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check out the June Issue to learn more about the Versatility of Velvets! Earline Green’s clay spirit quilts on display in the Dunbar Lan- caster-Kiest Branch Library in Dallas, Texas.

A Texas potter makes 1,300 pound quilts with her Paragon Dragon As a child, Earline Green made hand-stitched quilts with her grandmother Mama Freddie. Earline spent more time quilting with the older ladies than she did playing with children her own age. Her early experiences with the lively quilters taught her a life-long love of artwork. Earline’s other grandmother, Mama Ginger, taught her advanced quilting patterns. Later this in- fluenced the design of Earline’s quilt mosaics displayed in the entrance of the Paul Laurence Dunbar Lancaster-Kiest Library in Dal- las, Texas. For that project, Earline fired 284 white stoneware —all in her faithful Paragon Dragon. “The Dragon's design and controls are perfect for firing large flat pieces,” said Earline. “The digital programming controls provide a consistent firing environment that eliminated cracks and warpage in Earline Green with her Paragon Dragon front-loading kiln. This kiln is be- this project. coming a favorite with potters. It is easy to load, heavily insulated, and de- signed to reach cone 10 with power to spare. “During tile production, I fired my Dragon two Constantly looking for better or three times a week for four to six weeks at a time. ways to make kilns I expected and received excellent results with each firing.” Contact us today for more information on the 2011 South Town East Blvd. Mesquite, Texas 75149-1122 exciting Dragon kiln. Ask about the easy-open 800-876-4328 / 972-288-7557 switch box hinged at the bottom. Call us for the www.paragonweb.com name of your local Paragon distributor. Join the Clayart pottery forum here: [email protected] lists.clayartworld.com

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PH: (800) 970-1970 • Fax: (905) 695-8354 6 march 2019 www.ceramicsmonthly.org [email protected] www.ceramicsmonthly.org march 2019 7 Tag us! #countonconeart

MONTHLY Executive Director Mark J. Mecklenborg No other kiln can Publisher Bill Janeri Editorial [email protected] telephone: 614-794-5869 match the features fax: 614-891-8960 editor Jessica Knapp associate editor Holly Goring editorial coordinator Katie Sleyman editorial assistant Kaitlynne Phillips & benefits of a editorial support Emily Arbogast technical editor Dave Finkelnburg Advertising/Classifieds [email protected] Cone Art Kiln. telephone: 614-794-5834 fax: 614-891-8960 classifi[email protected] telephone: 614-794-5826 national sales director Mona Thiel PATENTED “LID-LIFTER” Not all pots are round... advertising services Pam Wilson Lids that lift with ease. Marketing and neither are all kilns! telephone: 614-794-5809 Get 8.4 cubic feet of stacking space in the audience development manager Sandy Moening same footprint as a typical 7 cubic foot kiln! Subscriptions/Circulation customer service: 800-342-3594 MULTI-ZONE CONTROL [email protected] Multiple thermocouples Design/Production means even firings from top production artist Kerry Burgdorfer to bottom. design Boismier John Design senior graphic designer Melissa Bury Editorial and advertising offices 550 Polaris Pkwy., Suite 510 Westerville, Ohio 43082 DOUBLE WALL DESIGN Editorial Advisory Board Extra insulated walls for Scott Bennett; Sculptor, Birmingham, Alabama energy savings. Meira Mathison; Director, Metchosin Art School, Canada Phil Rogers; Potter and Author, Wales Jan Schachter; Potter, California Mark Shapiro; Worthington, Massachusetts Michael Strand; Fargo, North Dakota Susan York; Santa Fe, New Mexico

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8 march 2019 www.ceramicsmonthly.org 2019 NCECA JURIED STUDENT EXHIBITION Left: Alexa Harding Soo Visual Arts Center | 2909 Bryant Ave S #101| Minneapolis, MN 55408 Top: Jennifer Masley Bottom: Chanakarn Semachai

O3.27–3O.2O19 • MINNEAPOLIS, MN, USA CONFERENCE REGISTRATION AT NCECA.NET www.ceramicsmonthly.org march 2019 9 contentsmarch 2019 volume 67, number 3

editorial

12 From the Editor Jessica Knapp quick tip

14 Scrap Trap Table by Daniel Ingersoll exposure 16 Images from Current and Upcoming Exhibitions techno file

60 201 by Thomas Anderson Need a good porcelain clay body recipe, but having trouble choosing from the hundreds online? Here are some important rules on material choices and limits to help you make the best selection for your studio. tips and tools

62 Extruder Conversion by E. Preston Rice and Madeleine Coomey An electric caulk gun can be repurposed with the addition of a few PVC pieces to make small-scale extrusions faster to produce and easier on the hands and wrists. recipes

66 Recipes to Build On by Eric Botbyl, Kari Radasch, and Shalene Valenzuela

68 Tried and True Recipes by Mike Cinelli, Jackie Head, Jennifer Higerd, Justin Rothshank, and Deb Schwartzkopf resources 77 Call for Entries Information on submitting work for exhibitions, fairs, and festivals. 78 Classifieds Looking to buy? Looking to sell? Look no further. 79 Index to Advertisers spotlight 80 Repurposed Lindsay Rogers discusses her collaboration with Sow True Seeds for an exhibition focused on adopting sustainable agricultural practices in the US.

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10 march 2019 www.ceramicsmonthly.org clay culture

22 Connecting Via Clay by Kelly Brinkman Artists living in small towns or rural areas that don’t have art centers or community studios offering space or classes can have a hard time fnding a creative community. When faced with this fact, Kelly Brinkman and several other local clay artists started a group of their own.

26 Create in Comfort by Serafine Lilien Do you fnd yourself with aches and pains at the end of a studio session? Find out how setting up an ergonomic work area, plus paying attention to your elbows, can help. studio visit 30 Aaron Scythe, Whanganui, New Zealand by Lisa Orr and Nick Weddell After relocating to New Zealand from Japan, a dust-free nook in the house for decorating and a single-car garage for everything else serve as the primary studio spaces for potter Aaron Scythe. The close proximity is ideal for his round-the-clock work ethic. features 34 Vinland Restaurant: Local Food, Local Pots by Elizabeth Louden David Levi, the head chef and owner of Vinland, only uses regional ingredients in the restaurant’s menu items. In keeping with the concept for the food, he decided to use by local and regional artists as well. 38 Istoriato Reborn: The Narratives of Lindsay Montgomery by D Wood Lindsay Montgomery uses majolica techniques and narrative imagery referencing historical tales of sacrifce and violence to reflect on current social and environmental issues. 42 Expressions of Form and Line: Päivi Rintaniemi’s Tableware and Sculpture by Lauren Kearns A sense of movement and space unify the otherwise discrete functional and sculptural work produced by this award-winning Finnish artist.

46 Collaborative Companions by Eric Botbyl and Justin Rothshank A chance to play, learn from another artist through material and object, make some failed pots, start conversations, and generate ideas were all possibilities for the 28 artists who participated in the frst iteration of this collaborative exhibition in 2018.

50 In, Out, and Back Into Clay by Allan Kluber Following his interests, passion, and desire to help make the world a better place led Allan Kluber to his frst career as a studio potter. Wanting to help people more directly led him to a career in counseling and mediation, as well as tutoring kids. Then, a few years ago, clay unexpectedly became a part of his life again.

53 Tesselated Wall Installations by Jackie Head Exposure to the possibilities of casting while in Jingdezhen, China, changed the way Jackie Head approaches clay and form. Inspired by pattern, she works to develop shapes that interlock and repeat, creating complex tessellations. 53 cover: Päivi Rintaniemi’s Flamma, 37½ in. (95 cm) in height, handbuilt stoneware, grog, fired to 2282°F (1250°C). Photos: Sofia Rintaniemi.

www.ceramicsmonthly.org march 2019 11 from the editor respond to [email protected]

Successful artistic collaborations can the upcoming NCECA conference in Minneapolis, Minnesota take many forms, but the core simi- (for details, see page 49). larity is that they all result in stronger Päivi Rintaniemi started her line of functional work bonds between the participants and an soon after she completed her studies. While she also outcome (whether an object, event, produces a body of sculptural work on her own, she exhibition, or a new organization) that and her husband, Markku work together in their would not have been created by any studio in Helsinki, Finland, to make the table- one party working alone. The whole is ware. Päivi makes the models, Markku makes different and, in the best cases, greater the molds (as well as customizing some of the than the sum of its parts. studio equipment), and they work together Collaborations between artists are not on production tasks. This teamwork allows easy. They require open communication, them to create a remarkable volume of trust in the other parties’ abilities and commit- tableware for shops and customers in Asia, ment to the project, flexibility to work through Europe, and in the US. and reconcile different opinions and perspec- Cross pollination led this issue’s Tips and tives, and confidence to get past the worry Tools authors, E. Preston Rice and Madeleine that your contribution may ruin the finished Coomey, to MacGyver a battery-powered piece. These new concerns are added to the caulk gun to make a hand-held extruder that usual issues surrounding making something is easy to use for those with arthritic joints. different, from refining the initial idea to When Lindsay Rogers, who contributed solving technical and logistical problems. the Spotlight for this issue, wanted to create The challenge of working collaboratively a series of work that reflected on agricultural with others can change our patterns of think- practices, she turned to Sow True Seeds, a small ing, open us up to new friendships, show us seed company producing open pollinated seeds new possibilities for our own work, and not in support of sustainable, regenerative agricul- only give us permission, but also compel us to ture. She made and exhibited unfired pieces that explore and experiment in the studio. These op- incorporated seeds donated by the company, and portunities for growth are as much of a reward as explored the concepts of cover crop, companion, the final outcome. and succession planting as alternatives to current In this issue we feature several different types of commercial agricultural practices. collaborations. Chef David Levi, who owns Vinland in Port- If you have a project you can’t tackle on your own, want land, Maine, incorporates handmade tableware from local potters to see your work from a different perspective, or want to bond with in the restaurant. His ideas and approaches to plating various menu other artists, the most rewarding approach may be to collaborate. items have evolved as he responds to the opportunities and variety offered by the potters’ handmade plates, bowls, cups, and mugs. Three potters living in a rural part of Missouri worked together Deb Schwartzkopf and Mark Arnold’s to form a clay club that now includes a dozen members and has pitcher, 12 in. (30 cm) in height, porcelain, terra sigillata, 2018. evolved into a guild focused on support and creative inspiration, Photo: Mark Arnold. From the 2018 feedback, and learning. Together, they tackled the isolation and lack “Collaborative Companions” exhibition. of camaraderie that many artists in less populated areas experience. Justin Rothshank and Eric Botbyl collaborated a few times with Correction their personal work, then discussed how this could evolve into a In the Exposure section of the February 2019 issue of collaboration-focused exhibition. The first “Collaborative Com- Ceramics Monthly, one of the images of Annabeth Rosen’s panions” exhibition they organized for the National Council on work was of Blub Plate—Blue, a piece that was not included Education for the Ceramic Arts (NCECA) conference in Pittsburgh, in the exhibition being featured: “Annabeth Rosen: Fired, Pennsylvania, included 28 artists working in pairs. One artist made Broken, Gathered, Heaped,” which is on view at Cranbrook a form, and the second artist responded with the surface decoration. Art Museum (http://cranbrookartmuseum.org), through The pieces created as part of a second series of collaborations with March 19. We apologize for the mistake! new parameters and new artists can be seen in an exhibition during

12 march 2019 www.ceramicsmonthly.org The Bailey AutoFire does all the work!

