometimes I think master. There is much to do to keep it would be the ultimate artistic achieve­ things going smoothly: The amount of ment to be able to transfer this exciting heating material has to be just right, the palette directly onto pottery. coals have to be high enough, the air Which reminds me of one of the circulation has to be correct, and the first walks I took with my future wife, vents have to be opened at the proper out to one of the large claypits so com­ time, but this work has become second mon in the Westerwald. It was raining, nature now, like breathing in and out. and it was all we could do to “deliver” I am not interested in achieving spec­ her rubber boots from the slick and tacular ash deposits, which is why I sticky mire. The unexpected exposure only heat the kiln as long as I have to. I to the “clayey” element did nothing to am primarily interested in the intense lessen her amusement, and I knew we and lively colors that are brought into had something in common. being by the continuous fluctuation be­ And maybe because of this, I have tween reducing and oxidizing atmo­ not quit working, have not begun all spheres in the kiln. The fly ash that is over again, but have stayed true to clay deposited on some pieces is a bonus, and to fire. Some work in the last few which brings new nuances to the glaze years has become an adventure into the and pigments. unknown. When I have a litde free time, My affinity for clay in its “pure” form I experiment with various surface tex­ has also become more pronounced over tures. Rhythm, movement, and con­ the years. I often go walking in our tinually changing and evolving claypit and wonder at the raw clay in all structures are my beacons in this un­ its forms and variations. It can be liq­ Stefan Emmelmann loading tiles into known the sea, and may, in the course of uid, plastic or even sunbaked at one first chamber of his wood-burning kiln. time, bring me to new shores. ▲

May 1995 59 A Gathering of Tea by Barbara Hamaker

Freehand Gallery in Los Angeles re­ shoulder leans a certain way, or the sur­ cently celebrated the worlds oldest bev­ face draws your attention, and the erage with “A Gathering of Tea.” The handle involves you as you pick it up. mixed-media invitational included over The ceremonial aspect of tea is greatly 60 works by 21 ceramists. They repre­ enhanced when the essential ingredi­ sented a wide variety of mostly func­ ents are a handmade pot and cup.” tional styles and techniques, as well as a Among the work on view were the few sculptural interpretations. very contemporary stacked teapot sculp­ Gallery owner Carol Sauvion, a pot­ tures of Kevin Myers. These danced in ter before opening Freehand in 1980, stark contrast to the functional porce­ has enjoyed a loyal following. “A Gath­ lain teapots of Chris Simoncelli, whose ering of Tea” was a way of introducing pots are a canvas for his modernist ab­ them to a great variety of new work. stract designs, remindful of early 20th- “The teapot is always the ultimate century painters. challenge for a potter,” explains Sauvion. David Gurney, another painter-pot- “Four elements have to work together ter, translates his love of nature into a in a functional piece—the pot, the wealth of color with flowers and birds spout, the lid and the handle. And aside in pastoral scenes. Gurney grew up in from the aesthetic considerations, the Orange County, California, and received lid can’t fall off and the tea can’t drip his M.A. in ceramics from California when you pour, and the full pot can’t be State-Fullerton. Frequent family trips too awkward or heavy for the handle. A to Mexico as a child greatly influenced good pot has a personality—maybe the his love of folk art.

“Teapot Totem,” 5 feet in height, thrown and altered, unglazed, totem fired to Cone 3 in oxidation, base to Cone 3 in reduction, $900, by Kevin Myers, Glendale, California. Teapot and creamer, 7 inches in height, thrown-and-altered porcelain, $150, by Chris Simoncelli, Atlanta, Georgia.

Salt-glazed stoneware teapots, 7 inches in height, thrown and altered, $150 each, by Scott Shafer, Centerville, Indiana.

60 CERAMICS MONTHLY “Regionalism is very important to me,” says Gurney. “I want my pots to reflect the time and place I live in. I think that’s why I’m so fascinated by folk pottery, which developed from a tradition and function in everyday life.” A recurring theme in his narrative painting is juxtaposing the past, un­ spoiled look of California’s landscapes on one side of a piece, and depicting the result of commercialization and ur­ ban decay on the other. Kazuko Matthews’ sophisticated eye and sense of humor can be seen in her forms. A potter for over 20 years, she used to produce wheel-thrown work, but “got tired of that perfect form, and began handbuilding, which gives me the freedom I want.” “The Owl and the Pussycat Teapot,” 6 inches in height, whiteware, with low-fire Recently her work has evolved into glazes, $600, by Pat Nagai, Los Angeles. larger, more complex sculptural forms, introducing small amounts of color along with neutral grays and blacks. Wheel-thrown earthenware teapots, to 14 inches in height, decorated with scenes from everyday life, $225 each, by David Gurney, California.

May 1995 61 Kevin Stafford created an entire color wheel of teapots for the show. “I work with an electric kiln that allows me to use color with porcelain. People always said I couldn’t do that—but that’s be­ cause they hadn’t tried.” Stafford’s brightly colored teapots have graphic elements, leopard prints and sometimes gold accents. “My first work was all black, and now I’ve found myself at the other end working with all color. I want [to make] pieces that are pleasant to use, that feel nice. I’m al­ ways finding the compromise between Porcelain teapot, 6 inches in height, assembled from wheel-thrown and cast elements, $150, by Kevin Stafford, Los Angeles. visual and practical aspects.” “We had great fun preparing for ‘A Gathering of Tea,”’ says Sauvion. “It was an opportunity to focus on one wonderful aspect of contemporary craft—a field that produces pieces es­ sential for bringing the artistic into our everyday lives, answering the need for human expression.” ▲ “Humped Teapot,” 9 inches in height, stoneware, slab built, $600, by Kazuko Matthews, California.

62 CERAMICS MONTHLY Jatun Molino A Pottery Village in the Ecuadorian Amazon Basin by Joe Molinaro

Animal vessel (anteater), 18 inches long, coil-built earthenware; intricate patterns are applied with human-hair brushes.

^Geographically, Ecuador is one of the short distance of only 200 miles (as Amazon Basin. A tiny dirt airstrip is the the most diverse countries in South the crow flies), one can experience the link to civilization for Jatun Molino, America, given its relatively small size. landscape from sea level to snowcapped which otherwise is at least a 4-5 day It consists of three distinct regions; the mountains, followed by a descent into journey by dugout canoe. first being the Andean range, which steaming jungles. It is there, in the The village has approximately 100 runs north to south throughout the in­ rainforest of Ecuador, that one will find inhabitants (60 children and 40 adults). terior of the country. The steep, rugged the tiny, remote village called Jatun While the primary language is Quichua, mountains rise to over 20,000 feet at Molino. several residents have also learned Span­ the snow-covered peaks of Chimbora­ The 30-minute flight into the jungle ish as a result of traveling to the small zo. To the west of these mountains are begins from the small town of Shell towns that border the jungle region. the lowlands of the coastal region that (named after the Shell Oil Company There are approximately 15 houses, each border the Pacific Ocean. To the east from the days of its use as an outpost strategically located along the Rio are the jungles of the Upper Amazon for drilling sites), located at the eastern Bobanaza. Most have elevated living ar­ Basin, known locally as the Oriente. In base of the Andes, at the entrance to the eas, with cooking and storage areas be-

May 1995 63 neath the main floor. Palm leaves are woven together to form the roofs; bam­ boo poles are split and laid for the sec- ond-story flooring. The climate in Ecuador, which lies on the Equator, is constant year round. Since the sun sets shortly after six and there is no electricity in Molino, dark­ ness blankets the village each night by seven. By eight, nearly everyone is asleep and the village is silent. The sounds of chopping wood and people bathing in the river begin near dawn (6 A.M.). The smells of burning wood and cooking are everywhere, and both birds and mon­ keys make their presence known. Daily activities include hunting, fishing, and the making of objects for daily use (bas­ kets, palm fiber bags, pottery, fishing nets, dugout canoes) and other articles to be traded. Storage jar (tinaja) with crab motif, 10 inches in height, The villagers’ diet consists mainly of coil built, coated with red slip, decorated with pigments. boiled and fried yucca root and plan­ tains, corn, fish and other game (mostly fowl), as well as a wide assortment of natural fruits that are indigenous to the area along the Rio Bobanaza. The main beverage is a fermented yucca root drink called chicha. It is made by mashing, chewing and spitting the root into a common container, and is prepared al­ most daily by the women of the village. This drink is served regularly and it is considered impolite for visitors to refuse. The organization of the village is communal, with all members partici­ pating in activities that contribute to the common good. The men hunt, build and repair houses, and produce baskets, while the women gather foods, cook and produce pottery. Adults are the main Small bowl (mucaua), 9 inches in diameter; providers for the group, yet their dedi­ mucauas are used to serve food or chicha, cation and concerns for the young are a fermented yucca-root beverage. ever present. Children are never seen as obstacles to work and are often included in jobs that might otherwise seem be­ yond their scope of experience. It is their involvement in the day-to-day ac­ tivities that enables the Quichua to pass information on to the next generation. Since most of what is learned is taught through a handed-down system, it is not surprising that both males and fe-

64 CERAMICS MONTHLY males readily accept their roles within the village as they grow into adults. Even though the older women are the main producers, it is common to see young girls of 10 and 12 years old working alongside their mothers and/ or sisters. The older women spend time with each young potter as she carefully The communal pottery workshop in Jatun Molino. studies and practices the traditional pro­ duction methods. While they make pot­ tery at home for personal use, some also work collectively in a separate space that they built for the sole purpose of pro­ ducing ceramic objects for sale and/or trade. These pieces are transported by plane to Shell; from there they go to Quito to be sold. Selling this way is becoming more common for those in­ habiting the rainforest as they seek new ways to obtain monies for medicine as well as for the tools needed for hunting and agriculture. Whether they make their pots at home or at the worlcshop, they con­ form to traditional shapes, though each nurtures personal characteristics that make the work unique. There is no “ego” behind what they make, however, and most forms and images are under­ stood by all members of the village. The process begins with the gather­ Ware is produced on the ground flooring of clay. The women hike to a creek as the children play nearby: finished in the jungle, about a 20-minute walk pots are stored on the second floor. from the village. They dig clay from the creek bed, filling woven palm-leaf bas­ kets that have been lined with fresh banana leaves. Each basket holds ap­ proximately 75 pounds of wet clay. Clay is dug as needed; usually several women work together to gather enough materi­ als for all. Long hours are spent cleaning the clay by carefully squeezing it through their hands and picking out foreign par­ ticles, such as stones and twigs. Keeping the clay moist is not a problem, as the air remains humid day and night. Cov­ ering the baskets with a banana leaf is all that is required to ensure the clay will be ready for use. Coiling is the main production tech­ Dora Gualinga coil building the neck nique. They achieve thin-walled forms of a large tinaja. by pinching added coils upward. Their

May 1995 65 tools include a variety of scrapers cut melts onto the hot piece and creates a from the outer shell of dried gourds, protective, glosslike coating. This sur­ strips of wood for paddling, small pieces face enhances the painting and helps of corn husks that serve as a type of make the form impervious to water. chamois for the rims, and smooth stones The sap, which comes from the that are collected from the rivers edge Chillquillo tree, is acquired by cutting for burnishing. Several pieces are made the trunk of the tree with a machete. at a time, which allows the potter to When hunting, the men in the village move on to another pot while the pre­ watch for these trees; they will cut the ceding form(s) stiffen. trunk and return 2-3 months later to When the completed pot is stiff gather the hardened chunks of sap that enough, a red clay slip is applied with a have formed. cloth dragged across the surface. Once The type of objects produced by the the slip has dried to the touch, fine Elsa Ushigua applying fine-line Quichua range from small bowls called brushes made of human hair are used decoration with human-hair brushes. mucauas, which are used mostly for to paint intricate designs. These brushes drinking chicha or serving food; tinajas, are made of only one and two strands storage jars of various sizes; and other each with an overall brush large bowl forms. They also length of approximately 2 create a variety of animal and inches. The pigments come human forms in vessel-like from the earth (white, black, configurations, all with com­ red and ocher), and are ground plex surface treatment. While by hand using a large and small the forms created by these pot­ rock as a type of mortar and ters has remained consistent pestle. This work is extremely over the years, subtle variation tedious and takes long hours and nuance are part of the quiet to accomplish. The patterns development of this work. In most often reflect those things addition, each artist has the that are part of daily life: ani­ freedom to explore the deli­ mals (i.e., snakes, spiders, frogs, cate painting as it relates to her turtles, birds, etc.), plants and ability; still, the imagery re­ other communal imagery. mains fairly constant. After the pots are coated The fragile nature of these with slip and the fine-line objects is testimony to the great painting is complete, they are skill of these potters. Their allowed to dry until ready for daily lives are an integral part the fire. Forms dry slowly in of the work and are reflected the damp air of the jungle, so Pots are fired individually over an open fire in a large basinin the design of each piece. potters often preheat the pieces with a 6-inch hole in the bottom; most are placed upside While others from outside the by placing them near the firing down in the basin and insulated with wood ash. rainforest may not need their pit. Typically, pots are fired in­ ware for utilitarian purposes, dividually in a large basin that many still attach great aesthetic has a 6-inch-diameter hole cut out of for 30-45 minutes, while the potter value to the pottery that is produced in the bottom; it is placed over three large continues to stoke the fire. Once the the Upper Amazon Basin. logs that come together like the spokes desired time has expired, the basin is of a wheel. The pot is placed upside lifted from the logs, the pot is removed The author Joe Molinaro is an assistant down over the hole in the basin, then and the ash dusted off with leaves. professor of art at Eastern Kentucky Uni­ covered with wood ash, which serves as Meanwhile, the firing basin is set versity in Richmond. With support from an insulator. upside down on its rim so that the hot the Fulbright Commission (and the Ecua­ The firing basin—when positioned pot can be nested in the hole during the dorian foundation FUNEDESIN, he has on the three logs, the ends of which, sealing process. While the piece is still been able to gain access to the Quichua along with other smaller bits of kin­ hot, the potter rubs a chunk of hard­ Indians living in the Amazon Basin re­ dling, are burning—remains in place ened tree sap over the surface. The sap gion of Ecuador.

66 CERAMICS MONTHLY May 1995 67 Call for Entries base. Juried from work. Fee: $15 for up to 3 Application Deadline for Exhibitions, entries. For prospectus, send SASE to 2x2x2, Gal­ lery Ten, 514 East State Street, Rockford 61104. Fairs, Festivals and Sales May 12 entry deadline West Chester, Pennsylvania “Nuptial Bliss” (June 2-26). Juried from slides. Fee: $15 for up to International Exhibitions 3 entries. For prospectus, send #10 SASE to Nup­ May 31 entry deadline tial, the Potters Gallery, do Janet Smith, 415 MinOy Japan “The Fourth International Ce­ Roberts Lane, West Chester 19382-5621. ramics Competition” (October 28-November 5) May 15 entry deadline consists of two entry categories: ceramic design Shelburne, Vermont “Envisioned in a Pastoral and ceramic arts. Juried from photos of up to 6 Setting” (September 23-October 15). Juried from entries. Awards (per category): Grand Prize, 3 5 slides. Entry fee: $ 15. For prospectus, send SASE million yen (approximately US$30,000); Gold to Art Exhibition, Shelburne Farms, 102 Harbor Award, 1 million yen (approximately US$10,000); Rd., Shelburne 05482; telephone (802) 985-9585. two silver awards, 500,000 yen (approximately May 20 entry deadline US$5000); five bronze, 300,000 yen (approxi­ Pensacola, Florida “Woman 2 Woman” (July mately US$3000); and seven judges’ awards, 10-August 19), open to female artists working in 200.000 yen (approximately US$2000). Jurors, any media. Juried from up to 3 slides. Juror: ceramic design: PongsakArayangkoon, Mai Felip- Judith Proctor, director, Rodrigue Gallery, New Hosselbarth, Kazuo Kimura, Toshiyuki Kita, Orleans. Fee: $25. Awards: $1000 in cash and Alexander Manu, Tapio Perianen and Osamu purchase. Send SASE to SOHO Gallery, 23 Palafox Suzuki. Jurors, ceramic art: Rudy Autio, Nino PL, Pensacola 32501; telephone (904) 435-7646. Caruso, Marie Therese Coullery, Yoshiaki Inui, May 30 entry deadline Takuo Kato, Kyubei Kiyomizu and Kurt Spurey. Philadelphia, Pennsylvania “The Politics of Contact International Ceramics Festival ’95 Mino, Scale” (October). Juried from slides. No entry fee. Japan, Executive Committee Office, 2-15 Hinode- For application form, send SASE to the Clay Stu­ machi, Tajimi City, Gifu Prefecture 507. dio, 139 N. Second St., Philadelphia 19106; or, July 5 entry deadline for information only, telephone (215) 925-3453. Manises, Spain “European Biennial of Ceram­ June 12 entry deadline ics” (November 16-December 31), open to ce­ Helena, Montana “ANA 24” (August 11-Sep­ ramists residing in Europe. Juried from 2 slides tember 17). Juried from up to 3 slides. Entry fee: per entry; up to 3 entries. Awards: Gallego Vilar, $20. Juror: Lloyd Herman. For prospectus, con­ 800.000 pesetas (approximately US$6050); Presi­ tact Holter Museum of Art, 12 East Lawrence dent de la Generalitat Valenciana, 500,000 pese­ Street, Helena 59601; telephone (406) 442-6400 tas (approximately US$3800); Diputacio de Valen­ or fax (406) 442-2404. cia, 300,000 pesetas (approximately US$2250). June 15 entry deadline Contact Biennial of Manises, Museo de Ceramica New Haven, Connecticut “The Celebration of de Manises, Calle Sagrario, 22,46940 Manises; or American Crafts” (November 11-December 24). telephone (52) 10 44, fax (52) 04 53. Juried from slides. For prospectus, send SASE to July 15 entry deadline the Celebration, Creative Arts Workshop, 80 Rochester, New York “Triaxial Blend: Clay, Audubon Street, New Haven 06510. Industry and Technology,1996 NCECA Exhibi­ Denton, Texas“Materials Hard and Soft” (Sep­ tion” (in conjunction with the NCECA 1996 tember 17-October 27). Juried from slides. Juror: conference), open to ceramists who have explored Jane Sauer. Awards: $3000. For application, send artistic and practical applications of the technical SASE to Greater Denton Arts Council, 207 S. Bell, capacities of industries within the United States Denton 76201; or telephone (817) 382-2787. and abroad. Juried from 12 slides and resume. No Burlington, Vermont “Ebb and Flow” (Sep­ entry fee. For application, contact Regina Brown, tember 8-October 16). Juried from slides. Fee: NCECA Executive Secretary, P. O. Box158, Ban- $ 10 for accepted artists only. For further informa­ don, Oregon 97411; or telephone (800) 99-NCECA. tion, send SASE to Vermont State Craft Center at August 15 entry deadline Frog Hollow, 85 Church Street, Burlington 05401. Chicago, Illinois “Currents 1995” (November Manchester, Vermont“Creative Harvest” (Sep­ 2-5), open to works in ceramics, glass, metal, tember 20-0ctober 31). Juried from slides. Fee: textiles and wood. Entry fee: $20. Awards: $2500. $10 for accepted artists only. For details, send For prospectus, contact Currents 95,1021 W. Lill SASE to Vermont State Craft Center at Frog Hol­ St., Chicago 60614; telephone (312) 477-0484. low, Post Office Box 816, Manchester 05254. Middlebury, Vermont “Revisiting the Arts and National Exhibitions Crafts Style” (September 8-October 16). Juried from slides. Fee: $10 for accepted artists only. For May 6 entry deadline further information, send SASE to Vermont State Rockford, Illinois “2x2x2” (May 19-June23), Craft Center at Frog Hollow, 1 Mill Street, open to works under 2 inches, excluding frame or Middlebury 05753. June 20 entry deadline Send announcements of juried exhibitions, fairs, fes­ Florence, Alabama “Kennedy-Douglass Cen­ tivals and sales at least four months before the event’s entry deadline (add one month for listings in July and ter for the Arts 1995 Monarch National Ceramic two months for those in August) to Call for Entries, Competition” (September 5-October 13). Juried Ceramics Monthly, P. O. Box 12788, Columbus, from slides. Entry fee: $15 for up to 3 works. Ohio 43212-0788; or telephone (614) 488-8236. Awards. For prospectus, contact Ceramic Com­ Fax (614) 488-4561. Regional exhibitions must be petition, Kennedy-Douglass Center for the Arts, open to more than one state. 217 E. Tuscaloosa St., Florence 35630. Continued

68 CERAMICS MONTHLY May 1995 69 Call for Entries of family. Juried from slides. Entry fee: $20 for up from slides. Fee: $20 for up to 3 entries. Juror: to 4 slides. Awards: $1500. For prospectus, con­ Louise Fishman. Over $3000 in awards and pur­ tact It’s All Relative, Galeria Mesa, Post Office chase prizes. For prospectus, sendSASE to Hoyt Box 1466, Mesa 85211-1466; or telephone (602) Institute of Fine Arts, 124 East Leasure Avenue, July 8 entry deadline 644-2242. New Castle 16101. Alexandria, Virginia “Beads on Target” (Oc­ July 20 entry deadline August 1 entry deadline tober 26-November 25). Juried from up to 2 Hazleton, Pennsylvania “The Hazleton Art Guilford, Connecticut “Artistry: A Holiday slides per work. Fee: $15 for up to 3 entries. League Open Juried Exhibition” (October 7-20), Festival of Craft” (November 4-December 24). Jurors: Penny Diamanti De Widt, bead designer; open to artists working in clay, glass, wood or Juried from 5 slides or photos. Entry fee: $10. Paula Owen, executive director, Hand Work­ metal. Juried from up to 3 slides. Awards: $3500. Send SASE to the Guilford Handcraft Center, shop, Richmond, Virginia; and Joyce Scott, bead For application, contact Jayne Persico, 50 North Artistry, Post Office Box 589, Guilford 06437; or artist. For entry form, sendSASE to the Friends of Vine Street, Hazleton 18201; or telephone (717) telephone (203) 453-5947. the Torpedo Factory Art Center, 105 North Union 454-3789. August 10 entry deadline Street, Alexandria 22314. July 22 entry deadline Spokane, Washington*TerraFirma” (Novem­ July 11 entry deadline New Castle, Pennsylvania “14th Hoyt Na­ ber 2-30), open to artists working in functional or Mesa, Arizona “It’s All Relative” (October 17- tional Art Show” (October 8-November 4), open sculptural ceramics. Juried from slides. Fee: $5 per November 11), open to works reflecting the theme to works under 48 inches in any dimension. J uried entry; up to 3 entries. Juror: Juan Granados, Eastern Washington University faculty artist. For prospectus, contact Terra Firma, Spokane Arts Commission, 808 West Spokane Falls Boulevard, Spokane 99201; or telephone (509) 625-6050. August 15 entry deadline Cheney, Washington‘QXzy on the Wall” (Janu­ ary 5-26, 1996). Juried from up to 5 slides of no more than 5 works. Entry fee: $15. For prospec­ tus, send SASE to Juan Granados, Department of Art, Eastern Washington University MS-102,526 Fifth Street, Cheney 99004-2431; telephone (509) 359-2788; or fax (509) 359-7028. September 28 entry deadline Eugene, Oregon “Le Petit 3 Small Format Com­ petition” (November-December). Juried from slides. Fee: $6 per entry. Awards: $2200. For prospectus, send SASE to Alder Gallery, 160 East Broadway, Eugene 97401; or telephone (503) 342-6411. October 10 entry deadline Mesa, Arizona “18th Annual Vahki Exhibi­ tion” (January 2-February 3, 1996), open to craftwork. Juried from slides. Entry fee: $20 for up to 4 slides. Awards: $1500. For prospectus, contact Vahki Exhibition, Galeria Mesa, Post Office Box 1466, Mesa 85211-1466; or telephone (602) 644-2242. November 1 entry deadline Pensacola, Florida “It’s a Small World” (Janu­ ary 29-March 2, 1996), open to miniature works in any media. Juried from up to 3 slides. Juror: Allan Peterson, chair, visual arts department, Pensacola Junior College. Entry fee: $25. Awards: $1000 in cash and/or purchase. Send SASE to SOHO Gallery, 23 Palafox Place, Pensacola 32501; or telephone (904) 435-7646.