Meet ceramics instructor Ben Krupka and his students from the ceramics program at Simon’s Rock. Ben added a Bailey Studio DLX AutoFire gas kiln to the department in 2017. Ben says “Right from the beginning, the Bailey firings were great! The copper reds, , temmokus, and the other reduc- tion glazes came out beautifully. The Bailey AutoFire system was easy to use and understand. During the first couple of firings I experimented, making adjustments to fine tune the program. At this point, we let the AutoFire do all the work. This has been life changing. Not only are the glazes fabulous, the computer controlled kiln has saved me an enormous amount of time during the school day. You can’t beat the dependability of the Bailey AutoFire system, the quality of the glazes and it’s incredible fuel economy.” Ben Krupka Ceramics Department Bard College at Simon’s Rock

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Scrap Trap Table by Daniel Ingersoll To help keep my studio clean, I took a trip to my local home improvement store, bought $18 worth of snap-together plastic gutter parts, and spent an hour at home adding a scrap trap to my work table. To make one for yourself, you’ll need two end caps, one length of gutter cut (with a saber saw) to fit your table, one downspout fitting, and one downspout (1). First, you will need to make a bracket to attach the gutter trap 2 3 to your work table (2). I glued and screwed two scrap pieces of wood together in an L shape. This L bracket was made the same 1 Parts from left to right: endcap, downspout fitting length as the gutter to support it in its entirety. The short side of with a downspout, section the L bracket is screwed to the bottom side of the work table and of gutter, endcap. 2 Wooden the long side faces out to support the gutter. Simply use some small L bracket screwed to the bottom edge of a work screws to attach the gutter to the supporting face of the L bracket table. The trap is screwed (see 4). Assemble the gutter as shown in the photo and secure it to to the longer, front face of the table. Then, use silicone to seal all the seams to prevent future the bracket. 3 A window leaks when wet cleaning. Get yourself a pail, squeegee, and a sponge squeegee works great to move scrap material to the (3, 4), and your scrap trap table is complete. I always find a clean trap. 4 Completed scrap trap 4 studio space invites me to work! with a collection bucket.

14 march 2019 www.ceramicsmonthly.org www.ceramicsmonthly.org march 2019 15 exposure for complete calendar listings see www.ceramicsmonthly.org

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1 Kensuke Yamada’s Snake, 14 in. (36 cm) in height, porcelain, luster, 2018. 2 Vipoo Srivilasa’s Rooster, 10 in. (25 cm) in height, stoneware, 2 underglaze, white gold luster, 2018. “The Great Race,” at Clay Art Center (www.clayartcenter.org) in Port Chester, New York, through March 30. 3 Michael Kline’s pitcher, 12 in. (30 cm) in height, wheel- thrown stoneware, slips, wax resist, wood fired with soda. 4 Michael Kline’s plate, 9 in. (23 cm) in diameter, wheel-thrown stoneware, slips, wax resist, wood fired with soda. 3, 4 Photos: Silvia Palmer. “Michael Kline,” at In Tandem Gallery (www.intandemgallery.com) in Bakersville, North Carolina, through March 16th.

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5 Mike Helke’s plates, ceramic, 2018. Photo: Peter Lee. 6 East Fork’s Spring/Summer 2018 Seasonal Palette, Side Plates in Utah and Taro, ceramics, 2018. Photo: Tropico for East Fork. 7 Ayumi Horie’s Detail from Squared and Doubled, 36 in. (91 cm) in height, porcelain, luster decals, 2019. “To Be of Use: The Functional Ceramics of Mike Helke, Ayumi Horie, and East Fork,” at Houston Center for Contemporary Craft (www.crafthouston.org) in Houston, Texas, through May 12. 8 Loet Vanderveen’s Bull, 3 ft. 7 in. (1.1 m) in height, ceramic, bronze, 1979. “Modern Menagerie: Sculpture by Loet Vanderveen,” at the Crocker Art Museum (www.crockerart.org) in Sacramento, California, through March 31.

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www.ceramicsmonthly.org march 2019 17 exposure

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1 Tomoko Nishimura’s Melody in Spring, 10 in. (26 cm) in length, handbuilt porcelain, polychrome enamel, gold and silver luster, glass beads, 1995. Photo: Bettina Jacot-Descombes. Courtesy of Ariana Museum Collection, Geneva—gift of the artist, 1995. 2 Gareth Mason’s Fluid Cobalt, Dark Satin, Red Aqua, to 12½ in. (32 cm) in height, porcelain, stoneware, enamels, oxides, 2008–09. Courtesy of Ariana Museum Collection, Geneva—gift of Gisèle de Marignac, 2009. “Come on baby, light my fire,” at Musée Ariana (www.ariana-geneve.ch) in Geneva, Switzerland, through March 10. 3 Michael Sherrill’s Dutch Solomon, 27 in. (69 cm) in length, porcelain, silica bronze, glass, 2015. Courtesy of the John Michael Kohler Arts Center Collection. 4, 5 Michael Sherrill’s A Beautiful Death (overall and detail), 3 ft. 11 in. (1.2 m) in height, porcelain, silica bronze, Moretti glass, 2017. 3–5 Photos: Scott Allen. “Michael Sherrill Retrospective,” at Mint Museum (https://mintmuseum.org) in Charlotte, North Carolina, through April 7.

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18 march 2019 www.ceramicsmonthly.org the line is blooming CONE 5/6

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1 Anna Whitehouse’s #100bottles100days project-Days 3/46/61/2/60, 4¾ in. (12 cm) in height, ivory stoneware, fired to 2102°F (1150°C), 2018. Photo: David Lindsay. “Sketching in Clay—100 Bottles in 100 Days,” at Craft Centre and Design Gallery Leeds (www.craftcentreleeds.co.uk) in Leeds, West Yorkshire, England, through April 20th. 2 Chiho Tokita’s Dishes (I), 19 in. (48 cm) in length, handbuilt porcelain, 2018. “Housewarming,” at CO Space Gallery, Craft Ontario (www.craftontario.com) in Toronto, Ontario, Canada, through March 2. 3 Lucie Rie’s gold glazed bowl. Photo: Phil Sayer. “Lucie Rie: Ceramics & Buttons,” at York Art Gallery (www.yorkartgallery.org.uk) in York, England, through May 12. 4 Richard W. James’ That Ship Sailed A Long Time Ago, 23 in. (58 cm) in height, , found objects, fabric, thread, 2018. 5 Kelsey Duncan’s Onyx, 17 in. (43 cm) in height, stoneware, slip, underglaze, luster, metal, 2018. “Current Profile,” at Craft Alliance Center for Art and Design (www.craftalliance.org) in St. Louis, Missouri, through March 17. 6 Nicolas Touron’s Artificial Terrain 23, 14 in. (36 cm) in height, handbuilt, slip-cast, and 3D-printed porcelain, stain, glaze, image transfer, luster, fired multiple times to cones 6, 06, and 016. “Objects and Surfaces,” at Sculpture Space NYC (www.sculpturespacenyc.com) in Long Island City, New York, through April 6.

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www.ceramicsmonthly.org march 2019 21 CLAY CULTURE connecting via clay by Kelly Brinkmann

Do you live out in the country or in a town where the ceramics community isn’t well developed? Having a hard time building a network of artists to talk shop with? Read on for ideas on how to get a group started.

Joining or creating a community of artists that can help to inspire floral and home-décor shop. Cindy is self-taught and has a voracious new ideas, techniques, and methods is important for growth as an desire to learn clay techniques found online or in her travels. She artist. When living in a rural area this can be difficult. often befriends artists during leisure trips with her husband and asks I live near family in a small community about an hour west of St. to tour their studios, finding inspiration and a chance to see things Louis, Missouri. When I moved to this area three years ago, I wanted from a different point of view. Her clay making is a diversion from to connect with a group of clay artists with whom I could share ideas her role as owner of their regional family business. All of the proceeds and innovative techniques. Since there was no organized group, guild, of her art sales benefit the youth group at the local Lutheran church. or collective, once I networked with a few local potters, we decided Her high energy and passion is contagious, so we became friends to start one. and I invited her to join us at the guest-artist workshop at ECC. Meeting Other Artists Creating a Clay Community One of the first local artists I met was clay artist Jennifer Higerd, art During the workshop, we met several other artists from the commu- instructor and gallery director for East Central College (ECC), the nity who had taken clay classes at the college, or had private studios area community college. Jenn earned her MFA from Fort Hays State in their homes. It inspired Cindy, Jenn, and me to begin talking University in Fort Hays, Kansas (jennhig.com). Previous to her current about creating a clay group that would meet the first Thursday of life as a ceramic artist and teacher, she taught in an international school each month with alternating programs for each month of the year. in West Africa, tutored hearing-impaired high-school students, and During odd-numbered months of the year, we would meet for pri- taught high-school Spanish. She received the Emerson Excellence in vate studio tours hosted by local artists, touring their studios and be- Teaching award in December 2018. When I first met her, she invited ing introduced to techniques they used such as for forming handles, me to a guest-artist workshop being held later that fall at ECC. making handmade brushes, watching videos showing techniques that Another local artist, Cindy Frick, sought me out at my booth inspired them, and discovering new methods using wax resist. Often, at a local art show (instagram.com/cindyfrickpottery). Cindy has the artists included hands-on time so others could learn from them, a clay studio in her home and makes and sells clay work at a local followed by time to socialize and share refreshments.

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1 Group photo taken during the first Clay Club meeting. Back row: Cindy Frick, Gaye Ann Hutton, Janet de Agüero, Miguel de Agüero, John Dawson, and Molly Dawson. Front row: Jennifer Higerd, Kathy Wharton, and Kelly Brinkmann. 2 Jennifer Higerd with her clay work.

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3 Kelly Brinkmann’s wheel-thrown strawberry bowls (named for their silhouette) and utensil jar, photographed during the group’s photo lesson. Photo: Chimera Creative Works. 4 Jennifer Higerd’s clay work. 5 Cindy Frick demonstrating during the group’s first studio tour and visit to her studio.

During the even-numbered months of the year, our artists’ Celebrate Together group gathered for dinner at a local restaurant for a show-and-tell After meeting for a year, we wanted to celebrate by hosting a mug with tools, glazes, articles, etc. With my background in non-profit exchange where each artist would create 12 handmade mugs to management, marketing, and business consulting, I typically shared swap with one another. Higerd invited the group to exhibit in a items related to marketing or business, such as tips on how to “Mug Show” at the ECC gallery May–August 2018. The group promote clay events online, an outline to plan a product line or gratefully accepted her invitation and created work for the show, collection of work for retail sale, or a 13-tabbed document to track culminating with a mug swap at the closing reception. The gallery a business budget throughout the year. I also shared templates for show pushed the artists to grow by posing the challenge of creating flyers for clay classes I teach in the community artandsouls.com( ). a series of mugs. During the monthly gatherings, fellow clay artists volunteered to host the group the following month until each had an opportunity What’s Next for the Group to host a tour. Our group of 8–12 artists provided personal con- In 2019, we renamed the group the Franklin County Clay Guild nections and the opportunity to host others in their studios. Group to better represent our goals and to encourage the craft or trade of members include formal and informal art teachers, clay sculptors, pottery making while offering ongoing, hands-on education. Our hobbyists engaged in other full-time jobs, stay-at-home artist moms, members serve in the Missouri Fine Arts Society, the Washington educators, and retirees. regional arts council, the Missouri Arts Council, and other organi- Learn Together zations to make sure that potters are represented. The group wants to travel beyond our area to be inspired to create new artwork. We One month we participated in a tour starting at a local restau- are working on plans to charter a tour bus to travel to art festivals rant to view a mural painted by local artist, Kim Buxell Alsop and museums within the Midwest and invite others in the com-

RECIPE (facebook.com/kimberlybuxell.alsop). She joined us for dinner 68 munity to join us. and told us about the mural and how she created it on the The clay guild is also considering plans to host a collective fall walls of Streetside Tacos. Then, the group moved to a private clay tour inviting the public to tour our area pottery studios and gallery and studio tour with regionalist painter, Bryan Haynes purchase locally made clay work. Additionally, we plan to review the (artbybryanhaynes.com). Haynes showed his gallery space and let “Rural Arts, Design, and Innovation in America” report to be pro- the group talk about visual solutions for his Cowscapes landscape series. vided by the USDA and NEA in early 2019 that outlines how the The more the group meets, the more we realize that we have had arts impact rural areas. We’ll use the information to identify ways some of the same obstacles, so we look for solutions together. One we can serve our community while sharing our passion for pottery. month, a local marketing, photography, and video studio, Chimera By meeting together monthly, our group of local rural potters Creative Works (chimeracreativeworks.com), hosted the clay artists has been inspired to try new things and learn from each other. for a photography workshop to teach the group how to light three- Together, we built a community of clay makers, and hope to serve dimensional work to shoot better images for marketing, portfolios, as a model for other communities. and entry into art shows. The class was well received because it helped us improve our photography skills. Throughout the year we also attend art shows hosted by fellow the author Kelly Brinkmann, artist and owner of Art & Souls club members. Some members who are inspired by online tutorials Creative Studio, makes clay work on her own and creates business or videos share links with the group via email during the year. A systems to help other artists, including a free downloadable business smaller group within the club meets a couple of times during the file. She also creates witty t-shirts for potters. To learn more, visit month in a host’s studio to make clay work. www.artandsouls.com.