Regional Exhibitions May 5 entry deadline Bellevue, Washington 4 1995 Pacific Northwest Annual” 0uty 28—September 10), open to artists and craftspeople residing in Alaska, Idaho, Mon­ tana, Oregon or Washington. Juried from slides. Awards: $7000. For entry form, send legal-size SASE to Annual, Bellevue Art Museum, 301 Bellevue Square, Bellevue 98004; or telephone (206) 454-3322. May 31 entry deadline Newnan, Georgia “Living in the South” (Au­ gust 4-30), open to artists residing in Alabama, Florida, Georgia, Mississippi, North Carolina, South Carolina and T ennessee. J uried from slides. Entry fee: $25 for up to 3 works. Send #10 SASE to Living in the South Exhibition, c/o Manget-

70 CERAMICS MONTHLY Brannon Alliance for the Arts Annex Studios, (November 24-26). Juried from 4 slides of work space. No commission. For prospectus, contact 15½ Greenville Street, Newnan 30263. plus 1 of booth. Booth fee: $450 for a 10x10-foot, Tennessee Association of Craft Artists Fall Crafts July 1 entry deadline indoor space. No jury fees or commission. Con­ Fair, Alice C. Merritt, Director, Post Office Box Saint Petersburg, Florida“S potlight ’95” (Sep­ tact Harvest Festival Florida, 6915 Red Road, 120066, Nashville 37212; or telephone (615) tember 24-November 19), open to artists resid­ Suite 228, Miami, Florida 33143; or telephone 665-0502. ing in Alabama, Washington, D.C., Florida, Geor­ (305) 666-5944. July 30 entry deadline gia, Kentucky, Louisiana, Mississippi, North Caro­ Orlando, Florida “Harvest Festival” (Novem­ Columbia, South Carolina “1995 Southeast­ lina, South Carolina, Tennessee, Virginia and ber 17-19). Juried from 4 slides of work plus 1 ern Art and Craft Exposition” (October 13-15). West Virginia. Juried from slides. Juror: Bill of booth. Booth fee: $450 for a 10x10-foot, Juried from 5 slides. Jury fee: $20. Booth fee: Strickland, director, Manchester Craftsmen’s indoor space. No jury fees or commission. Con­ $195 for an 8x10-foot space, $240 for a 10x10, Guild, Pittsburgh. Fee: $18 for up to 3 entries. tact Harvest Festival Florida, 6915 Red Road, $295 for a 10x15; additional $30 for a corner Cash and purchase awards. For prospectus, send Suite 228, Miami, Florida 33143; or telephone space. Awards: over $12,000 in cash and pur­ SASE to Florida Craftsmen, Inc., 237 Second Ave­ (305) 666-5944. chase. For application, contact Southeastern Art nue, South, Saint Petersburg 33701; or telephone July 15 entry deadline and Craft Exposition, do the Columbia Museum (813) 821-7391. Nashville, Tennessee “17th Fall Crafts Fair” of Art, 1112 Bull Street, Columbia 29201; tele­ (September 29-October 1). Juried from 5 slides. phone Janna Cotterill or Libby Rich (803) 799- Fairs, Festivals and Sales Entry fee: $10. Booth fee: $225 for a 12x12-foot 2810, or fax (803) 343-2219. May 5 entry deadline Beaver Creek, Colorado “Beaver Creek Arts Festival” (August 12-13). Juried from 4 slides of work plus 1 of booth. Cash awards. For prospec­ tus, send SASE to Vail Valley Arts Council, Post Office Box 1153, Vail, Colorado 81658. June 1 entry deadline Manitou Springs, Colorado “Fifth Annual Clayfest and Mud Ball” (June 17), competitions in throwing and handbuilding open to amateurs and professionals. Awards. Send SASE to Clayfest, 20 Ruxton Avenue, Manitou Springs 80829; or telephone (719) 685-5795. Baltimore, Maryland “2nd Annual National Crafts’ Christmas Fair” (December 8-10). Juried from 5 slides of work plus 1 of display, and r&um^. Entry fee: $10. Booth fee: $450 for a 10x10-foot space. No commissions. For further information, contact National Crafts, Ltd., Mary F. Clark, Director, 4845 Rumler Road, Cham- bersburg, Pennsylvania 17201; or telephone (717) 369-4810. Gaithersburg, Maryland “20th Annual Na­ tional Craft Fair” (October 13-15). Juried from 5 slides of work plus 1 of display, and resume. Entry fee: $10. Booth fee: $310 for an outside space, $385 for roofed, $410 for an indoor space. No commissions. Contact National Crafts, Ltd., Mary F. Clark, Director, 4845 Rumler Road, Chambers- burg, Pennsylvania 17201; or telephone (717) 369-4810. June 10 entry deadline Pittsburgh, Pennsylvania “26th A Fair in the Park” (September 8-10). Juried from 5 slides of work. Entry fee: $5. Booth fee: $135 fora 1 Ox 10- foot space. Contact A Fair in the Park, 340 Bigbee Street, #2, Pittsburgh 15211. June 15 entry deadline San Francisco, California “1995 Celebration of Craftswomen” (December 2-3 and 9-10). Ju­ ried from 5 slides. Application fee: $ 12. For appli­ cation, send SASE to Celebration of Craftswomen, San Francisco Women’s Building, 3543 18th Street, San Francisco 94110; or telephone (415) 361-0700. Manitou Springs, Colorado “Commonwheel Artists 21st Annual Labor Day Arts and Crafts Festival” (September 2-4). Juried from slides. Jury fee: $15. Entry fee: $60. Commission: 10%. Contact Commonwheel Fairs, Post Office Box 42, Manitou Springs 80829; or telephone (719) 685-1008. July 1 entry deadline Fort Lauderdale, Florida “Harvest Festival”

May 1995 71 Suggestions From Readers

Torch-fired Luster When clients ask us to personalize items with initials, dates, etc., we often use metallic lusters. However, it is uneconomical to fire a single object in an otherwise empty kiln, so we experimented with fusing luster on the glazed surfaces with a blowtorch. It worked perfectly, creating exactly the effect desired. If you feel like trying this method of firing lusters, play around with a few unimportant objects first—to master the technique. It opens up a lot of possibilities.—Susan Bennett and Earl Hyde, London

Fabric-softener Resist I use fabric-softener concentrate (Downy) as a resist, rather than hot wax. No heat is required, and the softener is inexpensive and smells good.—Suzanne Hershey, Rocky Hill\ Conn.

Securing Lids for Decoration When applying underglaze, stain or slip (no glaze) decoration to lidded forms, use white glue to secure the lid in place. The glue will keep the lid from falling off and breaking while you are concentrating on brushwork, but burns out in the bisque firing, leaving pot and lid separate.—Bertie Smith, San Antonio

Quick Spray Cleanup Save those free plastic shower caps from hotels to cover your turntable when spraying glazes. Just remove the cap, rinse, and you’re ready to spray again.—Linda Mau, Saratoga., Calif.

CofFee-can Tools Save the metal lid from a 3-pound coffee can to make trimming tools. Use tin snips to cut strips up to ¾ inch wide and 3 inches long. Wrap each strip around a dowel rod or a strip of wood to form the desired loop shape—round, square or pointed. Bind the ends of the loop to a dowel handle with wire. You can even add a loop to both ends of the dowel.—Shirley Johnson, Spokane, Wash.

Dollars for Your Ideas Ceramics Monthly pays $10for each sugges­ tion published; submissions are welcome indi­ vidually or in quantity. Include an illustration or photo to accompany your suggestion and we will pay $10 more if we use it. Mail ideas to Suggestions, Ceramics Monthly, Post Office Box 12788, Columbus, Ohio 43212-0788; or fax to (614) 488-4561. Sorry, but we cant ac­ knowledge or return unused items.

72 CERAMICS MONTHLY May 1995 73 New York, Alfred through June 11 “The Charles Calendar Redfern Collection” of early functional work by Events to Attend—Conferences, Robert Turner; at the Museum of Ceramic Art at Alfred, Ceramic Corridor Innovation Center, Exhibitions, Workshops, Fairs Route 244. New York, Binghamton through July 2 Pamela Earnshaw Kelly, “Nature of Clay,” sculpture; at the Roberson Museum and Science Center, 30 International Conferences Front Street. Canada, Alberta, Calgary May 5-7 “Interna­ New York, New York through May 6 Howard tional Ceramics 1995” will include panel discus­ Kottler. May 9-June 3 Masanao Kaneta. Junko sions, demonstrations, lectures, exhibitions. Also Kitamura. Kohei Nakamura. June 6-July 8 Carme focuses on porcelain, with preconference work­ Collell. Tony Marsh; at Garth Clark Gallery, 24 shop with Alzora Zaremba, china-painting dem­ West 57th Street. onstrations with a designer from the Manufacture through May 9 Eva Stettner, raku-fired, life-size National de Sevres in France and Arizona ceramist figures and wall pieces; at Gallery Juno, 568 Kurt Weiser. Contact Evelyn Grant, Leisure Learn­ Broadway, Suite 604B. ing Services, 930 13th Avenue, Southwest, Calgary through May 13 Joyce Kozloff, “Mapping Public T2R 0L4; telephone (403) 245-4944, or fax (403) and Private,” large-scale mosaic tile panels; at 245-4948. Midtown Payson Galleries, 745 Fifth Avenue. Canada, Ontario, Waterloo May27-28“Fusion’s through May 23 Terry Niedzialek, hair sculpture; 20th Anniversary 1995 Conference, Workshop in the Empire State Building’s Fifth Avenue Gal­ and Exhibition,” with workshops by David Gam­ lery windows. ble, and Carol and Richard Selfridge, plus exhi­ through May 27 Jennifer Beckman, ceramics and bitions. Fee: Can$155 (approximately US$115); paintings; at AquaSource, 101 Crosby Street. members, Can$105 (approximately US$77). through June 25 William Daley, “Inside/Outside: Contact Fusion, Suite 204, 80 Spadina Avenue, Ceramic Works and Drawings”; at the American Toronto, Ontario M5V 2J3. Craft Museum, 40 West 53rd Street. Wales, Dyfed July 14-16 “Fifth International May3-/une2Thomas Folino, “Ancient Origins,” Potters’ Festival” will include demonstrations by antiquities-inspired miniature glazed vessels; at John Glick, Yasho Hayashi, Gwen Heeney, Gillian the Tape House Exhibit Space, 216 East 45th Lowndes, Peteris Martinsons and Trupti Patel; Street, Street Level. seminars, exhibitions, kilnbuilding and firing. For May 20—June 18 Sylvia Nagy, “Ceramic-design information, send SASE to Jenny Fell, Interna­ Sculptures”; at Janos Gat Gallery, 572 Fifth Ave. tional Potters’ Festival, Aberystwyth Arts Centre, Ohio, Findlay May 9-June 16 Kathy Rea, “Earth Dyfed SY23 3DE; or telephone (970) 622889. Spirit II: River of Souls,” terra-cotta effigies and paintings; at the McClelland Gallery, Findlay Solo Exhibitions Area Arts Council, 112 West Front Street. Oregon, Grants Pass June 22-July 22 Darlene Arizona, Scottsdale May 4-31 Andrea Gill; at Nguyen-Ely, “Memories: The Vietnam Experi­ Joanne Rapp Gallery/The Hand and the Spirit, ence,” mixed-media sculpture; at the Firehouse 4222 North Marshall Way. Gallery, Rogue Community College, 3345 Red­ Arizona, Tempe through May 7 Rudy Autio; at wood Highway. the Tempe Arts Center, Mill Ave. and First St. Pennsylvania, Loretto through June 4 Helen California, Chico through June ^Darlene Nguyen- Gorsuch, “Beyond the Third Dimension: Con­ Ely, mixed-media sculpture; at Chico Art Center, temporary Pennsylvania Sculpture”; at the South­ Depot, corner of Orange and Fifth streets. ern Alleghenies Museum of Art, Saint Francis California, Los Angeles May 6-31 Ron Nagle. College Mall. Martin Smith. June 3-July 5 Leopold Foulem. Pennsylvania, Philadelphia May 5-28 Deborah Richard Milette; at Garth Clark Gallery, 170 Moore. Steve Welch. Becca Gruliow; at the Clay South La Brea. Studio, 139 North Second Street. California, Sacramento through May 6 Rimas Pennsylvania, Pittsburgh through May 24 Willi VisGirda; at Dean Moniz Gallery, 1825 QStreet. Singleton, wood-fired stoneware; at the Clay Place, California, San Francisco May 4—27 Jack Earl, Mineo Building, 5416 Walnut Street. narrative sculpture; at Dorothy Weiss Gallery, Texas, Houston May 7-June 24 Marsha Harris, 256 Sutter Street. “Light and Life”; at Archway Gallery, 2013 West Florida, Miami Beach May 13-July 8 Peter Gray. Kuentzel, “Dwellings,” raku sculpture; at Barbara Virginia, Richmond through May 27 Diane Gillman Gallery, the Sterling Building, 939 Lin­ Kempler. Marlene Jack; at the Hand Workshop, coln Road. 1812 West Main Street. Georgia, Atlanta through June Neil Tetkowski; Washington, Seattle June 1-July 2 David Shaner, at Dorothy McRae Gallery, 3193 Roswell Road, stoneware sculpture; at Foster/White Gallery, Northeast. 311 ½ Occidental Avenue. Michigan, Ferndale through June 3 John Gill; at Wisconsin, Milwaukee May 6-July 15 Jeffrey Revolution, 23257 Woodward Avenue. Noska; atMarnie Pottery, 2711-13 North Bremen. Missouri, Kansas Citythrough May 28 Ken Wisconsin, Sheboygan through July 30 Judy Hill, Ferguson retrospective; at the Nelson-Atkins cast-glass and raku self-portraits; at John Michael Museum of Art, 4525 Oak Street. Kohler Arts Center, 608 New York Ave. New Jersey, Demarest May 7-June 1 Karen Karnes, “A Life in Clay”; at the Old Church Group Ceramics Exhibitions Cultural Center School of Art, 561 Piermont Rd. California, Davis through May 6 “1995 Califor­ Send announcements of conferences, exhibitions, ju­ nia Clay Competition”; at the Artery, 207 G St. ried fairs, workshops and other events at least two through May 7 “Ninth Annual Thirty Ceramic months before the month of opening (add one month Sculptors”; at John Natsoulas Gallery, 140 F St. for listings in July; two months for those in August) to California, La Jolla May 12-June 24 “Current Calendar, Ceramics Monthly, Post Office Box 12788, Clay IV: A Southern California Juried Exhibition Columbus, Ohio 43212-0788; or telephone (614) of Ceramics Works”; at Gallery Eight, 7464 488-8236. Fax announcements to (614) 488-4561. Girard Avenue. Continued

74 CERAMICS MONTHLY May 1995 75 Calendar Chinese Ceramics from the Meiyintang Collec­ tion”; at the Asia Society, 725 Park Avenue. New York, Poughkeepsie June 3-July 31 Ceram­ ics by Jessica Dubin, Jin-Kyoung Kim, Mike California, Lincoln May 20-June 17 “Feats of Serfis and Lois Toolin; at Lorraine Kessler Gal­ Clay VIII”; at Gladding, McBean and Co. Reser­ lery, 196 Main Street. vations required: telephone (916) 645-9713. North Carolina, Charlotte through June 4 “Na­ California, San Francisco June 3-August 6 Otto tive American Pottery of the Southwest”; at the and Vivika Heino, “Master Potters”; at the San Mint Museum of Art, 2730 Randolph Road. Francisco Craft and Folk Art Museum, Landmark Oklahoma, Bartlesville through May 19 “Built, Building A, Fort Mason. Thrown and Touched: Contemporary Clay Florida, Miami Beach through May ^“Ceramics Works”; at Bartlesville Museum. Israel”; at South Florida Art Center, ClaySpace/ Oregon, Corvallis May 31-June 23 “Influence Ground Level Exhibition Space, 1035 Lincoln and Introspection: Pacific Northwest Ceramics,” Road. juried exhibition of current/former ceramics gradu­ Georgia, Atlanta through August I “Fit for a King: ate students and faculty of the universities of Ceramics of Royalty and Nobility”; at the High Oregon and Washington; at the Corvallis Art Museum of Art, 1280 Peachtree St., NE. Center, 700 S.W. Madison. Hawaii, Honolulu through June 18 “Tomb Trea­ Oregon, Salem June 2-30 “Second Annual sures from China: Buried Art of Ancient Xi’an”; at Women and Wood Fire Show”; at Art Decor the Honolulu Academy of Arts. Gallery, 136 High Street, Southeast. Iowa, Belmond June 16-July 30 “Art for the Pennsylvania, Lancaster through May 25 “Third Table: Contemporary American Functional Ce­ Annual Strictly Functional Pottery National”; at ramics,” work by 16 potters; at the Jenison- the Market House Craft Center, Southern Market Meacham Memorial Art Center. Center (lower level), Queen and Vine streets. Maryland, Baltimore May 21-July 77“Ceramics Rhode Island, Kingston May 4—20“23rd Annual Israel”; at the Jewish Community Center, Park Rhode Island Earthworks Exhibit”; at Helme Heights Avenue. House Gallery, South County Art Association, Massachusetts, Ipswich May 13—June30“\n and 2587 Kingstown Road. Around the Garden”; at Ocmulgee Pottery, 317 Texas, Denton May 6-June2 “Ceramics USA”; at High St. the Greater Denton Arts Council, 207 South Bell. Massachusetts, Lincoln May 19-June 25 “Five Texas, San Angelo through June 4 “Tenth Annual Expressions in Clay,” works by Alice Abrams, San Angelo National Ceramic Competition”; at Joan Carcia, Liz Goibus, Ronnie Gould and Pao- the San Angelo Museum of Fine Arts, 704 Bur­ Fei Yang; at the DeCordova Museum School gess Street. Gallery, 51 Sandy Pond Road. Virginia, Alexandria May 31 -July 2“A Gathering Massachusetts, Northampton May 7-June 26 of Tea,” works by members of the Ceramic Guild; “The Narrative Teapot”; at Ferrin Gallery, Pinch at Scope Gallery, Torpedo Factory, 105 North Pottery, 179 Main. Union Street. Michigan, Kalamazoo June 11-July 30“Revolu­ Virginia, Williamsburg through January 5, 1996 tion in Clay: The Marer Collection of Contempo­ “British Delft from Colonial Williamsburg”; at rary Ceramics”; at the Kalamazoo Institute of Art, DeWitt Wallace Decorative Arts Gallery, Colo­ 314 South Park Street. nial Williamsburg. Michigan, Royal Oak May 6-27 “The Vase: A West Virginia, Charleston through May 21 “Revo­ Container for Flowers,” with works by 35 United lution in Clay: The Marer Collection of Contem­ States and Canada potters; at Ariana Gallery, 119 porary Ceramics”; at Sunrise Museums, 746 Myr­ South Main. tle Road. Minnesota, Saint Paul May 12—June 30 “The Marks of an Artist,” with works by Nancy Blum, Ceramics in Multimedia Exhibitions Mary Carroll, Matthew Metz and Linda Sikora; at Northern Clay Center, 2375 University Ave., W. Arizona, Tempe May 19-July 30 “Redefining the Missouri, Kansas City through May 21 “Keepers Figure in Contemporary Art”; at the Tempe Arts of the Flame: Ken Ferguson’s Circle”; at the Center, Mill Avenue and First Street. Kemper Museum of Contemporary Art and De­ Arizona, Tucson June 7-July 9 “Biennial Seven sign, Kansas City Art Institute, 4420 Warwick State Juried Exhibition”; at the Dinnerware Art­ Boulevard. ists’ Cooperative Gallery, 135 East Congress Street. Missouri, Saint Louis May 12-June 24 “Third Arkansas, Fayetteville May 14-June 16 “13th Annual Teapot Exhibition”; at Craft Alliance Annual Women’s National Juried Art Exhibi­ Gallery, 6640 Delmar Boulevard. tion”; at the Walton Art Center. Montana, Helena May 19-June 25 “Sisters of the Arkansas, Little Rock through June 4 “National Earth: Contemporary Native American Ceram­ Objects Invitational”; at the Decorative Arts ics”; at the Holter Museum of Art, 12 East Museum, Seventh and Rock. Lawrence Street. California, Downey June 8-July 23 “20 Years New Jersey, Newarkthrough June “American Art After the Fall: Vietnamese American Art”; at the Pottery: An Uneasy Evolution, 1880-1930”; at Downey Museum of Art, 10419 S. Rives Ave. Newark Museum, 49 Washington St. California, La Jolla through May 6 “Vases and New Mexico, Albuquerque through May 14“The Beyond,” includes ceramics by Jim Kraft, Lynn Potters of Mata Ortiz”; at the University Art Mattson, and Savitri and NJ Lancaster; at Gallery Museum, University of New Mexico. Eight, 7464 Girard Avenue. New York, Alfred through June 11 “Casual Col­ California, Los Angeles through May 13 “Hot lection, 1960-1980: The Robert Turner Gloryhole Tea”; at del Mano Gallery, 11981 San Vicente Collection”; at the Museum of Ceramic Art at Boulevard. Alfred, Ceramic Corridor Innovation Center, through May 28 “Portfolio ’95,” works in ceram­ Route 244. ics, paper, fiber and jewelry by Portfolio artists of New York, New York through May ^“Workspace Palos Verdes Art Center; at the Fashion Institute Artists,” works by Sadashi Inuzuka, Yeoeun Kwak of Design and Merchandising, 919 S. Grand Ave. and Greg Pitts; at Greenwich House Pottery, 16 California, Sacramento through May 14 “29th Jones Street. Annual Religious Art Festival”; at Saint John’s through June 18 “New Finds, Old Treasures: Early Lutheran Church, 1701 L Street.

76 CERAMICS MONTHLY California, San Diego through February 19, 1996 “And the Bead Goes On!”; at the San Diego Museum of Man, 1350 El Prado, Balboa Park. California, San Francisco through May 29 “Bacchus’ Vessels,” wine goblets; at the San Fran­ cisco Craft and Folk Art Museum, Landmark Building A, Fort Mason. California, Santa Ana through August 20 “Be­ tween Empires: The Artistic Legacy of Prehispanic Panama,” exhibition of more than 200 ceramic and gold works; at the Bowers Museum of Cul­ tural Art, 2002 North Main Street. Connecticut, New Haven May 5-20 “Sedimen­ tations,” two-person exhibition with ceramic sculp­ ture and wall reliefs by Cynthia Dobie; at Erector Square Gallery, 315 Peck Street. D.C., Washington through June 18 “Uncommon Beauty in Common Objects: The Legacy of Afri­ can-American Craft Art.” through September 4 “The White House Collection of American Crafts”; at Renwick Gallery, National Museum of Amer­ ican Art, Smithsonian Institution. through January 1, 1996“On the River,” includes four ceramic works; at Freer Gallery of Art, Smith­ sonian Institution. Florida, Saint Petersburg May 5-June 2 “Seventh Annual All-Florida Spring Juried Exhibition”; at the Arts Center of Saint Petersburg, 100 Seven Street, South. Florida, Tampa May 5-June 2#“Flora and Fauna”; at Artists Unlimited, 223 North 12th Street. Florida, West Palm Beach May 12-June 17“Ar­ mory Annual Small Works Show”; at the Armory Art Center, 1703 South Lake Avenue. Georgia, Atlanta through May 31 “Atlanta’s Con­ summate Collector: Philip Trammell Shutze”; at Atlanta History Center, 3101 Andrews Drive, Northwest. Illinois, Rockford May 19-June 23 “2x2x2”; at Gallery Ten, 514 East State Street. Iowa, Sioux City through June 11 “53rd Annual Juried Exhibition”; at the Sioux City Art Center, 513 Nebraska Street. Massachusetts, Cambridge May 11-June l4“Szt- ting the Place: Art for the Table”; at Cambridge Artists Cooperative, 59A Church Street. Massachusetts, Northampton through May 31 “Front Porch”; at Pinch Pottery, 179 Main. Minnesota, Saint Paul May 5-June 17 “Gallery Members’ Show,” including ceramic sculpture by Denise Tennen; at Craft Connection Gallery, 1692 Grand Avenue. Missouri, Saint Louis June 16-September4“M2i<{z in America: Ten Centuries of American Art”; at the Saint Louis Art Museum, 1 Fine Arts Drive, Forest Park. New Jersey, Montclair through June 4 “Patterns in Culture”; at the Montclair Art Museum, 3 South Mountain Avenue. New Mexico, Albuquerque throughJuly 15 Three- person exhibition with coiled stoneware bowls by Mia Blocker; at Ken Dewey Fine Art Gallery, 323 Romero, Northwest. June 16-July 28 “Time, Space and Consensual Reality,” three-person exhibition with ceramics by David Westmeier; at Weyrich Gallery, 2935-D Louisiana Boulevard, Northeast. New Mexico, Cerrillos June 10-July 8 “First Annual Juried Tombstone Show”; at the Adobe Gallery, 9 First Street. New York, Albany May 5-30 “Air and Stone,” two-person exhibition with ceramics by Ulla Sattinger; at Broadway Gallery, 991 Broadway. New York, Binghamton through May 29 “Wand- ed On: Folk Crafts in Southern Life”; at the Roberson Museum and Science Center, 30 Front Street. New York, New York through June 25 “Jewelry from the Permanent Collection of the American