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www.MaycoColors.com www.ceramicsmonthly.org march 2019 25 CLAY CULTURE create in comfort by Serafine Lilien

Do you know where your elbows are in space while working? While this may seem like a funny question, using strategies to keep your elbows in a neutral position while working will help reduce pain and fatigue.

As artists, we love creating, but we often suffer from aches and pains at your sides. Be sure your spine is neutral, with your head over your resulting from the toll our processes take on our bodies. Using awk- neck. Try doing this simple exercise: Do a complete shoulder roll, ward positions or positions considered non-neutral can fatigue our starting by rolling your shoulders forward, then up, then back and arms, hands, legs, and joints. However, we can learn to use our body down. Keep them back and down. As you complete the shoulder in more neutral positions to reduce or eliminate discomfort. Main- roll, end with your palms facing forward, toward the mirror. Then taining a neutral posture is important because it conforms to the way bend your arms 90° so that you make an L shape with your arms. your body is designed to move, even while performing studio tasks. You can stay in this position or rotate your forearms so your palms are facing down, all while maintaining the shoulder position created Neutral Posture when doing the shoulder roll. Neutral posture is a body position that causes the least amount of Notice how your shoulder and upper body feel while doing this stress and strain to your muscles, joints, and ligaments. Neutral posi- exercise. This is the feeling you want to have while performing your tions are natural, normal positions that are easy on the body and your ceramic work. I know—it sounds impossible! You are probably used musculoskeletal system. These are positions that are comfortable for to having your entire wing bones (shoulder blades) forward! Think the body to maintain and easy to transition into and out of. Ergono- about all the forward hunching you do day after day, year after year. mists, like myself, want you to be set up to work starting in a neutral How can you perform tasks with your shoulder blades back where position and then adapt new positions from there. We say: your next they should be? What may need to be raised or lowered to help you position is your best position—as long as it is within the neutral range. achieve a neutral, comfortable position? Your wheel? Your work table? You can perform the same task in a neutral position and a non- You are in a neutral position when your arms are relaxed at the neutral position, only in the non-neutral position your muscles must side of your body with your shoulder blades back and down. While in work harder and expend more energy. Working in a static posture this position, close your eyes for a moment and feel your arms. They for too long is not great either; it can load the muscles and reduce should feel relaxed, light, and free from any muscle strain. Now open blood flow to strained areas. your eyes. While still looking in the mirror, put your arms straight out in front of you. You’re now holding a 20–26-pound weight out Neutral Spine, Shoulders, and Arms in space. That is right; each arm weighs about 10–13 pounds (or In “Working with a Neutral Spine,” from the February 2018 issue of about 6% of total body weight for each arm). Any time your arms are Ceramics Monthly, I discussed that a neutral spine has three curves, away from your body (see 1–4), you have an 10–13-pound weight, forming an S shape. From this neutral spine position, look at yourself per arm, out in space. Can you feel inside your body the difference in front of a full-length mirror. Face forward with your arms relaxed between having your arms at the side of your body versus out in front

1 Shoulder flexion: arm forward of Awkward Postures Neutral Posture body. 2 Shoulder extension: arm behind body. 3 Shoulder abduction: arm moved away from body. 4 Shoulder abduction and extension. 5 Neutral posture: elbow lined up with hip. 6 Neutral posture: arm close to body. Diagrams courtesy of the Centers for Disease Control and 1 2 5 Prevention (CDC).¹

3 4 6

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www.ceramicsmonthly.org march 2019 27 Reach Zones

Zone 3 42–44 in.

Zone 2 27 in.

15–17 in. 45° Zone 1

8

7 Posture analysis of a ceramic artist at work: Look at those shoulders, positioned down and back. This is what your shoulders should look like. This person’s back is in fairly good alignment. The curves of the spine are approximately 90% within a neutral position, with no twisting or turning. The head is a little forward of the mid-point of the body, which means the back and shoulder muscles are working twice as hard to support the weight of the approximately 13-pound head. Shoulders are relaxed, elbows are abducted and flexed out to the sides of the body. Because the elbows are away from the body, this person is supporting the weight of the entire arm for this process (yellow zone/zone 2). For what this person is doing on the wheel and the temporary nature of this position, the only improvement I can see is to have the ear and shoulder line up (move head back to line up with shoulders) to reduce the tension of the upper back muscles from holding the head. 8 These are three reach or work zones. Zone 1 or the green zone is the one closest to you, where 7 you interact with items you use the most. Zone 2 or the yellow zone is where you interact with items you use occasionally. Zone 3 or the red zone is the area you want to avoid using. Consider it to be a non-working area.

of you? What are you experiencing? Does it feel like a pull or an effort to your work or your work closer to you? Small changes can have a to keep them there? It requires effort and work on your part to keep big impact in your health and wellbeing. your arms out in space. Now let’s talk about the red zone (see 8, zone 3). This is the zone Go back to the neutral position with your arms by the side of your you most want to avoid. Working in the red zone forces you to over- body. To reduce the strain of having your entire arm out and away reach and overextend since you are using not only your entire arm, from your body, while keeping your elbows close to the sides of the but also your back or shoulder or even twisting your body to do tasks body, bend your arms 90° (5, 6). You just reduced the weight out in in that zone. Do you do any tasks in the red zone during the work space by half, by keeping your elbow lined up with your shoulders and day? Can you brainstorm with other artists on how to get the job hip. When your elbows are at the sides of your body and your lower done more safely by bringing the work closer to your body? How arms are extended out, you only have half the weight of your arms out might you modify these tasks to keep your elbows close to the body? in space. This also benefits your head, neck, and shoulders, allowing In all of this, your elbows are the drivers. Think about where your them to remain neutral and reduce stress to those body parts (7). elbows are during the course of your day. Try to keep your elbows as close to your body as possible during your tasks. As you move Posture Zones throughout your day, focus your awareness to their placement. Try When your arms are stretched out in front of you or anywhere to be your own ergonomic detective, paying attention to what you along the arc of their rotation and you reach with your arm fully do and how you do it. extended, you are in what is called the yellow zone (see 8, zone 2). When your elbows are close to the side of your body with just your the author Serafine Lilien, Master of Science, is both a ceramic artist forearms extended along that arc, then you are in the green zone and an ergonomist living in Portland, Oregon. To see more about her (see 8, zone 1). Which zone do you think is easier on your body over ergonomic work, visit www.ergoarts.net. To see her ceramic sculpture, the long term? If you thought the green zone, you are correct. How find her on Instagram @lserafiner. many of your daily tasks can you switch from being in the yellow zone to being in the green zone? How can you bring yourself closer 1 www.cdc.gov/niosh/mining/UserFiles/works/pdfs/2011-191.pdf.

28 march 2019 www.ceramicsmonthly.org Fired to Cone 6

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www.ceramicsmonthly.org march 2019 29 STUDIO VISIT Aaron Scythe Whanganui, New Zealand by Lisa Orr and Nick Weddell

Just the Facts Studio While some of us slow the pottery wheel to make expressive work, Japanese-trained, New Clay stoneware and porcelain Zealand potter Aaron Scythe speeds up his wheel to make some of the marks that he explains, Primary forming method “hold the emotions of the maker.” Not exactly centering, he gathers clay in the middle of wheel thrown and altered the wheel, opening and pulling up the clay before total command is established. Suddenly, a Primary firing temperature ring is torn off, flipped, and, in seconds, blended to a freshly thrown base and set on a board cone 10 next to 15 others. The former skater/punk rocker likens it to the amount of control one has Favorite surface treatment running down steps. “If you want to take risks, you don’t walk down a flight of steps and painted imagery and brushwork you don’t run pell-mell,” he says, “because you will fall onto your face. The trick is to get up Favorite tools to a decent jog so you are kind of about to stumble. Throwing on the wheel quickly is like potter’s wheel and jogging down the steps at a mad pace to find that fluidity and life in clay, so you can make decorating brushes the mistakes that you want to make.” Favorite music Scythe embraces the natural behaviors and characteristics of plastic clay and in his practice Japanese rapcore, YamaArashi he harnesses what most would consider mistakes. He works at achieving excellence in his soft, yet vigorous forms through constant practice, as he enjoys putting in 10–14-hour days, six days a week. Scythe’s current studio is in a single-car garage about 15 steps from his back door. His studio includes two medium-sized electric kilns, one small wheel, two tables, plaster bats, two sets of shelves, glaze buckets, sieves, a banding wheel, and more. About his equipment, he says, “I have one small kiln for doing my hikidashi (work that’s pulled out of the kiln at a high temperature

30 march 2019 www.ceramicsmonthly.org Aaron Scythe

and cooled rapidly) work. My electric wheel is an ancient Shimpo of repair, but with mismatched clays that graciously adapt to each wheel—a bit noisy but still spins around and has good traction.” A other. Time-warped worlds collide creating mysterious narratives self-described reclusive workaholic who doesn’t go out; if he is not in consisting of landscapes, body parts, patterns, or elusive writing. the studio, he says he stays “at home sitting in bed drawing, painting These little glimpses look to his wife, Saori, like peeping through on the iPad, or making teabowls, and unwinding at the end of the keyholes: delicate and lightly erotic, but not too overt. Visually day by drinking beer and making more work.” Because the painting compelling and welcoming to the hand, it is important to him that on his pots takes about 80% of his making time, he created a nook his pieces “actually function, [as] pottery is an art that comes into in the house as his decoration area to be nearby his wife and children. one’s mundane life by being held and touched to the lips. It is a His steadfast work ethic has paid off in over 60 solo shows in Japan bridge toward art in general.” and many more in New Zealand. Paying Dues (and Bills) Compelling Techniques Originally from Auckland, Scythe found himself drawn to pottery Scythe’s current yobitisugi or borrowed-patches process aligns with at a young age, getting a job pouring slip into molds as a teenager. the contemporary Japanese Basara style, which is a rebellious and Over the next several years, he found new ways to pursue pottery exuberant take on the wabi-sabi philosophy of the 16th-century making, including taking courses in Sydney, Australia. There, a Momoyama period. The effect is a boisterous and harmonious float- wood-fire potter introduced him to some older Japanese and Korean ing patchwork of clays that frame traditional and contemporary pots. Those expressive vessels called out to his soul. Being mostly drawings deftly painted in cobalt or enamel. By piecing porcelain self-taught, these became his romantic ideal, and he used the time- and stoneware shard shapes together when the clay is still very soft, honored process of emulating them to learn about them. Embarking he utilizes the sentiment and beauty of , the Japanese art on his quest, he became a resident at the Sturt Craft Center outside of

www.ceramicsmonthly.org march 2019 31 Sydney, where he built an anagama and practiced shino glazing. After his practice, based on the 16th-century method of using Seto-guro working on his own there for about two years, a visiting Japanese bowls as draw-trials for shino glazes. Once Scythe and Saori were ceramic artist invited him to Japan to be an apprentice. married, he received a spouse visa, and then was granted a permanent visa after living there for 10 years. Scythe grew a successful career A New Life Building a Career in Japan over 17 years, and he and Saori, also his business manager, Scythe instantly felt at home in Japan and wanted to keep work- had never planned on leaving. However, after the 2011 Fukushima ing there. He later joined the studio of Ryoji Koie as a guest. The Daiichi nuclear disaster (only 90 miles from Mashiko), they decided freedom he saw in Koie’s process changed him forever, and Koie to move to New Zealand to keep their children safe from radiation. remains one of his favorite potters, along with Suzuki Goro. He In Mashiko, Scythe had a purpose-built studio with two walls traveled two times to Japan on three-month visas, and for the third lined with shelves—he needed a step ladder to reach the top ones. trip Koie procured a cultural visa for him, which would last six There were separate stoneware and porcelain work areas with their months to two years. Between his three-month stays, as he had own wheels and designated pug-mills for both clays, and a decorating to leave Japan each time to reapply for a visa, he lived in Sydney, and glazing space. The studio also had a kiln shed with a gas kiln Australia, for about three months and worked in a hamburger bar and a wood kiln. It was pottery heaven. Upon returning to New as a dishwasher, prepper, and waiter to get money for airfare and Zealand, when creating a new studio, he focused on what could travel. Upon returning to Japan the third time for his lengthier stay, be found second hand to equip the space. Currently, he is trying he moved to Mashiko, found a job throwing, and set up his own to see what he can do with as little as possible, as he and his family studio. Some months later, after many 16-hour days working in eventually want to return to Japan. both studios, he fired the works he had been making on his own, sold them at the Mashiko pottery festival, and was off and running Marketing as a potter working in Japan. Being a studio potter in Whanganui, New Zealand, has its challeng- At that time, he was making his inventive gas-fired versions of es. It is a rural area, suppliers offer very limited tools and materials, shino, kizeto, and oribe ware. Ten years later, he and a friend built the audience is smaller than in Japan, and there is a smaller demand an anagama and he added hikidashiguro (pulled-out-black style) to for a wide variety of forms compared to Japan.

32 march 2019 www.ceramicsmonthly.org Scythe experimented with every available clay and kiln type Japanese galleries do so much work for the artist—writing about their before settling on a cone-10 electric kiln. Since much of his current work for exhibitions, managing the relationships with collectors, and audience is interested in plates, cups, and mugs, he makes a huge maintaining a web presence—through this relationship he is still able variety of them (approximately 50 styles of cups) to keep his cus- to sell work there and have more time in the studio. tomers coming back. Additionally, he adds imagery relatable to New Zealanders and embosses sections with Maori prophet messages. His Most Important Lesson enamels are lead free, and he keeps the area where he works in the In Japan there is a saying nana korobi ya oki, which means fall down house impeccably clean. In terms of recent graphic imagery, Scythe is seven times, get up eight times. A daring relentlessness character- inspired by the modern Japanese Shunga print movement and taught izes his work and, perhaps, Scythe’s life. He and his family plan himself to draw in that style using an iPad. He now creates large to move back to Tajimi, Japan, in the Gifu prefecture in a couple archival prints for sale alongside his ceramic work, and fragments of years. It is an old pottery town, north of Nagoya, and he has a of those images find their way back to the pottery pieces, repairing good relationship with a museum and gallery located there. Scythe the objects and adding to the narratives. adds that they also have the best eel restaurant in town. Scythe works prodigiously like the dedicated Japanese potter he trained as, creating five times the amount of work needed for each exhibition. Saori selects the groupings of work for shows in New Zealand and abroad, and she has plenty from which to choose, as Scythe’s work lines practically every shelf in every room of their home. Facebook: www.facebook.com/godinc247 When he moved to New Zealand, he left a lot of work in Japan Instagram: @godinc247 to provide inventory for his galleries. Scythe prefers to sell exclusively YouTube Channel: www.youtube.com/channel/ through galleries as he has a good partnership with them and contin- UCjB4FkY0KJkq7P7_8cpZjwA ues sending work over to them as needed. As he is not living in Japan, Gallery representation: The Nevica Project in the US, it is difficult to maintain a good collector base. Despite this, because The Vivian Gallery, New Zealand.

www.ceramicsmonthly.org march 2019 33 VINLAND RESTAURANT Local Food, Local Pots by Elizabeth Louden

Executive Chef David Levi’s restaurant, Vinland, is located in the nearly every dish on the menu is served on a piece of handmade, heart of the Arts District in Portland, Maine—a city recognized locally-crafted pottery. nationally for its abundance of celebrated restaurants. Vinland serves 100% local and organic food. In Maine that means no Elizabeth Louden: While in the initial stages of planning Vinland, lemon, black pepper, or olive oil, among other ingredients that did you envision using handmade pottery? most kitchens consider to be culinary staples. In keeping with David Levi: Yes, and that idea settled in while I was doing my stage the local food focus, and most importantly to craft enthusiasts, [apprenticeship] at Noma in Copenhagen, Denmark, where they

2

1 3 34 march 2019 www.ceramicsmonthly.org plate almost everything on handmade pottery. It was immediately obvious to me that it was an important part of their aesthetic and most definitely heightened the dining experience. It was beautiful pottery and I wondered if I’d be able to source work I liked as much in Maine. As soon as I found Jody Johnstone, who lives and works in Swanville, Maine, I had my answer.

EL: Where were you first introduced to Jody’s work? DL: I first saw her work at the Common Ground Fair. I had explicitly gone to the fair—Maine’s annual organic farming fair, and the largest such annual event in the world—that year to find potters whose work I could showcase at Vinland. I was also interested in basket weav- ers, wooden-bowl turners, and textile weavers, but mostly potters. I wasn’t sure I’d be able to afford more than a handful of pieces given my shoestring budget, but planned to build up a collection over time.

EL: How long did it take you to acquire enough pieces to primarily serve on handmade pottery? DL: As it turned out, it happened immediately. I had run a Kickstarter campaign to help fund the restaurant, and one of my larger backers was a family in New York, whose prize was a tasting 4 menu for ten people in their home. I was startled when I entered the home and saw major works by Picasso, de Kooning, Pollock, Kline, and a host of other top-tier artists on every wall. I’d had no idea that they were serious collectors. My host asked me if there would be work from local artists in the restaurants. I spoke of Jody Johnstone and my plans to eventually assemble a decent collection of her work. At the end of the meal, she quietly slipped me a $2000 check made out to Jody.

EL: The tableware at your restaurant primarily consists of three dif- ferent forms by Jody: a square plate, a round plate, and a large, low bowl. Were the three forms that you currently use specifically designed for Vinland? DL: No, each time that I bought from Jody I selected from what she had to offer.

5 EL: How did you decide on these types of dishes from her entire body 1 Laurel MacDuffie's plate, stoneware, 10 in. (25 cm) in diameter, salt fired of available work? to cone 10, 2017. Topped with gray sole crudo with lemon-verbena infused DL: The large shallow pasta bowls are incredibly versatile. Of course, vegetables. 2 Chef David Levi, 2017. 3 Jody Johnstone's plate, topped with beet and sunchoke salad with chevre. 4 Jody Johnstone’s anagama-fired we needed plates, too, and the concave square plates were the only bowl, 9½ in. (24 cm) in diameter, stoneware, 2014. 5 Jody Johnstone, 2016. plates she had available in any quantity at the time. I later bought Photo: Sasha Laurita. the round plates from her while attending one of her biannual kiln opening sales.

EL: Have you found that the pottery influences the way that you perfect portion. With handmade pieces, the sizes were not uniform, decide to plate food? so we couldn’t simply fill the vessels without pretty major variations DL: Absolutely. One minor example would be desserts. When we in portion size. So, we began to ball the semifreddo and form the used to serve desserts like custard or semifreddo (semi-frozen des- parsnip custard into quenelles. It’s a minor thing, but emblematic sert) in factory-made ramekins, we could fill the vessel and have a of the many ways my plating takes cues from the plates themselves.

www.ceramicsmonthly.org march 2019 35 6 7

EL: To what degree do high cost and breakage detract from your desire to use handmade pottery? DL: These are real issues, no doubt. I’ve learned the hard way just how challenging it is to use handmade ceramics day in and day out in a professional kitchen. I lost half of my original Jody Johnstone collection in the first year. We had to implement dramatically different policies, set up the dishroom a little differently, and basically instill in the staff a very different and altogether more mindful attitude toward dishware than exists in nearly all other restaurants. I don't allow handmade pottery to be placed in the bus bins, where they could easily be jostled, chipped, and even crushed by pans, silverware, or the dishes themselves. I insist that handmade pieces be carried to the dishroom separately and placed on a rack affixed to the wall over the sink. Once clean, all of the handmade work is returned 8 to the kitchen in small stacks and set down carefully. Part of teaching people to handle the work with care is instilling in them a sense of how the pieces were made and who made them. When- ever someone new joins the Vinland team, we go over the various types of dishware, and some of the common questions that the guests have. I know we’ll always lose a piece here or there; I’ve certainly broken a few. But I remain every bit as committed to using local craft pottery as I am to using all local and organic ingredients. It’s who we are as a business, and it would both cheapen and dilute our identity if we were ever to let that go.

EL: You now have several potters other than Jody represented in your col- lection for service at Vinland. Who are they and how did you find them? DL: I met Betsy Levine early on at the Common Ground Fair. She’s a member of the Maine Potter’s Market, where I’ve also purchased pieces by David Orser and Laurel MacDuffie of Cedar Mountain Potters, and you [Elizabeth Louden].

EL: The first time I ate at Vinland, I immediately recognized Jody’s work. 9 As both a studio potter and a collector of Maine pottery, the decision to use

36 march 2019 www.ceramicsmonthly.org 10 11 locally crafted plates and bowls stayed at the forefront of my mind throughout the meal. The subtle colors and textures of Jody’s surfaces are a wonderful compliment to your style of plating. Do people comment on the handmade pottery often? DL: All the time. In addition to all the vessels for food, we have vases and decorative bowls on display, including in the bathrooms and above the shelves and on the counter of the bar. People have every opportunity to take in the presence of craft pottery all around them, along with the fine carpentry, the paintings by local artist MP Landis, the birch panels of my own design, and so forth. Vinland, I think, like any truly good restaurant, strives to create a total sensory experience. Unlike many restaurants, it does so based on a very real mission, so there are no cut corners. I think that resonates with diners, and it often leads to questions and comments about the particular elements of the space—very much including the pottery. The servers are therefore all prepared to speak about the potters and their different firing techniques. Since it’s a tiny restaurant with an open kitchen, the questions often come to me, and I love having the opportunity to talk to my guests about the particular practices and qualities of the different potters. It’s a fun part of my daily routine. 12

To learn more about Vinland, visit vinland.me. To learn more about the Maine potters discussed, visit jodyjohnstonepottery.com, mainepottersmarket.com, prescotthillpot- tery.com, cedarmountainpotters.com, and loudenpottery.com. the author Elizabeth Louden is a potter in Mid-Coast Maine specializing in porcelain tableware. She and chef David Levi are partners. A member of the Maine Potters Market, Louden works out of her home studio in an old colonial house in Bath, Maine.