May 1995 77 Calendar Arts Festival”; at Merchandise Mart ExpoCenter, 350 North Orleans. Illinois, Saint Charles May 12-13 “Interior In­ spirations ’95: An Eclectic Collection for the Home.” For ticket information, contact the Fine Craft Museum”; at American Craft Museum, 40 Line Creative Arts Center, 6N 158 Crane Road; West 53rd Street. (708) 584-9442. New York, Rochester through June 18 “From Iowa, Clinton May 20—21 “Art in the Park”; at Brant Point to the Boca Tigris: Nantucket and the Riverview Park. China Trade”; at the Memorial Art Gallery, Uni­ Kansas, Salina June 9-11 “Smoky Hill River versity of Rochester, 500 University Avenue. Festival”; at Oakdale Park. North Carolina, Charlotte through June 30 “Elvis Massachusetts, Boston May 4-7“Second Annual and Marilyn: 2 X Immortal”; at Mint Museum of Holiday Sale”; at Feet of Clay Pottery Studio, Art, 2730 Randolph Road. 1168 Rear Commonwealth Avenue. Ohio, Athens through May 7“Area Art on View”; Michigan, Birmingham June 3-4“Art Birming­ at the Dairy Barn Cultural Arts Center, 8000 ham ’95”; downtown. Dairy Lane. Michigan, East Lansing May 4-6 “Greater Lan­ Ohio, Columbus through June 23“Best of 1995,” sing Potters’ Guild Annual Spring Sale”; at All juried all-Ohio exhibition; at the Ohio Craft Saints Church, 800 Abbott Road. Museum, 1665 West Fifth Avenue. Minnesota, Minneapolis June 24—25 “Minne­ Oklahoma, Tulsa through May 28 “American sota Crafts Festival”; on the College of Saint Arts and Crafts: Virtue in Design”; at the Phil- Catherine campus. brook Museum of Art, 2727 South Rockford New Jersey, Somerset May 19-21 “Sugarloaf s Road. Spring Somerset Crafts Festival”; at the Garden Pennsylvania, Allentown May 18-July 1 “Out­ State Exhibit Center. side In”; at Open Space Gallery, 913 Hamilton New Mexico, Santa Fe May 21 “Santa Fe Empty Mall. Bowls Project,” fund-raising event to feed the Pennsylvania, University Park June 4—July 23 hungry (cost per bowl: $10); at Santa Fe Clay, “Crafts National 29”; at Zoller Gallery, Penn 1615 Paseo de Peralta. For information, contact State University, 102 Visual Arts Building. Ken Wilson (505) 753-2345. June 27-July 21 “Images ’95”; at HUB Galleries, New York, Chestnut Ridge May 5-7 “26th An­ Penn State University, 111 Kern Building. nual Invitational Green Meadow Artisans’ Show”; Tennessee, Gatlinburg through May 73“Resident at GMWS, Hungry Hollow Road at Route 45. Artist Exhibition,” includes salt- and wood-fired New York, New York May 27-29 and June 3-4 pottery by Jeff Brown and Patrick Purcell.May “The Washington Square Outdoor Art Exhibit”; 19-August 11 “Summer Faculty and Staff Exhibi­ along University Place, Greenwich Village. tion”; at Arrowmont School of Arts and Crafts, July 1-2 and 8-9 “19th Annual American Crafts 556 Parkway. Festival”; at Lincoln Center for the Performing Arts. Vermont, Manchester May 10-June 10 “Teapots North Carolina, Asheville June 3 “Clay Day ”; at by Vermont Artisans”; at Vermont State Craft the Folk Art Center, Milepost 382, Blue Ridge Center at Frog Hollow, Historic Route 7-A. Parkway. Vermont, Middlebury May 5-29 “A Creative June 15—18 “Highland Heritage Art and Craft Marriage,” two-person exhibition with pottery by Show”; at Asheville Mall. Miranda Thomas, /une 2-26Two-person exhibi­ Ohio, Akron May 5-7“The Blossom Music Cen­ tion with ceramics by Martha Von Ammon; at ter Arts and Crafts Festival”; at Blossom Music Vermont State Craft Center at Frog Hollow, 1 Center. Mill Street. Ohio, Columbus June 1-4“ 1995 Columbus Arts Virginia, Alexandria through May 28 “Special Festival”; along the riverfront, downtown. Objects, Special Celebrations: Weddings, Gradu­ June 9-11 “ACC Craft Fair Columbus”; at the ations, Promotions and Other Good News”; at Greater Columbus Convention Center, down­ Scope Gallery, 105 North Union Street. town. Virginia, Norfolk May 4—June 25 “D’Art Center June 10-11 “Arts and Crafts Festivale”; at the Fifth Annual Mid-Atlantic Art Exhibition”; at Continent, Busch Boulevard. d’Art Center, 125 College Place. Ohio, Dayton May 27-28 “Art in the Park”; at Wisconsin, Madison May 20—August 6“ Breaking RiverbendArt Center, 1301 E. Siebenthaler Ave. Barriers: Recent American Craft,” with ceramics Ohio, Shaker Heights June 16-18 “The Craftfair by Viola Frey, Michael Lucero and James Tanner; at Hathaway Brown”; at the Hathaway Brown at the Madison Art Center, 211 State Street. School. Ohio, Worthington June 24—25 “Worthington Fairs, Festivals and Sales Artfest”; on the Village Green. Oregon, Portland May 12-14“13th Annual OPA California, La Jolla June 3-4 “1995 La Jolla Showcase”; at the Oregon Convention Center, Festival of the Arts and Food Faire”; at the La Jolla 777 Northeast Martin Luther King Jr. Boulevard. Country Day School, 9490 Genesee Avenue. Pennsylvania, Pittsburgh June 2-18“ 1995 Three California, Pasadena May 12-14 “Contempo­ Rivers Arts Festival National Juried Artists Mar­ rary Crafts Market”; at the Pasadena Center, 30 ket”; at Gateway Plazas 1, 2, 3 and Equitable East Green Street. Plaza. California, Santa Monica May 19-21 “Contem­ South Carolina, Greenville May 5— 7“River Place porary Crafts Market”; at Santa Monica Civic Festival”; on the grounds of the Peace Center for Auditorium, 1855 Main Street at Pico Boulevard. the Performing Arts and along the banks of the Colorado, Manitou Springs June 77“Fifth Annual Reedy River. Clayfest and Mudball”; along Canon Avenue, Tennessee, Nashville May 5— 7“Tennessee Crafts downtown. Fair”; at Centennial Park. Florida, Jacksonville May 19-21 “ArtWorks”; at Virginia, Arlington May 6-7“Northern Virginia Prime Osborn Convention Center, Union Termi­ Folk Festival”; at Thomas Jefferson Community nal, downtown. Center, 3501 South Second Street. Georgia, Newnan June 77“Magnolia Arts Festival”; Wisconsin, Cambridge June 10-11 “The Fourth on the Court Square. Annual Cambridge Pottery Festival”; at West Side Illinois, Chicago May 19-21 “Folk and Tribal Park. Continued

78 CERAMICS MONTHLY May 1995 79 Calendar

Wisconsin, Spring Green June 24—25 “26th An­ nual Spring Green Arts and Crafts Fair”; along Jefferson Street, downtown.

Workshops California, Bear Valley—Sierras July 10-15 “Handbuilding Workshop” with William Shinn, surface techniques, mold and tool making, repair­ ing, photographing, packaging and shipping. Be­ ginning and advanced skill levels. Fee: $575, includes lodging and meals. For further informa­ tion, contact Bill Todd, 645 Caudill Street, San Luis Obispo, California 93401; or telephone (805) 543-7487. California, Hesperia May 20-21 “Earth and Ce­ ramic Architecture” with Nader Khalili. All skill levels. Fee: $275, includes materials. Contact Iliona Outram, Cal-Earth/Geltaftan Foundation, 10376 Shangri-La Avenue, Hesperia 92545; or telephone (619) 244-0614. California, Mendocino May 6—7 “Two Days with John Leach.” Fee: $175; members, $150. Contact the Mendocino Art Center, 45200 Little Lake Street, Post Office Box 765, Mendocino 95460; or telephone (707) 937-5818. California, Sierra Madre July 8 “The Ceramic Mural,” hands-on workshop with Frank Matranga. July 29 “Thrown and Altered: Sculptural Clay Forms,” hands-on workshop with Ingrid Lilligren. August26“ Goddesses and Amulets—a Hands-on Workshop” with Virginia Cartwright. Contact Foothill Creative Arts Group, 108 North Baldwin Avenue, Sierra Madre 91024; or telephone (818) 355-8350. Colorado, Gunnison June 12—17 “Raku in the Rockies,” throwing, handbuilding, glazing and firing with Al Caniff. Fee: $275, includes clay and materials. Contact Kate Meyer, Western State College of Colorado, Gunnison 81231; or tele­ phone (303) 943-2063. Colorado, Manitou Springs June 16 A session with Paul Soldner. Contact Clayfest, 20 Ruxton Avenue, Manitou Springs 80829; or telephone (719) 685-5795. D.C., Washington May 7“Covered Vessels” with Connie Rogers, throwing, cutting, trimming and decorating closed boxes, jars and urns. May 21 “British Studio Production Techniques” with Bill Van Gilder, making teapots, goblets, plates, plus molds. Fee per session: $35. Contact Hinckley Pottery, 1707 Kalorama Road, Northwest, Wash­ ington, D.C. 20009; telephone (202) 745-7055 or fax (202) 462-4159. May 7 Lecture by Mary Lou Deal. Location: Renwick Gallery. Contact the James Renwick Alliance, 4414 Klingle Street, Northwest, Wash­ ington, D.C. 20016. Georgia, Augusta May 20 “Raku and Faux-Ku,” hands-on workshop with Linda Guthrie and Ka- Cee Vaughan, includes glazes, formulas, firing techniques and firing of bisqueware. Fee: $35. Preregistration required; space is limited. For fur­ ther information, contact Castaway Ceramics, 3689 Peach Orchard Road, Augusta 30906; tele­ phone (706) 798-6493 or Linda Guthrie (706) 737-8868. Illinois, Evanston May 14 Slide presentation, discussion and demonstration with Liesa Goerlich on an alternative approach to handbuilding. Fee: $10; members free. For further information, con­ tact Chris Plummer, Evanston Art Center, 2603 Sheridan Road, Evanston 60201; or telephone (708) 475-5300.

80 CERAMICS MONTHLY Maryland, Rockville May 6A session with Mary mation, contact the Firehouse Art Center, 444 sylvania Guild of Craftsmen, Post Office Box 108, Lou Deal, featuring coiling, use of color and raku South Flood, Norman 73069; or telephone (405) State College, Pennsylvania 16803; or telephone firing. Fee: $50; Alliance members, $45. For fur­ 329-4523. (814) 231-0565. ther information, contact the James Renwick Al­ Pennsylvania, DoylestownAugust 28—November Vermont, Bristol May 19-22 “Experiencing the liance, 4414 Klingle Street, Northwest, Washing­ 18 “Moravian Pottery and Tile Works Apprentice Fire” with Robert Compton, firing pots using five ton, D.C. 20016. Workshops,” forming and reproduction tech­ different methods and kilns, including a salt; Massachusetts, Boston June 12-August 11 Three-, niques, including tile making, mold work, glaze raku; sawdust; pit; and climbing, multicham­ six- and eight-week workshops on all methods of application, saggar firing and cement installation. bered, wood kiln. Intermediate. Fee: $430, in­ building, glazing and firing. Instructors: Mark To apply, send 10 slides of recent work, resume, cludes materials, firing and meals. Contact Robert Cooper and Mary Roettger. Beginning through artist’s statement, cover letter on expectations for Compton Pottery, RD 3, Box 3600, Bristol 05443; advanced. Fee: $450-$850, includes materials the experience, and two letters of recommenda­ or telephone (802) 453-3778. and firing. For further information, contact Donald tion. Application deadline: June 5. Contact the Vermont, Middlebury June 2—4 “Wheel Throw­ Grey, School of the Museum of Fine Arts, 230 Apprentice Program, Moravian Pottery and Tile ing Workshop” with Val Cushing. Fee: $ 195. For The Fenway, Boston 02115; or telephone (617) Works, 130 Swamp Rd., Doylestown 18901. further information, contact Mary Lou Willits, 267-1219. Pennsylvania, Mill Hall May 7-12 “Pipe Sculp­ Vermont State Craft Center Frog Hollow, 1 Mill Massachusetts, Williamsburg May 13—15“ Work­ ture Workshop” with Jerry Caplan, making terra­ Street, Middlebury 05753; or telephone (802) ing with Colored Clays: A Japanese Approach to cotta sculpture from fresh extrusions. Beginning 388-3177. the Vessel” with Debbie Freed. Contact Hori­ through advanced. Fee: $295, includes materials Washington, Spokane June 10 “Mold Making” zons, the New England Craft Program, 108-P and firing. For further information, contact Penn­ with Laura Mears. Fee: $30; members, $25. Ad- North Main Street, Sunderland, Massachusetts 01375; or telephone (413) 665-0300. Montana, Helena May 20“Masks as Transforma­ tional Objects,” hands-on workshop with Lillian Pitt. Fee: $55, includes materials. Limited to 15 participants. Location: Archie Bray Foundation. For further information, contact the Holter Mu­ seum of Art, 12 East Lawrence Street, Helena 59601; telephone (406) 442-6400 or fax (406) 442-2404. Montana, Missoula May 25-27“ Woods tack ’95,” wood-fire symposium featuring demonstrations by Rudy Autio and Peter Voulkos, plus slide lectures, panel discussions and exhibitions featur­ ing Autio, Don Bendel, Peter Callas, Josh DeWeese, Ken Ferguson, Torbjorn Kvasbo, Jim Leedy, Don Reitz, David Shaner, David Smith and Voulkos. Fee: $125/3 days; $45/1 day. Lim­ ited space. Contact Bryan D. Spellman, Woodstack ’95, School of Fine Arts, University of Montana, PART 110, UM Campus, Missoula 59812-1220; or telephone (406) 243-4971. Nebraska, Valentine July 21—22 Demonstration, slide presentation and lecture with Paul Soldner. Fee: $120; ANAC members, $100. For further information, contact Pat Schemmer, HC 15, Box 51 A, Valentine 69201; or telephone (402) 376- 2335. New York, Cooperstown May 13 “Expanding Uses for the Wheel” with Woody Hughes, dem­ onstration and slide lecture. Fee: $20. Contact Sunny Leinhart, Smithy-Pioneer Gallery, 55 Pio­ neer Street, Cooperstown 13326; or telephone (607) 547-8671. New York, New York May 9 “An Evening with Beth Forer and Brother Thomas,” an interview by David McFadden, Department of Decorative Arts, Cooper-Hewitt, National Design Museum, about the influence of Chinese ceramics on their work. Contact the Asia Society, 725 Park Avenue, New York 10021; or telephone (212) 517-ASIA. New York, Port Chester May 20 “Figurative Ceramics Workshop” with Sarah Coble. For fur­ ther information, contact the Clay Art Center, 40 Beech Street, Port Chester 10573; or telephone (914) 937-2047. North Carolina, Brasstown May 5-7 “Wheel Throwing” with Jan Davis. Fee: $125. May 7-13 “Handbuilding and Slab Construction” with Judy Robkin. Fee: $225. May 14-20 “Mask Making” with Sammie Nicely. Fee:$225. May 21-27 “Earthenware Encounter” with Mary Dashiell. Fee: $225. May 28-June 3 “Raku—Fusing Past and Present” with Gary Clontz. Fee: $225. Con­ tact John C. Campbell Folk School, Route 1, Box 14A, Brasstown 28902; or telephone (800) 365-5724. Oklahoma, Norman June 3 Throwing, hand- building and decorating with Gregory Zeorlin. Fee: $40, includes registration. For further infor­

May 1995 81 Calendar information, send SAE to Bath Potters’ Supplies, Dorset Close, Bath, Avon BA2 3RF; or telephone (22) 533-7046, fax (22) 546-2712. England, Derby through May 27“Ceramics from 25 Years,” by Joanna Constantinidis; at the Con­ vanced registration required. For registration or course Strutt Building, University of Derby, information, send SASE to YWCA Pottery Pro­ Kedleston Road. gram, 829 W. Broadway, Spokane 99201; or to May 2 Lecture by Joanna Constantinidis. May 16 reserve with credit card, telephone (509) 326-1190. “The Texture of Memory: Joanna Constantinidis Wisconsin, Milwaukee May ^Throwing demon­ and 20th-century Studio Ceramics in Context,” stration with Jeffrey Noska. Contact Marnie Pot­ lecture by Sebastian Blackie. For further informa­ tery, 2711-13 North Bremen, Milwaukee 53212; tion, contact the University of Derby, Kedleston or telephone (414) 374-POTS. Road, Derby DE22 1GB; or telephone (33) 286- 2868. International Events England, Hatfield May 11-14 “Living Crafts,” demonstrations and sale of craftwork; at Hatfield Australia, Gulgong May 6-14 “Clay-Sculpt House, Hatfield Park. Gulgong: A Practical Wood Firing and Master England, London May 3-June 2 Exhibition of Workshop Experience” will include firing various ceramics by Jennifer Lee.June 7-July 21 Exhibi­ types of wood kilns and making clay sculptures for tion of ceramics by Gutte Eriksen; at Galerie the environment. Participating artists: Bruce Besson, 15 Royal Arcade, 28 Old Bond Street. Anderson, Peter Callas, Joan Campbell, Michael May 18-31 “Earth, Fire and Water,” exhibition of Flynn, Robert Harrison, Nina Hole, Bronwyn ceramics by Christine-Ann Richards; at the Kemp, Gudren Klix, Ryoji Koie, Torbjorn Kvasbo, Orangery, Holland Park, off Kensington High St. Richard Launder, Janet Mansfield, Vince Mc­ May 23-June /^Exhibition of ceramics by Takeshi Grath, Claude Presset, Ann Roberts, Mitsuo Sho- Yasuda. June 21-July 16 “New Faces: Selected ji, Peter Voulkos and Chuck Wissinger. Fee: Setting-up Grant Recipients, 1993 to 1994,” in­ AU$300 (approximately US$234), includes exhi­ cluding ceramics by Julie Wood; at the Crafts bition, gallery and studio visits, as well as tours to Council Shop at the Victoria & Albert Museum, local attractions. Contact Janet Mansfield, Ce­ South Kensington. ramics: Art and Perception, 35 William Street, May 25-June 23 “Images of Faith.” June 6-July 8 Paddington NSW 2021; telephone (236) 15286 Exhibition of early Chinese works of art, includ­ or (637) 40257; or fax (236) 15402. ing pottery; at Eskenazi, 10 Clifford Street. Belgium, Brussels through May 6 Exhibition of June 3-18“ Fired Up,” exhibition of sculpture and ceramics by Alev Siesbye; at Border Gallery 12. decorative ceramics; at the Ice House, Holland Canada, Alberta, Calgary May 26-28 “Color in Park, off Kensington High Street. Clay,” workshop with Shirley Rimer. Fee: June 8-18 Exhibition of work by the graduating Can$125 (approximately US$92); Alberta Pot­ students of the Royal College of Art, including ters’Association members, Can$95 (approximately ceramics; at the Royal College of Art, Darwin US$70). Contact Mount Royal College, Con­ Building, Kensington Gore. tinuing Education and Extension, Arts Area, 4825 June 9-September 17 “The Genius of Wedg­ Richard Road, Southwest, Calgary T3E 6K6; or wood”; at the Victoria and Albert Museum. telephone (403) 240-3833 or the Alberta Potters’ June 15-24“The 1995 Grosvenor House Art and Association (403) 270-3759. Antiques Fair”; at the Grosvenor House, Park Canada, British Columbia, Burnaby June 24-25 Lane. Tozan kilnbuilding workshop with Yukio Yama­ June 16“ The Wedgwood Bicentenary Auction”; moto. Fee: Can$90.95 (approximately US$67). at Bonhams, Montpelier Street, Knightsbridge. To register, call Burnaby Arts Center (604) 291 - June 26-July 8 Khaled Ben Slimane, arabic letters 6864. For further information, contact Jan and folk symbols on ceramics and wood panels; at Krueger, Potters’ Guild of British Columbia, 1359 Leighton House Museum and Art Gallery, 12 Cartwright St., Granville Island, Vancouver, Brit­ Holland Park Road. ish Columbia V6H 3R7; or call (604) 683-9623. England, Oxford May 1-31 Exhibition of luster- Canada, British Columbia, Victoria May 27—28 ware by Sutton Taylor; at Oxford Gallery, 23 “Fired-Up! Contemporary Works in Clay—My High Street. Favorite Dish,” exhibition and sale of works by 14 England, Stafford through May 13 “The Break­ B.C. potters; at the Metchosin Community Hall, fast, Lunch and Dinner Party,” exhibition of Happy Valley and Metchosin roads. tableware by Morgen Hall; at Shire Hall Gallery. Canada, Ontario, Toronto through August 5 “The England, Stoke-on-Trent June 18—October 1 Sculpture of Georges Jeanclos”; at the George R. “Josiah Wedgwood: The Man and His Mark,” Gardiner Museum of Ceramic Art, 111 Queen’s exhibition of works (plus tools, documents, paint­ Park. ings and prints) by Wedgwod, as well as by Wil­ May 5—7 “Thirteenth Annual Spring Show and liam Greatbatch, James Neale, Josiah Spode, John Sale”; at the Woodlawn Pottery Studio, 80 Wood- Turner, Ralph Wedgwood, Thomas Whieldon lawn Avenue, East. and Ralph Wood; at the City Museum and Art May 8—26 “Throwing” with Debby Black and Gallery, Hanley. Gerry Johns. Beginning and intermediate. Fee: France, Graulhet July 10—17 Workshop with Can$295 (approximately US$217), includes ma­ Nathalie Jourdain, handbuilding, slip casting, glaz­ terials and firing. Contact Denise Buckley or ing, kiln design. Instruction in French. Beginning Gerry Johns, George Brown College, Post Office skill level. Fee: 1900 Fr (approximately US$300). Box 1015 Station B, Toronto M5T 2T9; or Contact Marcel Legras, Secretariat CEDTE, 11, telephone (416) 944-4465 or 944-4470. Rue du Cap Horn, 33700 Merignac, France; or Canada, Ontario, Waterloo June 18-September 4 telephone (56) 34 33 40. “Biennale Nationale de Ceramique”; at Canadian France, Mulhouse through May 7^“D’empiriques Clay and Glass Gallery, 25, Caroline Street, North. Vaisseaux,” exhibition of works by Philippe Canada, Quebec, Pointe-Claire through May 14 Godderidge; at Maison de la Ceramique, 25, rue “Biennale Nationale de Ceramique”; at Stewart Josue Hofer. Hall Art Gallery, Centre Culturel de Pointe-Claire. France, Nancaythrough May 7 “20 Ans d’His- England, Bath May 27—June2“Playing with Fire” toire”; at Galerie Capazza, Grenier de Villatre. with Lexa Lawrence and Steve Mills. For further Germany, Dusseldorfthrough May 21 “Zeit-

82 CERAMICS MONTHLY May 1995 83 genossische Finnische Keramik.”/une 18-August 27Exhibition of works by Gerd Knapper.June 21 Lecture with Gerd Knapper; at Hetjens-Museum, Schulstrasse 4. Italy, Tuscany May 20-28 “From the Etruscans into the Future,” workshop with Nancee Meeker. Contact Horizons, 108 North Main Street, Sun­ derland, Massachusetts 01375; or telephone (413) 665-0300. J amaica, F almo uth A ugust 27—Septem ber 3 Work­ shop with David Pinto, firing an anagama; plus demonstration of African primitive handbuilding methods by Jamaican potter Munchi. Fee: $980, includes materials, meals, lodging, and transpor­ tation to and from airport. Registration deadline: July 31. Contact David Pinto, Good Hope Great House, Post Office Box 50, Falmouth; telephone/ fax (809) 954-3289 or fax David Pinto (809) 979- 8095. Telephone Adam Zayas (215) 345-6722 or fax (215) 345-1361. Japan, Nagoya May 9-20 Exhibition of ceramics by Rob Barnard; at Hoshimoto Fine Art, 3-Chome, 27-7 Sakae, Ci Mansion, Minami-Otsu. Japan, Shigaraki through May 31 “The Raw and the Cooked”; at Shigaraki Ceramic Cultural Park. Netherlands, Deventer through May 21 Exhibi­ tion of ceramics by Jean Claude de Crouzas and Catherine Vanier. May 14-July 1 “Showcase,” with ceramic jewelry by Christiane Pluvy; at Loes and Reinier International Ceramics, Korte Assen- straat 15. Netherlands, Dordrecht through June 14 “Het tijdelijk oponthoud,” with ceramics by Rein Dool; at Dordrechts Museum, Museumstraat 40. Netherlands, Landgraaf through May 28 “Paint­ ings on Ceramics”; at Galerie Gaudi, Hereweg 83. Netherlands, Oosterbeek May 14-June 12 “Ab­ stract Compositions in Clay IX,” works by Wim Borst, Wil Broekema and Andrea Stotzer; at Galerie Amphora, Van Oudenallenstraat 3. New Zealand, Auckland June 2-July 2 “1995 Fletcher Challenge Ceramics Award”; at the Auckland Museum. Scotland, Edinburgh May 8—31 Exhibition of ceramics by Kate Malone; at the Scottish Gallery, 16 Dundas Street. Spain, Gijon June 19-24“B2lsic Ceramics Course” with the TEXTURA staff. June 26-July 1 “Kilns and Thermal Processes” with Antonio Garcia Bermejo. July 3-8 “Ceramics in Architecture” with the TEXTURA staff. July 10-15 “The Ce­ ramic Portrait” with Andrea Caruso. July 31- v4u£ust5“Urban Furniture” with Emidio Galassi and Josune Ruiz. August 7-12 “Decoration in Ceramics” with Mirta Moriggi. August 21—26 “Visual and Artistic Education” with Pino Lampariello, education and image in the primary and secondary schools. For further information, contact TEXTURA Ceramica, Camino de Cefontes a Deva, Casa las Torres, Cabuenes, 33394 Gijon; or telephone (98) 513-4160. Switzerland,Nyon June 24-0 cto ber 29“ Triennale de la Porcelaine”; at the History and Porcelain Museum in the Castle. Wales, Carmarthen June 3-July 8“ The Breakfast, Lunch and Dinner Party,” exhibition of tableware by Morgen Hall; at Oriel Myrddin. Wales, Machynlleth May 6 and 13 or August 5 and 12 Handbuilding, decorating and raku firing. Fee: £40 (approximately US$65), includes materials, firing, lunches, beverages. May27-28“Low Fire— High Adventure.” Fee: £50 (approximately US$80), includes materials, firing. June 5—9 or July 24-28 Weekly sessions on making, decorat­ ing and raku firing. Fee: £160 (approximately US$260), includes materials, firing, lunches, Wed­ nesday supper, beverages. Contact Meri Wells/ Steve Mattison, Caecarrog, Aberhosan, Machynl­ leth, Powys SY20 8SE; or telephone (65) 470-3247.