6 Laurel MacDuffie’s tumblers, 4 in. (10 cm) in height, stoneware, salt fired to cone 10, 2018. 7 Laurel MacDuffie, 2008. Photo: David Orser. 8 Betsy Levine’s inlaid square plate, 61/2 in. (16 cm) square, wood-fired stoneware, 2018. 9 Betsy Levine in Liberty, Maine, ca. 2012. Photo: Ben Kann. 10 Elizabeth Louden’s bowls, to 31/2 in. (9 cm) in height, porcelain, electric fired to cone 5, 2017. 11 Elizabeth Louden working at Islesford Pottery, 2015. Photo: Sarah Louden. 12 David Orser’s tankard, 5 in. (13 cm) in height, stoneware, salt fired to cone 10, 2015. 13 13 David Orser, 2008. Photo: Laurel MacDuffie.

www.ceramicsmonthly.org march 2019 37 Istoriato Reborn THE NARR ATIVES of LINDSAY MONTGOMERY By D Wood

38 march 2019 www.ceramicsmonthly.org In Maris Gillette’s study, China’s Porcelain Capital: the Rise, Fall and Reinvention of Ceramics in Jingdezhen (2016), she tells the legend of the emperor who com- missioned gigantic urns embellished with dragons. Multiple attempts to fire the vessels resulted in failure, threatening serious consequences for the Jingdezhen makers. In an act of desperation to save family and community livelihood and honor, the kilnmaster’s daughter leapt into the flames. When the kiln cooled and was opened, the urns were perfect, thereby ensur- ing Jingdezhen’s future as China’s porcelain capital for 1000 years. Gillette reports that the fable is often recounted, with visitors’ eyes being directed to a symbol of a girl’s body on the doors of local wood-fired kilns and at the Ancient Kiln Folk Customs Museum. This myth holds potential for Canadian ceramic artist Lindsay Montgomery, who spent the summer of 2018 in Jing- dezhen’s Pottery Workshop. Whereas Western potters have frequently gone to Jingdezhen to take advantage of the labor and facilities in the city, Montgomery’s intention was to explore the connection between 1 the narratives of East and West in order to extend the storytelling in her own work. Her glazed chargers are often devoted to tales of ancient sacrifice and torture as al- legories for today’s environmental and social problems.

Stimuli Both of Montgomery’s grand- mothers were painters. This ancestry challenged her parents: they knew their daughter’s future would be as an artist, yet they were reluctant to sanction her departure from the hinterlands of Ontario to attend a metropolitan art school. Lindsay’s mother accompanied her on an exploratory trip to Sheridan College—Canada’s premier artisanry training institution—and was impressed by the standards and professional possibilities. She was convinced that Lindsay had as much chance as anyone to thrive as a maker. Her tacit permission enabled her daughter’s devotion to the technical training that Sheridan offered in throwing, 2 mold making, and glazing. Concurrent with the onset of skill mastery was Opposite: Lake of Fire Charger, 23 in. (58 cm) in length, press-molded and handbuilt earthenware, painted tin glaze. 1 Daemon Series 1, 12 in. (30 cm) in diameter, press-molded exposure to craft and ceramic history, particularly and handbuilt earthenware, painted tin glaze. 2 Monster 1 Charger, 18 in. (46 cm) through a short course taught by Walter Ostrom. in diameter, pressed and jiggered porcelain, painted with cobalt paste, clear glaze.

www.ceramicsmonthly.org march 2019 39 Ostrom familiarized students with Renaissance art history and with Ostrom and Sandra Alfoldy, Canada’s leading craft scholar. led trips to the Gardiner Museum of in Toronto. She then went on to the University of Minnesota for an MFA, Lindsay says, “I go back to that collection again and again and studying with Mark Pharis. look at those objects. I hear Walter’s voice when I go because Consequence he had an amazing way of showing the work that made it feel contemporary.” Ostrom used humor—Lindsay confesses to recy- The eventual outcome of skills acquisition and influential mentors cling his jokes in her own instruction—but it was his belief that was Montgomery’s Neo-Istoriato series. In 16th-century Urbino, pottery can be conceptual and political that was impressive. The Italy, istoriato was a decorative style that depicted mythical, possibility of using pottery to address contemporary issues as well historical, or biblical subjects on majolica pottery. These images as the chance to study European art history prompted Lindsay to were intended to encapsulate the pressing concerns of the time, undertake her BFA at the Nova Scotia College of Art and Design such as religious orthodoxy about the fear of death and women’s association with the supernatural. Similarly, her imagery refer- ences stylistic elements from the Middle Ages highlighting current global issues. An example is the Lake of Faces Charger, which foregrounds the woodwose or wildman, who repre- sented the unknown and uncivilized for medieval European society; today he stands for ecology and the threatened environment. The wildman archetype—a sylvan messenger—looks belea- guered as he faces the many eyes, teeth and claws of authority. These threatening beasts ignore the imploring faces of those who have suffered from a polluted ecosystem. Montgomery says, “We are the same society in so many ways. Many philosophers have written about this. We are just continuing to extend the same ideas of patriarchy and oppression of the other.” Lake of Faces Charger was part of a solo exhibi- tion, “Aberrant Tales,” that appeared at Harbour- front Centre in Toronto in 2016. She believes that the 3 Neo-Istoriato series, highlighted in Aberrant Tales, was a breakthrough: “It’s been my most successful series to date. There was definitely a feeling when I made the first few pieces that something really clicked.” She felt that this was the work she was meant to do. Not only does it conform with the admonition of an art history professor who urged political engagement, but it also has resonance with collectors and exhibition attendees. Montgomery invests her work with modern associations and welcomes viewers’ personal interpretations. The wildman archetype calls to mind Debra Granik’s film Leave No Trace, while Hellmouth, another in the Aberrant Tales exhibition conjures the essence of Bruce Miller’s television series adaptation of A Handmaid’s Tale by Margaret Atwood. This charger shows women being burned in a pit beneath a caduceus—the symbol of Mercury, messenger of the gods and protector of commerce. The pit is overseen by a blindfolded, multi-armed, Kali-like figure from the Hindu religion who represents death, sexuality, and motherly love. The 4 painting on Hellmouth Charger references historical treatment of women at the same time as being up-to-the-minute: women and girls are still being immolated and pilloried worldwide.

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3 Lake of Faces Charger, 24 in. (61 cm) in length, press-molded and handbuilt earthenware, summer 2018 residency at the Sointula Art painted tin glaze. 4 Lioness Charger, 24 in. (61 cm) in Shed, in the Alert Bay area of British Columbia, al- length, press-molded and handbuilt earthenware, painted tin glaze. 5 Hellmouth Charger, 26 in. (66 cm) in length, press-molded and lowed her to continue her interest in the potency of craft handbuilt earthenware, painted tin glaze. practice by further examination of the Kwakwaka’wakw potlatch ceremony and objects. Montgomery’s presence was a chance to build resources and explore common resistance as well as con- nect with a community where distinction between art and craft is Sequel non-existent. She has no fixed notion of the outcome. Whether On one hand, Montgomery is aware that the content of her work it will be ceramics or another visual medium, this influence will might be seen as esoteric, “I really feel like academia is where I need percolate and permeate over the ensuing months. to be because my practice is so enriched by having conversations In summarizing her practice Montgomery states, “I would not focused on theory with a diverse set of people.” That environment, categorize my work as solely craft. It’s contemporary art. People are currently Concordia University in Montreal, where she teaches very interested in ceramics right now and a lot of contemporary ceramics in the studio arts program, has enabled improvement and artists are working in ceramics. The receptive audience for my growth. On the other hand, she wants her objects to be accessible, work in the past has been craft and ceramics galleries, but now “I’m constantly nurtured by the process of bringing somebody in the commercial world of contemporary art galleries is much more who thinks they don’t know anything about art and connecting receptive to showcasing ceramics, and this has been great for me.” things from art history in a way that is about a TV show that they Montgomery’s Neo-Istoriato series was on view at Centre Materia watched, or movie they saw, or something that happened to them in Quebec City in the fall of 2018, La Guild in Montreal (winter on the street. And I see their faces light up.” The balance between 2019), and she is co-curating a group show, “Kitsch Bitch Witch,” head and heart ensures that Montgomery challenges herself to for the National Council on Education for the Ceramic Arts move out of her comfort zone—the studio and the library—to be (NCECA) conference in Minneapolis, Minnesota, in March 2019. in public, an area where she feels she possesses less mastery than she exhibits in her making. the author D Wood has a PhD in design studies and is an independent Although ceramics is her primary focus, Montgomery includes craft scholar whose artist profiles and exhibition reviews have appeared performance art, puppetry, and video in her repertoire. Another in an international roster of art and design publications.

www.ceramicsmonthly.org march 2019 41 Expressions of Form and Line PÄIVI RINTANIEMI’S TABLEWARE AND SCULPTURE

by Lauren Kearns

42 march 2019 www.ceramicsmonthly.org I met Päivi Rintaniemi, a gifted Finnish artist, dur- ing a residency in France in 2016. I was immediately struck by her elegant approach to working with clay in both sculptural and functional bodies of work. During the residency, she created wall sculptures that were prototypes for a future large-scale installation. Päivi began exhibiting her sculptures after completing her studies at The University of Art and Design of Helsinki, now known as Aalto Uni- 1 versity, with a Master of Arts degree in 1987. Her focus was a five-year study in ceramics, design, and art. After graduating, she created her brand and product line, Amfora. Originally, her plan was to work as a sculptor, but after her studies, she had a vision of an interactive tableware set. By design, each person could build their set with pieces that are useful and work with different food cultures, from Eastern to Western. All the forms coordinate for beautiful dining, food presentation, as well as superior functionality. In 1996, Päivi opened a gallery in an industrial part of the city, Seinäjoki, where she also lives. To expand her market, she began exhibiting at interna- tional fairs. In 1997, she did her first fair in Japan, where she achieved tremendous success. After that, the public response to the work was so positive that she opened her current production studio in the back of the Amfora gallery to have sufficient space to fulfill the orders. To date, she sells her line interna- tionally in Denmark, France (Paris), Germany, Italy, Japan, Norway, South Korea, Sweden, Thailand, Taiwan, the UK, and the US (Dallas, Texas).

A Well-Designed Product Line Interestingly, and perhaps counterintuitively, the ta- bleware product line started with a candle holder— Päivi challenged herself to create a smooth, seamless transition from candle to holder. Her line of ware consists primarily of three sizes of curved plates, four cups, four mugs, one goblet, three bowls, two sizes of leaf-shaped dishes, a tray, a creamer, a pitcher, a round vase, a cylinder vase, a candle holder/vase, four bowls, salt and pepper shakers, and a few other items. The plates have elegant curves that coordinate with the bowls to create additional shapes as the forms interact with one another and organize and

Opposite: Ovo mortars for spices, 4 in. (11 cm) in diameter, cast porcelain, hand painted, fired to 2300°F (1260°C). 1 Thesaurus, 35½ in. (90 cm) in diameter, handbuilt stoneware, grog, fired to 2282°F (1250°C). 2 Flamma, 37½ in. (95 cm) in height, handbuilt stoneware, grog, fired to 2282°F (1250°C). Opposite, 1, 2 Photos: Sofia Rintaniemi. 2 display food. Each size of the various forms, from plates to bowls greenware piece is painted by Päivi. She receives special orders for to candle holders, is designed to work with other pieces to create new pieces to create and has completed many large installations a statement on the table. of her tableware. I have visited hundreds of ceramic studios in my Päivi’s production ware is a thoughtful, well-designed line of life and I have never seen any private studio of such scale. functional pieces; the simplicity of line movement flows into each piece. Form is her passion, and, as she says, “I am not a color per- A Renewed Enthusiasm son.” The palette she uses is only black and white, which simplifies In 2003, she started to create sculpture again, her primary pas- the large studio operation. Each of the forms have an assigned sion. In 2008, she won the Finnish State Design Prize, receiving a pattern of black and white. This allows for food to be displayed monetary award, a 3-year stipend, and an exhibition of her work. as the focus and main element of color in the composition of the In 2013, she won the Faenza Prize at the Museum of Interna- place setting. One green glaze is used occasionally for the shakers, tional Ceramics in Faenza, Italy, for her sculpture Avis. In 2018, vase, and leaf trays. All of the work is made of English porcelain she received the Artists Special Honorary Prize from the Finnish and fired to cone 10. government, giving her a stipend for life. This will allow her to Päivi and her husband, Markku, do all of the production, focus on her sculptures with renewed enthusiasm. The scale and and have made all of the slip molds. She has a large ram press texture of Päivi’s sculptures are impressive and the work is elegant that she bought from Meissen Porcelain Manufactory. Much of in the quiet and powerful forms. As with her functional work, the equipment has been purchased secondhand and altered by space and form are her palette for sculpture. Unlike the tableware, Markku for their specific needs including an adjustable-height when making sculpture, she doesn’t have to think of clients or us- table, a two-door kiln, a walk-in spray booth, and a large tank ers, and can concentrate on her own concepts and wonder about with a blunger mixer and large outflow pipe for casting slip. Each how unique, fragile, and powerful life is at the same time. She

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3 Group of molds filled with casting slip. All ware is cast in molds made of Päivi’s original models. The molds are made by Markku Rintaniemi. 4 Päivi working with sculptures. Photo: Sofia Rintaniemi. 5 Markku and Päivi at work in the Amfora studio in Seinäjoki, Finland. The studio is behind the sales gallery. 6 The adjustable-height table that Markku constructed. 7 Display of dinnerware creamers, 3½ in. (9 cm) in height, and individual serving leaf- shaped bowls 6 in. (15 cm) in length, high-quality porcelain. 8 Candlesticks, tea lights, vases, to 5½ in. (14 cm) in height, cast porcelain, hand painted, fired to 2300°F (1260°C). 9 Dinnerware plates and bowls, to 11 in. (28 cm) in diameter, high-quality porcelain. 10 Tri-leaf plates, 11¾ in. (30 cm) in length, cast porcelain, fired to 2300°F (1260°C), wood. 11 Espresso cups, 2¼ in. (6 cm) in height, cast porcelain, hand painted, fired to 2300°F (1260°C).

explains, “This miracle and paradox of life is my most important I see the simplicity and beauty of Päivi’s work not only in the design power and passion.” of the plates, but the totality of all the pieces for the table. The sculp- The movement of the physical and compositional line and a tures are a separate expression of the quality of form and the line that focus on space and form connect the two bodies of work. In both flows within it; like a planetary force where gravity contains the mass, the functional ware and sculptural vessels, lines and curves flow the compositional line flows and is contained in the space of the vessel. harmoniously throughout each piece. Päivi states, “I’ll get inspired In one of our conversations Päivi said, “Love is the only thing by observations and analysis of life and people’s behavior around that truly matters in the world.” I will conclude by saying that me. As a designer, I like the quality of physical lightness, a multi- love emanates from every thoughtful, beautiful, graceful aspect of functional design for everyday objects that is also important for Päivi’s work, and from her being. long-lasting, timeless design.” As Päivi describes it, the difference between her work as a the author Lauren Kearns is a professional artist, teacher, and designer and an artist is that as a designer she lives an everyday creator/owner of the International Artists Residency Exchange life, but as an artist, she lives a holiday life. In the latter, her days (www.internationalartistsresidencyexchange.com), a residency program are free to structure as she wishes, and to work as her passion and located in Saint-Raphaël, France. She has assisted students of all ages and sculptures demand. abilities in ceramics and continues to actively promote the ceramic arts.

www.ceramicsmonthly.org march 2019 45 Collaborative

Companionsby Eric Botbyl and Justin Rothshank

Ceramics Monthly: The “Collaborative Companions” exhibition held on six pieces with each other, as well as present four individual at Union Project during the 2018 National Council on Education for pieces for points of reference. the Ceramic Arts (NCECA) conference in Pittsburgh, Pennsylvania, During the planning stages of the “Mo Fauxs” exhibition, brought together 28 ceramic artists to make work individually and in Rothshank asked me if I’d like team up with him and organize pairs. Can you describe how you formulated this idea, and what you a collaborative show on a much larger scale during the NCECA hoped for with this exhibition? conference in Pittsburgh. Eric Botbyl: The idea for a collaborative exhibition came to fruition Our hope was to expose a larger, more diverse group of artists only after Justin Rothshank and I collaborated on a few series of to the exponential growth that stems from collaboration, as well as work. Our first experience could be chalked up to getting to know create an environment in which cross pollination was encouraged. each other. The second experience widened my perspective and planted the seed of curiosity, leaving me hungry to pursue other CM: How did prior collaborations with one another and with other collaborative projects. artists impact your approach to organizing the show? Through Companion Gallery, I curated a collaborative exhibi- Justin Rothshank: I met Eric through an initial experimental col- tion of three contemporary trompe l’oeil artists: Tim Kowalczyk, laboration. He offered me some cups to decorate . . . a first date Mitchell Spain, and Brett Kern. Each artist was asked to collaborate perhaps? This got us talking and led to ongoing conversations about

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1 Mike Cinelli and Margaret Haden’s urn, 10 in. (25 cm) in height, wheel-thrown earthenware, underglaze, luster, 2018. Photo: Margaret Haden. 2 José Sierra and Mark Arnold’s vase, 10½ in. (27 cm) in height, handbuilt dark brown stoneware, AMACO underglaze, 2018. Photo: Mark Arnold. 3 Jen Allen and Margaret Haden’s pitchers, 7¼ in. (18 cm) in height, wheel-thrown and altered red stoneware, glaze, gold luster, fired to cone 6 in oxidation, 2018. Photo: Margaret Haden. 4 Jared Peterson and Jessica Putnam-Phillips’ Gold Dog Vase, 14 in. (36 cm) in height, handbuilt earthenware, slips, glaze, decals, gold luster, fired to cone 04 in oxidation, 2018. Photo: Jessica Putnam-Phillips. 5 Mike Cinelli and Shalene Valenzuela’s tumblers, 61/2 in. (17 cm) in height, wheel- thrown earthenware, underglaze, glaze, fired to cone 04 in oxidation, 2018. Photo: Shalene Valenzuela.

our own work, life, and careers. It allowed us to build a friendship. listen, and produce. This show was a way to do this on a much I had been collaborating with other makers regularly for quite some grander scale, while enlarging our own networks, and welcoming time before, but I had always been the person bringing the surface others to share the process with us. to the collaboration. Eric wanted to change it up. He invited me to start the process with my own forms, which he then manipulated CM: How were artists selected to participate? How were they RECIPES and expanded. Part of the excitement about this approach for me paired up with other artists for the collaborative aspect of the show? 68 66, is learning new techniques and methods from others. EB: Our goal was to pair unlikely suspects to begin a conversa- In the best case scenario, a collaborative project leads to work tion, in vessel form, geared towards discovery, cross pollination, that is better, more compelling, than each artist could create alone. and understanding. However, even in a failed collaboration there’s still an opportunity Collaborations are an invitation for possibility and potential. for connection. The idea of connecting other artists to each other We offer up a clear vision for reinterpretation and a second opinion, felt compelling to both of us. We’re both eager to learn, experiment, and in return are challenged in our own way of thinking. Hopefully,

www.ceramicsmonthly.org march 2019 47 we welcome the opportunity to be shaken and view our work in CM: What type of calendar or specific deadlines were artists given in a new or different light. What can we learn from working with order to make sure the collaborative work was completed in time for artists of a different generation, gender, race, or religion? How do the exhibition? we propose questions in form or texture? How do we respond with JR: The form people had 3½ months to send or deliver work to color, pattern, or imagery? How do we approach a collaboration to the surface people, who in turn had 3½ months to complete and ensure a dialog, rather than two consecutive monologues? photograph the work. We sent out a few periodic reminders to We began by inviting a broad spectrum of artists that we felt everyone in an effort to stay on track to meet deadlines. were identifiable by either form or surface. With encouragement from Kevin Snipes to let fate play an active role, we pulled names CM: Were there any instances of struggle within the pairings? from a hat to determine who’d be working with whom. The selec- JR: In short, yes, there was struggle. Some people dropped the tion process was by random chance. Each artist worked one-on-one ball and didn’t produce. Others experienced catastrophes with with a total of three different artists. materials. Some just didn’t communicate. But others struggled and delivered. Some pairings have led to ongoing conversation CM: Did you provide a framework or parameters that the collabora- and collaboration. In the end, the artists produced some truly tive teams worked within? phenomenal work. EB: As far as Justin and I were concerned, anything and everything EB: As with just about any human endeavor, there were certainly was welcomed. Concepts and themes including current events, elements of struggle and conflict. Looking back, I would compare humor, aesthetics, politics, race, religion, or lack thereof were all what happened behind the scenes to an extended family holiday in bounds. We encouraged the artists to communicate with each dinner. Relationships were forged or deepened, and everyone was other. For financial and space-constraint reasons, we limited the size challenged in multiple ways. Some contributed more than oth- of each piece to a maximum of 15×15×15 inches. This was a vessel ers, communication could have been better, ego and self-esteem show, although both functional and sculptural vessels were welcome. took their toll, and in the end, it was delicious. Honestly, it was JR: We selected two groupings of artists: fourteen artists were messy . . . messy and beautiful. selected because of their distinct and recognizable forms, and fourteen artists were selected because of their distinct and recogniz- CM: Have your perspectives on collaboration changed since organizing able surface treatments. Each form artist was paired with three and participating in the exhibition? surface artists, and vice versa. Each pair decided how many JR: Prior to organizing this exhibition, I began several early pieces to create. Some only made one while others made collaborative projects with others in an intuitive way, truly a small collection and chose the best for the exhibition. as a way to play. It was a fun way to try to fix pieces that

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6 Jared Peterson and Kari Radasch’s Dog Vase, 14 in. (36 cm) in height, red stoneware, underglaze, glaze, high-temperature wire, fired to cone 6 in oxidation, 2018. Photo: Kari Radasch. 7 Eric Botbyl and Damian Grava’s basket, 15 in. (38 cm) in height, wheel-thrown and altered white stoneware, flashing slip, soda fired to cone 10, 2018. Photo: Damian Grava. 8 Eric Botbyl and Juan Barroso’s Patriarchs, 5 in. (13 cm) in height, wheel-thrown and altered porcelain, AMACO underglaze, 2018. Photo: Juan Barroso.