84 CERAMICS MONTHLY May 1995 85 Nancy’s Pink Icing Glaze (Revision 1) Questions (Cone 6) Answered by the CM Technical Staff Dolomite...... 14.2 % Gerstley Borate...... 6.5 Lithium Carbonate ...... 8.0 Strontium Carbonate ...... 1.5 Q In the February 1994 issue, a Cone 6glaze Whiting ...... 5.1 called Nancy's Pink Icing was listed in the Nepheline Syenite ...... 22.4 Questions column. I tested it on porcelain and Flint ...... 42.3 brown, red and white stonewares. It is indeed 100.0% a nice satin matt rutile pink glaze at Cone 6 Add: Tin Oxide ...... 3.0% oxidation, but it also has a problem with Powdered Rutile...... 3.6% shivering. I rounded off the original recipe, then tried substituting strontium carbonate Nancy’s Pink Icing Glaze (Revision 2) for the barium, and altering the percentages of (Cone 6) the other ingredients but still cannot correct Gerstley Borate...... 6.2 % the problem. What do you suggest?—M. G. Lithium Carbonate ...... 4.8 Magnesium Carbonate ...... 3.0 It sounds as though you have tried this Strontium Carbonate ...... 12.7 glaze on a number of clay bodies, and since Whiting ...... 12.1 you don’t mention shivering problems with other glazes on these clays, I assume this is Nepheline Syenite ...... 21.1 Flint ...... 40.1 a problem isolated to this glaze. 100.0% Shivering is caused by having a glaze Add: Tin Oxide ...... 3.0 % under too much compression. This can be Powdered Rutile...... 3.6 % because the glaze thermal expansion is too low, the clay thermal expansion is too high If you leave out the tin, this variation yields or a combination of the two. a transparent gloss with a slight iridescence To further complicate matters, the ther­ where thick; very nice on porcelain. mal expansion of any glaze or clay body can Nancy’s Pink Icing Glaze (Revision 3) vary widely, depending upon the speed of (Cone 6) firing (how fast did the temperature climb?), Gerstley Borate...... 6.2 % the ultimate temperature (how high did you Lithium Carbonate ...... 2.0 go?), the soak duration (how long did the Magnesium Carbonate ...... 6.1 kiln remain at temperature?) and the rate of Strontium Carbonate ...... 12.6 cooling (how fast did the kiln cool?). Whiting ...... 12.1 This glaze is very high in lithium, which, Nepheline Syenite ...... 21.0 in a matt glaze, has the ability to create Flint ...... 40.0 microcrystals with an extraordinarily low 100.0% thermal expansion. A little of this is good, as Add: Tin Oxide ...... 3.0 % it tends to prevent crazing. Too much, and Powdered Rutile...... 3.6% the glaze can tend to shiver. I would guess that too much lithium is the problem. I tested the original and the revisions on I reformulated your rounded-off recipe a porcelain body, firing until a large Cone 6 several times (using HyperGlaze), substi­ was half down over a period of 8 hours. The tuting other fluxes at the expense of the kiln was then turned down (not off) to soak lithium carbonate. I also replaced the barium for 1 hour. During this time, the tempera­ carbonate with strontium to decrease any ture fell about 50°F and Cone 6 touched potential health hazards. down (Cone 7 was still up). After cooling for 16 hours, the kiln was opened at 200°F. Nancy’s Pink Icing Glaze (Rounded Original)All my tests yielded pink, and all (in­ (Cone 6) cluding the original) fit the body, although Barium Carbonate...... 2.0 % #2 exhibited some minor crazing. I am not Gerstley Borate...... 6.5 sure why the original recipe did not shiver Lithium Carbonate ...... 11.0 for me. It may be that my clay had a lower Magnesium Carbonate ...... 3.0 expansion rate, or it may have to do with the Whiting ...... 12.5 differences between our firing methods. Nepheline Syenite ...... 23.5 Peter Pinnell Flint ...... 41.5 University of Nebraska 100.0% Lincoln, Nebraska Add: Tin Oxide ...... 3.0 % Powdered Rutile...... 3.6 % Subscribers’ questions are welcome and those of gen­ eral interest will be answered in this column. Due to All of these recipes have a tendency to settle, volume, letters may not be answered personally. Ad­ but this can be prevented by adding 2% dress the Technical Staff, Ceramics Monthly, Post bentonite and 0.2% Epsom salts. Office Box 12788, Columbus, Ohio 43212-0788.

86 CERAMICS MONTHLY May 1995 87 88 CERAMICS MONTHLY The $1200 Studio by Lili Krakowski

The ideal studio is 40x120 feet of workspace, clay, light, water, kiln. Ev­ Ceramics Monthly article. Look forward solar-paneled brick and clapboard, built erything else is nonessential. to growing into one of those. For now, atop a hot spring. It is set in a pristine all you need to do is find yourself some wilderness two hours drive from every Space studio space and about $1200. major art gallery in the country. To the Despite the sarcasm that is frequendy Space for drying pots can range from north, a rich agricultural valley sweeps heaped on those who pot in basements, a wind-free, sun-free patio to shelves up into colorfully forested and snow­ garages and chicken coops, perfect (even above the washer and dryer. Moving capped mountains. To the east, a fish- prizewinning) pots have originated in half-finished pots around is a nuisance— packed river flows between forested these workspaces. The important thing but any time spent making pots brings banks. To the south, peaceful, warm is to have a well-ventilated space that that bigger, more convenient studio sands set off the crashing rhythms of holds the equipment needed for the job closer. Space costs are too variable to be the ocean. To the west is the shimmer­ one is actually doing. Equipment not included; that $1200 is limited to equip­ ing splendor of a night-flowering desert. used concurrently need not be together. ment and essential supplies. Shelves and The building includes a showroom, plus If the slab roller and the glaze tubs are racks built from new material will cost a kitchenette, a den and a hot tub. There never used together, why should they about $50. is also space for an office, a shipping occupy the same space? The kiln can be anywhere safe—for and storage area, and a loading dock. It’s easier if pots can stay where they itself and others. The two vital consid­ Everywhere, the air is filtered and tem­ are made till they go to the kiln, but erations: that no one can mess with it perature/moisture controlled. There is a they can be put on ware boards and (or get burned); and that there is no central vacuum cleaner and a stereo, carried elsewhere to dry. Each opera­ danger whatsoever from water. As blasts and maybe even a wine cellar. tion can be apart from the others. It is of cold air are bad for the kiln (if it is That is the ideal studio. Most of us ironic that, while such splitting-up is hot) and can raise firing costs, a kiln make do with much less—especially at the norm in large studios, it is sneered should be protected; simple, even tem­ the beginning, before fame and fortune, at in small, one-potter operations. porary, partitions will do. those thoughtless bloodhounds, have An 8x12-foot space is adequate for a Glazing space is hard to sum up, found us! It is a pity, therefore, that so wheel, wedging table, storage shelves there being so many variables. The sim­ many potters don’t realize how very little and a small kiln. I potted for years in plest, easiest method is to glaze pots one actually needs; and that those who such a space (a wooden garden shed). when they are leather hard. This mini­ taught American potters to appreciate While I actually gave the kiln space to a mizes space requirements, and saves Japanese aesthetics failed to instill the wood-burning stove—the kiln being in time. For several years, influenced concomitant frugality. Examination of my basement—it worked very well. Had mainly by encroaching arthritis, I have books on Japanese potteries reveals sparse we insulated the shed, and put in base­ used a variety of brush- and trailer-ap­ studios that often spill outdoors. Clay is board heaters, the wood stove would plied slips, a transparent and a black dug in one place, cleaned and mixed in have been unnecessary. glaze. The unexpected time/space sav­ another, then taken to the studio. Pots My present studio is 12x114 feet, ings have delighted me. are dried outdoors, and carried over foot­ not a huge space, and the kiln remains paths to sometimes distant kilns. None downcellar. Space must be limited to Clay of this has lowered the quality of the what can be heated affordably. (Heat­ Unless you mine and process your ware. ing costs are a major consideration in own clay, the cost of your clay body not Potting easily divides into six stages: the clay economy—once-frozen pugs only includes ingredients, but also ship­ clay mixing; storage; production; dry­ will fall apart and need a good rewedging ping (from the mine), preparation la­ ing; glazing; firing. These need not hap­ but are not lost; once-frozen pots are bor and equipment, space tied up in pen in a single place. Indeed, there are history.) drying and storage, and shipping from advantages to using different spaces. A much larger studio (1024 square the dealer. By the way, commercial bod­ Many variations are possible—especially, feet) and diagrams for three possible ies are about 25% water. For me, it is once one sorts the essentials from the studios set up in two-car garages are easy to make a pilgrimage downstate would-be-nices. The essentials are shown in Ric Swenson’s January 1981 every year or so, load up on sacks of

May 1995 89 The $1200 Studio

materials (clay, feldspar, grog, etc.) and underneath to catch the waste water, as mix in bathtubs behind my studio. Af­ well as lumps of clay, nylon fiber, bits of ter a year of aging, the clay is dried to plaster or bisque. Let the water settle usable consistency, then stored in two overnight, then drain the clear water or discarded freezers. The trip takes two siphon into a bucket kept for the pur­ days, with an overnight visit with a good pose, then dispose of the grunge. friend. It takes one day to mix the clay While on the subject of water, a toi­ up and several hours here and there to let is nice to have, as trips to a distant stir the slip with a hoe, to put it in loo can be a major mud-tracking expe­ drying boxes, then pug and store. With rience. Toilets are pretty cheap bought a pickup truck, some help and extra at demolitions, salvage companies, or as tubs, I could produce a full ton. (A slightly damaged from plumbing sup­ bathtub holds about 250 pounds of pliers. If the needed drains are not in material mixed into slip.) Living where place, the project becomes too costly. and as I do, and having a pug mill, this Consider a chemical toilet, available makes sense for me. from camping and mobile-home sup­ For people with limited space, this is pliers. A thrift-shop shower curtain pro­ not practical. Commercially prepared vides privacy should a real partition clay has lots of advantages: it is neat and prove a hassle. Water cost: sink, $10; tidy; it can be stored anywhere (no more buckets, $4; toilet, either type, $50; ply­ than a days supply need be brought wood for partition, $25; wood to sup­ into the studio); and the supplier deals port sink, $5; shower curtain, $2. with problems caused by strikes, em­ bargoes, or housing projects being built Kiln over the clay mines. The kiln is the biggest expense in Clay costs: 500 pounds pre-mixed setting up a studio. Some consideration and delivered will run ±$125; 500 should be given to renting kiln space at pounds of dry materials plus mileage first; that’s a particularly good choice and processing time, ±$70. Used bath­ for those who are likely to move within tubs will be about $ 15 each. a few years, or who are not certain they really are serious about clay. Light People who do hobby ceramics are Lighting is a real drawback of under­ not held in high esteem by potters, but ground studios. The electrician who in­ they fire regularly and very carefully. stalls the kiln can put in wiring for While their usual firing temperatures lamps as well. Any light is enhanced by are very low, their kilns will go higher, reflection; mirrors from garage sales, and some might agree to fire your work mounted on selected spots on the wall, to the cone you need. Other potters, focus light where one needs it most. schools and recreational centers may of­ (Many potters, of course, have “throw­ fer firing space for a fee as well. ing mirrors,” which allow them to study This article allows $700 for a kiln; the underside of pots on the wheel with­ $600 buys a ±3.5-cubic-foot electric out cricking their necks.) Light sockets kiln. Dealers often offer specials and if that swivel, while pricey, can eliminate one watches Ceramics Monthly ads, one the need for more lamps. can do a bit better. The extra $ 100 is for Lighting cost: $200 if an electrician transportation. is called; $50 if you can do it. British authors Robert Fournier and Emmanuel Cooper both speak of build­ Water ing one’s own electric kiln. I suspect Rarely does one need more than 5 things are different in Great Britain, gallons of water per day. This can be where both live, because every time I’ve carried in in plastic milk jugs. A sink, priced out such a project, it would have salvaged from a demolition, or bought cost me more. If you have access to secondhand, can be set up on a scrap- materials at a reduced price, building is wood stand and a 5-gallon bucket placed perfectly feasible.