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came out of a kiln with less than ideal results. A friend’s glaze blem- ish could easily be patched with a decal or an oxidized wood-fired pot could be spiced up with some gold luster or added surface decoration. This led to more intentional planning, perhaps a form prepared with space intentionally designed for a poppy flower, or a friend making pots using a clay body that worked well with my glaze selection. As I’ve continued collaborating with many others, it’s been rewarding to find that both planning ahead, and intuitively responding, are valuable to me in collaboration. 10 The process of organizing, participating in, and evaluating this 9 Brenda Lichman and Paul Ide’s teapot, 51/2 in. (14 cm) in height, wheel- exhibition has given us both an opportunity to reflect on what thrown and altered porcelain, underglaze, fired to cone 10 in oxidation, makes good collaborative work. It’s clear that we all approach 2018. Photo: Paul Ide. 10 Deborah Schwartzkopf and Justin Rothshank’s the challenge in a different way. Some of us prefer deep discus- pitcher, 12 in. (30 cm) in height, wood-fired porcelain, decals, luster, 2018. Photo: Justin Rothshank. sion, extended planning, and deliberate thought. Others prefer to approach the challenge through intuitive response and organic evolution. Still others find it overwhelming or confusing. I don’t think there’s a wrong way to begin, though there can be some duds in the process, as with our own work. The best collaborations, like any relationship, offer an opportunity to grow, change, build on portunity to delve deeper into the relationship, experimenting back past successes, and work through failures and challenges. This show and forth in different ways. We’re eager to see how this develops. was about risk taking, experimenting, and having fun. These are the important ingredients in growing as an artist. “Collaborative Companions II” will be on view at the Crowne Plaza Minneapolis on the 7th floor during the 2019 NCECA conference. CM: How will the concept evolve for the next iteration of this exhibition? The exhibition is free and open to the public from 10am to 7pm for JR: We’ve planned a second exhibition for NCECA 2019. In this the duration of the conference. second show, Botbyl and I have chosen the pairings, instead of rely- ing on randomness. We wanted to deliberately match artists, based the authors: Justin Rothshank is a full-time studio potter living in on our knowledge and assumptions, with the hopes of cultivating Goshen, Indiana, with his wife, Brooke, a painter and illustrator, deeper conversation. We’ve only paired artists with two unique and their three children. To learn more about their work, check out collaborators, instead of three, in the hopes of making administra- www.rothshank.com and Instagram @jrothshank and @blrothshank. tion of the exhibition easier. Lastly, we didn’t necessarily categorize artists as surface or form makers, but instead chose pairings that Eric Botbyl is a full-time studio potter, teacher, gallerist, and occasional seemed to be a good fit. Thus each set of paired artists are left with author. Eric and Jill Botbyl own and operate Companion Gallery in a decision about how to pursue the collaboration. It was our hope Humboldt, Tennessee. To learn more, visit www.companiongallery.com that with more freedom to choose, the artists would take the op- and Instagram @ericbotbyl and @companiongallery.

www.ceramicsmonthly.org march 2019 49 In, Out, and Back

INby Allan Kluber TO CL AY

I was smitten with clay when I first took a ceramics class during In a year’s time I was an accomplished production thrower. That my last undergraduate term at Antioch College in Yellow Springs, summer, through good fortune, I participated in the kiln-building Ohio. It was 1967, and all of us under 30 were going to remake festival that Paulus Berensohn, together with M. C. Richards and the world for the better. Two weeks into the term I knew that my Karen Karnes, created on his farm. He had not yet written his contribution to the revolution would be through making hand- book Finding One’s Way With Clay, but everything about him made objects for the people. I ditched my newly-earned teaching spoke to the necessity of listening to one’s authentic inner voice credentials and found a production potter, Byron Temple, to take and following wherever it led. When I listened, I didn’t feel that me on as an apprentice. production-thrown pots were going to change the world the way

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1 Geologic form, 4 in. (10 cm) in height, colored clay, 2017. 2 Plate, 11 in. (28 cm) in diameter, colored porcelain, 1978. 3 Vessel 5 in. (13 cm) in height, clay, glaze, 1985. 4 Bowl, 7 in. (18 cm) in diameter, translucent porcelain, 1982. 5 Plate, 13 in. (33 cm) in diameter, colored porcelain, 1981. 6 Vase, 7 in. (18 cm) in height, porcelain, 2018. 7 Geologic form, 7 in. (18 cm) in height, colored clay, 2018. 1, 6, 7 Photos: Jonathan Smith.

I wanted. So, looking for a way to have a larger impact, I went expanding the way clay and I worked together. Over time the semi- to work in the mold shop at the Haeger Pottery factory in East production work evolved, first to include a gray scale and then a Dundee, Illinois. Before long I could see that their focus was on full range of color. Meanwhile I was exploring clay as a recorder of glitzy glazes and lowering unit cost, not on humane design that rhythmic forces and geologic references, and porcelain for it’s trans- would enrich ordinary lives. lucency and color. I was ambitious. I moved away from the Saturday By the next fall, I was enrolled in an MFA program at the Uni- markets and into galleries, received fellowships from the Oregon versity of Oregon in Eugene, with its then-focus on understanding Arts Commission and the National Endowment for the Arts, taught ceramic processes. There I learned to explore clay as a process and workshops, and served on percent-for-art juries as an invited artist. to develop work as an interaction between my intentions and my As I passed 40, I had become externally successful, but internally growing understanding of the clay’s properties. Having thrown things felt dissonant. I wasn’t really making pots for the people, since Byron Temple's pots for a year during my apprenticeship, their even my production pieces were becoming increasingly expensive. forms had become so ingrained in my hands that I abandoned The optimism of the 1960s had faded; the world hadn’t changed as throwing. Wanting a clean slate, I chose to work only in porcelain expected. At its worst, it felt like I was making playthings for rich and gradually developed a gray-scale palette and slab-based forming people. And so when a small retrospective show ended in 1987 and techniques. Because I taught a class as part of my graduate fellow- I had no energy for work, I decided that rather than push through it ship, I toyed with becoming an academic. But a tight job market as I had done in the past, I would just stop and listen. It was not an and my lack of understanding of academic hiring processes more intention to stop entirely. I stopped because the work felt complete. or less forced me to start a studio ceramic career, something I’m I was at a point where my work began to feel predictable, and it grateful for in hindsight. was less interesting and vital for me. I wanted to pursue a form for that expression that was challenging, nourishing, and of value in the Developing a Studio Career larger world through a more direct relationship with other people. Compared to today, it was awfully easy then to make a modest liv- ing selling pots, especially in Eugene, where a weekly Saturday craft Changing Focus market that attracted plentiful customers had begun. I developed I completed a counseling degree, worked with injured workers a line of plant-impressed functional pieces, and kept exploring and at the local community college, produced a parenting education

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8 Pair of mugs, 4 in. (10 cm) in height, made from one piece of clay, 2018. 9 Bowl, 7 in. (18 cm) in diameter, 2018. Photos: Jonathan Smith.

video series, became a mediator, and started volunteering daily with to reflect on my original motivations for working in clay and the first graders who were having a hard time learning how to read. current successes and failures in achieving those goals. It also led I felt myself being socially useful. I married, had two children, me to assess the strengths and weaknesses of the geologic work. and divorced. And while I did, on occasion, miss being engaged I was pleased that it broke new ground in using water erosion as with clay, when I listened, nothing told me to get back to work. I a forming process. I was happy that there were rich metaphori- thought I was through with clay. cal associations embodied in the work. It felt to be new territory barely explored; however, I was less happy with a dilemma of small Unexpected Inspiration sculptural work, namely that there is no natural place for it in most But then two summers ago, nearly 30 years after stopping, a trip people’s world. Usually a place has to be made, and this often is a through Southern Utah reignited a vision through clay. I was deeply barrier. By contrast, functional work has a natural home and can moved by the evocative rock formations and saw them in terms of integrate seamlessly and unpretentiously into a person’s life. This is what I knew about clay. I realized I could respond through ceramics one of the things that had drawn me originally to working in clay. to the millions of years of geology but within a human time scale, Another original motivation for clay work was its tactile experi- and I saw how I could embrace the expressive qualities of those ence, both in the forming process and in the use of the finished processes and resultant forms. pieces. The geologic work, formed by water erosion and then Upon returning to Eugene, I quickly set up a minimal studio, pedestal mounted often under a Plexiglas case, completely lacked a began working, and found that my ceramic roots were still intact. tactile dimension. By contrast, a mug is an intimately and tactically The work flowed as if it had been waiting for spring. No longer made object that in use is handled and touched by hand and lips. focused on advancing my ceramic career, I felt a new freedom and My painter friend Peg Coe suggested that elements of the geologic a broader, richer perspective. There was an increased awareness of work could be applied to functional work. I realized that I could inherent metaphorical implications, and I was able to respond to layer the clay geologically with the colored strata embedded in a them more consciously. slab that could then be formed into functional shapes. I began Now, as I am working again, I think about the present times in to tentatively form some cups whose surface colors and patterns which existing social forms are rapidly changing into an unknown revealed the layered clay structure that existed throughout the landscape. Norms, standards, values, agreements, and expectations piece. These showed promise and were quickly expanded to handled are being eroded, and what is left in their place remains to be seen. mugs as well as bowls and vases. The work is now progressing and Is it entirely a process of decay, or is it one of transformation and maturing rapidly. renewal? In the geological evolution of the earth, existing forms Today I am fully engaged in making functional work for gal- have been repeatedly eroded, destroyed, and recreated into new leries and shows, and when I’m doing it, it is all that matters. forms. How does this relate to our current turbulent times? Since all But when I step back it doesn’t seem that important, especially is transitory and our lives occupy a blink in time, how is the larger in contrast to helping a struggling first grader learn to read, and picture to be seen? While we are an insignificant part in a geologi- perhaps open up a full and rich life that could have been shut down cal process, our own growth, evolution, and destruction is all we by early failure. I find that working with clay again is informed by have. Are we passive observers or an active part of the process? So all I have done these past 30 years. It’s now a personal dialogue the work remains an open question, but within a new perspective. with clay in an exploration of the human and physical world. This is not what I expected, not at all 2 years ago, and not in this Functional Pots Return form a year ago. At an age (74) when I expected to be winding When I first finished this article over a year ago, I thought my down I find that all the shackles have been lifted, and I am free path forward was clear, and I would be making small geological to move in any direction at any speed. I learned years ago from clay sculptures and contemplating their metaphorical implications Paulus Berensohn the importance of listening to one’s self, but into the indefinite future. But then, as I considered the work and now I unexpectedly find myself doing it more profoundly than how it had been received, I felt some dissatisfaction. This led me ever. Such a nice surprise.

52 march 2019 www.ceramicsmonthly.org TESSELLATED WALL INSTALLATIONS by Jackie Head

Black and White Study #2, 32 in. (81 cm) in length, porcelain, underglaze, glaze, 2018.

My studio practice of slip casting tiles and creating wall instal- I traveled to China the semester before graduating, and up lations began in the summer of 2014, during my final year at until that point had focused on coil-built and slab-built abstracted Indiana University, when I had the opportunity to study abroad in forms inspired by nature. While in Jingdezhen, the porcelain was Jingdezhen, China, through West Virginia University’s Ceramics challenging to handbuild with, and therefore made it difficult to in China program. I was excited to learn about traditional ceramic construct large sculptures. My solution was to build solid objects. techniques in the porcelain capital of the world, and had no idea Slip casting is a huge industry in Jingdezhen. By sculpting solid, I what a pivotal role it would play in my studio practice and my life. would be able to hire a master mold maker to create molds for me.

www.ceramicsmonthly.org march 2019 53 Tile 1 (front) Tile 2 (front)

1 2 Tile 1 (back) Tile 2 (back) 3

Tile 1 (front) Tile 2 (front) Tile 1 (front) Tile 2 (front)

Tile 1 (back) Tile 2 (back) 4 Tile 1 (back) Tile 2 (back) 5 1 Create a template for tile shapes using Adobe Illustrator. 2 Print out the template for the tile shapes, cut out the shapes, and trace their outlines onto laminate boards using a permanent marker. 3 Pack clay onto laminate boards in the approximate shape and desired depth of the front and back of each tile. 4 After allowing the prototype to dry for several hours, carve the clay into more refined forms. 5 Once the clay is leather hard, fine tune the prototypes further using serrated loop tools and ribs.