90 CERAMICS MONTHLY As to which kiln to buy: buy the the cheaper the project will be. Plans nearest national brand. Shipping costs for burners also are available; they, too, are so humongous you may be able to can be purchased secondhand. go one size bigger just by picking up the One last word about kilns: the size kiln yourself. Also, while a well-treated must relate to production, as well as to kiln is very durable, parts do wear out, work cycle. If there is room for only 3 and service from a nearby dealer saves cubic feet of ware in the shop, a 30- you money in the long run. cubic-foot kiln is inappropriate. A 4- or More about electric Idlns: Fuel burn­ 5-cubic-foot kiln would be okay, as pots ers dominated the U.S. pottery land­ can be stacked when dry or bisqued. scape for more than a quarter century in an interesting symbiosis of economy Everything Else and aesthetics. Was it coincidental that Before proceeding, I want to make with the de-regulation of gas and the something perfectly clear. I am devoted rise in oil prices, electric kiln firing “sud­ to recycling, reclaiming, reusing, adapt­ denly” took the lead? Regardless of ing, salvaging, etc., because I abhor the vogues and costs, electric kilns always wastefulness that is filling our landscape. have had their advocates, who appreci­ I am as vehemently opposed to any ated both the results achieved and the form of theft. So whenever I suggest ease with which they can be operated. scrap materials from construction sites, Any responsible person who can read a I take it for granted that the person in watch and the settings on a switch can charge has been asked and permission fire an electric kiln. To the best of my received. If that sounds formidable, I knowledge, nowhere do electric kilns hasten to add that in a lifetime of require special permits. scrounging, I have always met with gen­ An electric kiln is best located close erosity, which I have tried to reciprocate to where the electricity enters the build­ through gifts of mugs or cereal bowls. ing. This means, essentially, near the Most studio equipment can be built fuse box or circuit breakers. Not only from salvaged materials. Construction does this save on the costly lines needed crews discard pieces of plywood (of the from circuit breaker to kiln, but it re­ outdoor type you want) that are smaller duces wasteful voltage drop (which than 4x4 feet. They also discard boards lengthens firing time and raises costs). with knots or cracks, and 2x4s that are Gas and other fuel burners can be bowed or less than 3 feet long. Demoli­ built quite economically. It is hard work, tion crews keep only the good wood, and the advice of someone with experi­ tossing the rest into dumpsters. Cable ence is a boon. The problem with fuel- TV companies and utilities discard cable burners today isn’t construction, but the spools that are defective. Plumbing con­ time-consuming, unpredictable hassles tractors have old pipe, as do people who one can encounter with “regulators”— build and rent scaffolding. zoning boards, fire and building inspec­ Whether you hunt the city streets tors, and insurance companies. Consider the night before the trash is picked up what regulations may be around five or attend farm auctions, you’ll find the years from now. Some communities are world full of excellent used tools and now banning wood stoves. The prob­ equipment. As the Canadian potter, Eric lems of fuel-burning kilns go well be­ Ciup, likes to point out, very little actu­ yond the usual caveat emptor. ally is made just for us potters. Most of With this said, fuel-burningwhat kilns we can use is made for much larger be built very big, altered as necessary, industries, which is why we can find and are low in maintenance costs. Many bargains as well as freebies at factories, excellent plans exist; once size has been garages, boatyards. decided on, several similar plans should I am asked pretty regularly if all this be priced out. The more material can scrounging is worthwhile. It depends be had locally, the more can be bought on your circumstances. If you can earn secondhand (angle iron, chain, brick), the money to buy a wheel or worktable

May 1995 91 The $1200 Studio

in less time than you need to scout out Wedging Table freebies to build one, do it. If you have The wedging table is the project to plenty of time and no money, scrounge. build out of scrap materials! If plywood As with renting-not-buying a kiln: the or chipboard is used, some tape or mold­ less you have invested, the less you lose ing should be put around the top edges, if you move. as those splinter “forever.” Very solid legs (4x4s) should be bolted to a wooden The Wheel box. This can be designed to hold sev­ Hints about wheels: A wheel is a eral pugs of clay, adding weight to the disk on a shaft; same idea as a lathe or table, or to be filled with cement or car wheel, except there the shaft is hori­ plaster, which makes the table cumber­ zontal and the disk vertical. But any some to move. such contraption could be adapted. A The wedging table can be replaced wheel must run steadily and smoothly. by a wedging board. A piece of ply­ It must be in harmony with its propul­ wood or chipboard is covered with can­ sion. If the motor that turns the wheel vas and placed on the floor. One kneels is too strong, you could break your arm; on it to wedge, protecting ones knees if it is too weak, you cannot throw very from the edge with a pad of burlap or a big. (Gearing down most likely is piece of foam rubber. Kneeling to wedge needed.) A kick wheel must have a is easy on the back, as the distance from flywheel that is heavy enough to run a shoulder to wedging board is bound to long time and light enough to be kicked be correct, and the thigh muscles help without injuring ones knee. with the work. Different automotive assemblies that include a shaft and bearings can be Worktables adapted for use in a potters wheel. Sev­ As a student of Frans Wildenhain, I eral books (available at libraries) have “grew up” with knee-high worktables. excellent plans; you should study these When one sits, they allow one to work before making your decision—which with the arms extended; when one should be guided by materials on hand. stands, they allow one to look over Whatever construction surrounds the spread-out tiles, plates, etc. For such wheel must be strong and stable. Either tables, pallets cut in two are the perfect might make cleanup difficult. A wheel support. My best one is made of two that skedaddles across the floor is a nui­ halved pallets, topped by a “found” door. sance; nevertheless, before getting into Pallets are square, slatted platforms an engineering frenzy, just remember a on which everything moved by forklift wheel need be no more than a disk is shipped. Since no one wants to risk crosscut from a tree trunk, centered on expensive merchandise by using bad a straight, pointed stick, set in a cup of pallets, these are thrown out at the slight­ some sort in a hole in the ground. est sign of damage. Pallets are hard­ wood and nailed together for keeps, but Slab Roller they can be sawed quite easily. Discarded Slab rollers are space-eaters; a 30- pallet cost: $0. inch piece of white plastic pipe, filled The plastic pallets used by bakeries with shot, ball bearings or pebbles, and for deliveries are also thrown out when sealed at the ends with cork and duct- slightly damaged. Covered with news­ tape, does an excellent job. paper for a wicking effect, they make In Getting into Pots, George and excellent surfaces for drying large pots. Nancy Wettlaufer include a slab-roller plan that, using second-hand materials, Tools should cost very little; with new materi­ Trimming and modeling tools can als, probably about $100. be made very easily from steel strap­ Very few potters need both a wheel ping, such as that found in the junk pile and a slab roller. In the beginning, you at lumberyards and garden nurseries, as may have to decide between them. well as all over our streets. Used hack­

92 CERAMICS MONTHLY saw, bandsaw and saber-saw blades, and glazes mixed by volume. For those, a set Surform® blades too worn for wood­ of kitchen measuring cups and spoons workers are all free for the asking and will do. make perfect clayworking tools. So does Raw materials: ±$2 average for 1- the recoil spring on the electric cord of pound lots; less per pound as quantity a vacuum cleaner. increases; be sure to estimate shipping Ribs can be made from any hard­ costs. Commercial glaze: averages $2.50 wood or from bamboo, not to mention per pound dry; less as quantity increases. old credit cards. Plastic lids can also be One last piece of advice: Don’t over­ cut to proper shape. invest. If, regardless of what you have in Old fishing spoons and really chintzy the bank, you start with a $1200 stu­ metal spoons hammered flat, wooden dio, you give yourself a lot more breath­ spoons and spatulas from garage sales— ing space. Fancy equipment neither all make wonderful tools. guarantees better pots, nor better sales. The best cut-off wire I’ve found is Fancy equipment also is costlier to main­ uncoated leader wire purchased from a tain than homebuilt. tackle shop for $4. If several friends get together to form No matter what, brushes are costly. a group studio, make sure the arrange­ Reassured when I read that the great ment is truly businesslike. Countless Lucie Rie used an ordinary household variations are possible—the important paintbrush to apply glaze, I have been part is that the studio can be dissolved, using Chinese pig-brisde brushes bought or one person leave/join, without ruin­ at paint- or kitchen-supply houses. For ation or bitter feelings. Settle everything more elaborate decorating, I use regular ahead of time, preferably on paper, with Chinese brushes bought at sales, or in a lawyer. Asian neighborhoods. Cost of brushes: Don’t buy anything in the hope of $25 should get you going, but the sky is recouping costs later. While you can the limit. usually get most of your money back out of slab rollers, pug mills and electric Glaze wheels, a lot depends on where you live. For many potters, mixing one’s own A friend who had to move lost a bundle; glazes from raw materials is an intrinsic she was in a large city where second­ part of the process. For as many others, hand pottery equipment was plentiful. it is a tangential, nonessential skill. While Kilns are risky secondhand—buying or the high-volume production potter may selling. I would buy a second-hand elec­ find glaze mixing economically worth­ tric kiln only from a trusted friend or while, the studio potter who makes few, for so little that, should all the elements very elaborate pieces may appreciate the and all the switches go at the first firing, ease and security of commercial glazes. I’d be “covered.” Stick to commercial glazes if you do not Finally, if you plan to support your­ have the space to store the raw materials self with potting, take a few small-busi- safely or you do not know how to “fix” ness courses. Over the years, I’ve seen glaze problems, such as crazing. many successful potters go under, even If you wish to mix your own glazes, though they had everything going for you will need to buy a scale. The usual them. Nothing can guarantee ongoing balance-beam scale used by potters costs success, but failure is underwritten by over $100 (look for seasonal sales) and an unprofessional approach. Business is necessary to do glaze testing. Tests are courses can teach you how to grow and made in small quantities (usually 100- expand at a proper rate; how to make gram batches) and most kitchen scales decisions (Do I buy more equipment? will not measure less than 1 gram. If Do I hire people?) that success foists you only want to mix up large batches upon you. Luck is part of it—so is hard of glazes you know about, then a kitchen work. But knowing how to handle busi­ scale can be had for $25. ness problems probably is the deciding There are also excellent recipes for factor in a potter’s survival. A

May 1995 93 94 CERAMICS MONTHLY May 1995 95 Comment From the point of view of the tradi­ human problems in the previous steps tional religion, which recognizes a god in are cleaned up by the fire s power. the fire, firing a kiln not only means Established potters also sometimes say Facing Tradition by Makoto Hatori producing ceramics but also forgiving the that they produce ceramics without sins of potters. The establishment of earthly desires or ambitions. In these wabicha (tea ceremony) in the Momo- words exists a somewhat religious view, yama era and its philosophy also influ­ which may be similar to satori (spiritual Among the many pottery production sites enced Japanese potters. They recognized awakening or integrating with nature by in Japan, there are six famous traditional a parallel between wabicha, which real­ restraining self) of Buddhist priests. ones, called rokkoyou, which literally ized a synthesizing of man and nature in To understand and integrate with na­ means “six old kilns”: Shigaraki, Toko- a very limited space, and firing kilns, ture, it is necessary to live long and to name, Tamba, Bizen, Echizen and Seto. through which man-made ceramics were master kata (already existing models). Five of them, with Seto being the only integrated with nature. As a result, they Imitating great old pieces as precisely as exception, continue to produce traditional became and remained enthusiastic about possible is called utsushi (copying). To unglazed ware. Bizen, which is probably the unexpected results of firing that char­ practice utsushi is to master existing mod­ the most famous, has an especially long acterize Bizen ware. els; i.e., kata. In this respect, daibiki is a tradition and is notable in that potters It is sometimes said, however, that you process of mastering kata. Thus, acquir­ there have maintained the traditional cannot know who made a Bizen pot un­ ing techniques through reproduction con­ method that originated with Sueki. (Sueki less you check the potters mark on the stitutes a central part of learning to or Sue ware was produced from the fifth bottom. Because this type of ware de­ produce pottery. Through repetition, we to twelfth centuries, when the hand wheel pends so much on effects that occur dur­ try to find the inexpressible essence of became popular.) ing the firing (flashing and ash deposits), the ware. Bizen ware has not changed much in it has not varied much over the centuries, We cannot help being attracted to the its 1000 years, both in the basic methods even if variations are made in the firing. heavy presence of tradition. I hope, how­ of production and in the aesthetic con­ The Japanese way of viewing Bizen ever, that the tradition does not remain cerns of potters. This may reflect the tra­ pottery is also confusing. For instance, narrow and specific. We should express ditional aesthetic ideas of the Japanese, pots made by following tradition, which ourselves in modern terms, while seeking sometimes expressed as tuabi or sabi, natu­ can have high aesthetic value, are claimed the essence of established practices. Real ral senses that go against the artificial. as products of individuality. artistic work cannot be just an expression One of the basic concepts of tradi­ Then there are those Bizen potters of personal ideas, though; it is self-ex- tional Japanese ware is that three fac­ who hire other potters to throw their pression through designs developed from tors—the kiln, the clay and the form— pots, a practice called daibiki (ghost- a solid foundation in tradition. constitute a triangular relationship. This wheeling), and even have them inscribe relationship has been strongly maintained their signatures. After all, because the The author Bizen potter Makoto Hatori at Bizen. firing of a kiln is a holy ceremony, all maintains a studio in Ibarakiy Japan.

Index to Advertisers

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