I began sketching forms and trying to figure out how they could tile form as well. For this installation, I was interested in using a create a continual pattern. I developed two simple forms that could three-pronged tile and a star shape on a hexagonal grid. The gray interlock and repeat, similar to a wallpaper pattern. tile form that completes the interlocking pattern was originally the background or negative space in this pattern (1). Inspiration and Research Upon returning to Indiana University after my time in China, Prototypes I had a new focus and process, and began to create a new body The tile outlines are enlarged by 10% to accommodate the shrink- of work for my BFA thesis show. I fell in love with researching age that occurs when the porcelain clay body is fired to cone 6. I pattern making and the challenge of creating configurations that print out the outline of the prototype shapes, cut them out, and could repeat endlessly. trace them onto laminate boards (2). Separate prototypes of the

RECIPES Islamic mosaics, vintage fabrics and wallpapers, and quilted front and back halves of each of the shapes are sculpted out of solid 68 patterns inspire me. To begin a piece, I research these sources clay using a clay body with no grog to achieve a smooth surface. of inspiration and use Adobe Illustrator to develop tessellated Wet clay is roughly packed onto the boards in the approximate patterns. To create a piece with interlocking tiles, I focus on shape and desired depth of the tile prototypes (3). After drying for one or two shapes and configure various orientations until I am several hours, the clay begins to stiffen, then I carve the prototypes satisfied with both the positive and negative spaces. In the finished into a more defined shape (4). Once the prototypes reach the begin- piece, the negative space between two shapes will become a positive ning stages of leather hard, I refine the shapes using serrated loop

54 march 2019 www.ceramicsmonthly.org 6 7

8 9

10 11

6 Use aluminum flashing to contain the plaster once it is poured onto the prototype. 7 Fill in the negative space in the first mold part with clay. Place the back of the prototype onto the first mold part. Add or remove clay to create a seamless connection with the front of the prototype in the first mold part. 8 Place a PVC pipe in the back of the tile form to create a pour hole. Use aluminum flashing to contain the plaster when pouring it onto the first mold part. 9 First and second mold parts created for the tile. 10 Pour plaster onto the first mold part to create a mother mold. 11 Place the PVC pipe in the pour hole with 1/4 inch of it inserted into the negative space of the mold. Pour plaster onto the second mold part to create a mother mold.

www.ceramicsmonthly.org march 2019 55 12 13

14

12 Once created, the mother molds (and plaster positives) of the prototypes are used to create multiple reproductions of the same mold. 13 Use bisque- fired tile forms to develop desired layout of the final piece. 14 Frog Tape is used to create a precise line to apply underglaze followed by a layer of wax resist. The remaining bare half of the tile is then dipped in glaze.

tools and various ribs to achieve their final forms while ensuring it lines up with the solid clay form that is still in the mold. This step there are no undercuts on the prototype (5). requires patience and attention to detail. It is important to make In preparation for creating the molds of the front half of each sure that the front of the tile and the back of the tile line up perfectly. shape, the prototypes are refined a final time. To accomplish this, To do this, use a metal rib and shave the sides of the back half of a soft paintbrush dipped in water is used to remove any imper- the tile down little by little, just until the edge of the clay from the fections, and a flexible rib is used to create a smooth surface and front tile section becomes visible. Add clay as needed to create a reinforce any sharp angles. seamless connection, and then refine the back half of the tile (7). Before wrapping the aluminum flashing around the first plaster Creating the Molds mold section to pour the second part of the mold, apply several coats Wrap aluminum flashing around the prototype, leaving a 11/2–2-inch of Murphy Oil Soap to the surface of the plaster. Ensure that all ex- gap between the flashing and the edge of the clay form. The flashing cess soap is removed before pouring the plaster, so that no unwanted creates a barrier to contain the plaster once it is poured onto the marks are captured in the mold. Next, secure a piece of PVC piping prototype (6). Once the base of the flashing is sealed with a coil of to the center of the shape to create a pour hole. Using PVC piping wet clay, plaster is poured in until the depth of plaster surrounding allows me to have consistency with the size and placement of the the prototype is 11/2–2 inches. pour hole when producing multiple molds of the same shape (8). Once the plaster sets up, the next step is to create the back half. After both parts for the original mold are created (9), plaster Creating a back to the tile lifts the form from the wall visually, and is poured into the molds to create mother molds of the front and makes it more dimensional and interactive for the viewer. To begin back of the tile. In this step it is extremely important to be very this process, create registration keys in the first half of the mold. liberal with the application of Murphy Oil Soap (10, 11) when Use a wire tool to carefully release the back of the prototype shape coating the two halves of the mold prior to pouring the plaster. If from the laminate board. Place it on top of the plaster mold so that the surface is not sealed well with mold soap, the newly poured

56 march 2019 www.ceramicsmonthly.org Above Left: Kaleidoscope I, 5 ft. 9 in. (1.8 m) in height, porcelain, paint, 2018. Top Right: Field of Flowers, 19 ft. 7 in. (5.9 m) in length, porcelain, glaze, 2018. Bottom Right: Yellow, 6 ft. (1.9 m) in length, porcelain, glaze, 2018.

plaster can stick to the mold. Once I have created mother molds lowed it to dry, and then removed the tape. I dipped the remaining for both parts of the mold, I have plaster positives of the front and bare part of the tile in a clear, glossy glaze. back of the tile (12), and am able to create multiple molds of the To install, I print out the Adobe Illustrator layout I created same tile form. This allows tiles to be produced quickly. I typically to design the prototype shapes, in the desired final layout (using make 3–5 molds of each tile form, depending on how many tiles the original size, not the scaled-up outline that accounted for clay I need and how quickly a deadline is approaching. shrinkage and was used to create the prototype). Once printed, I use a tile to mark the template with the location of the opening Arranging and Finalizing on the back of each tile left by the pour hole. This shows where While casting, I leave the slip in my molds for 6 minutes to create the screw or nail used to hang each tile should be affixed to the an 1/8-inch wall thickness for my tiles. When firing to cone 6, I wall. Once the screw holes are marked, I hang the template on the don't have any warping issues because of the structural integrity and wall, use a drill to place the screws, then hang the tiles one by one. compact nature of the tile forms. It has been four years since my BFA thesis exhibition, and I don’t Once the tiles are bisque fired, I arrange them in various con- see myself shying away from creating wall installations anytime figurations in order to find the perfect design (13). I can also do soon. I always seem to develop problems to solve and challenges this in Adobe Illustrator, but I enjoy arranging the physical tiles to overcome, which keeps me coming back into the studio. because it allows me to have a better understanding of the different planes and how shadows may be cast over them. the author Jackie Head received a BFA in ceramics and BS in arts When I have finalized a layout, I use a combination of glazes management from Indiana University in 2014. She was a summer and underglazes to finish the tiles. For this specific piece, I used resident at the Archie Bray Foundation in 2018. Jackie lives in India- Frog Tape to create a crisp resist line, and Amaco’s Velour Black napolis, Indiana, where she maintains a private studio. Learn more underglaze (14). I applied wax resist over the underglazed half, al- about her work at www.jackiehead.com.

www.ceramicsmonthly.org march 2019 57 WOMEN WORKING WITH CLAY SYMPOSIUM

JEN ALLEN | BETH LO | LIZ LURIE | TIP TOLAND | DONNA POLSENO DARA HARTMAN | LYDIA C. THOMPSON | CYNTHIA BRINGLE

Join us for the Women Working with Clay Symposium at Hollins University. Observe the presentation of various working methods in pottery and sculpture, and participate in discussions that examine and explore the connections of the history of women as vessel makers, artists and artisans. Led by remarkable ceramic artists, you’ll find inspiration and gain valuable insight from demonstrations, lectures and panel discussions. To register, visit www.hollins.edu/wwwc or call (540) 362-6021.

JUNE 10-13, 2019 | Roanoke, Virginia | [email protected]

43

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58 march 2019 www.ceramicsmonthly.org IMPORTANT ANNOUNCEMENT WE CHANGED OUR NAME + =

The owner of Aftosa, Arnie Bernstein, purchased Leslie Ceramic Supply Co. Shop from these (previously located in Berkeley, CA) and categories! Ceramics & Crafts (previously located in • Ceramic Clay • Glazes San Francisco, CA) in January 2015. • Tools & Supplies The inventories of both companies were • Raw Materials • Bisque merged with AFTOSA and morphed a retail store in Richmond, CA known as • Kilns & Equipment Leslie Ceramic and Crafts Supply. In the • Kiln Shelves Fall of 2018, the names of both companies • Tile Products • Display were combined for both mail order and retail store to Leslie Ceramic Supply. & Much More! Find just what you are looking for at an a ordable price - Local Delivery & Pick Up - Free Shipping on orders being shipped Ground in the Contiguous US - $4.95 Packaging & Handling Fee on every shipped order For more information, please visit our website $ Come visit us at NCECA SAVE AN Booths: 229-231-330 EXTRA The Pottery Texture 1 Use code 10CM0 Queen, Lynn Wood Expires 12.31.19 You MUST present this coupon to the cashier in store or will be demonstrating! use coupon code for phone and online orders. Cannot be combined with any other o er or discount. Valid for one purchase, per one customer only. Valid only from 1/1/19 to 12/31/19. $10 In-Store Minimum Purchase / $20 Phone & Online Minimum Purchase 1776 Wright Avenue • Richmond, CA 94804 • 510.524.7363 www.leslieceramicsupply.com • Mon - Sat: 9am - 5pm [email protected]

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www.ceramicsmonthly.org march 2019 59 TECHNO FILE porcelain bodies 201 by Thomas Anderson

Determining formulation standards for porcelain depends on the application, firing temperature, and desired characteristics of the final, fired ceramic forms.

Defining the Terms For the last three decades, the Internet has been filled with porcelain clay body recipes. Some Clay/Glaze Interface: The point of have been passed forward from decades ago, some contain materials no longer mined, or fusion, where glaze and clay meet. contain material that is only regionally available from local mines. Like most recipes, there is little clarity on their intended use such as appropriate cone firing range, functional or sculptural Molar %: Percentage of one kind of molecule relative to the total number of applications, or the fired properties. From the 1920s to the late 1970s, ceramic engineers molecules in a mixture. conducted research using laboratory standards and testing to determine optimum levels of kaolin, silica, and feldspar in porcelain clay bodies. Mole(s): The unit of measure for the amount of a substance. Within The gold standard for cone 10 porcelain is: 55% kaolin, 20% silica, and 25%feldspar, plus ceramics, it is a way to express the 2% of modern plasticizers such as Bentone MA (4.1). This basic recipe stems back to the amount of reactants that will produce studio potter movement and is the basis of the Grolleg kaolin porcelain clay body. In the early chemical reactions. 1980s, the cone 6 revolution adapted this recipe for this lower temperature firing range: 50% Mullite: Synthetic silicate mineral that kaolin, 20% silica, and 30% feldspar (4.2). The feldspar levels determine whether it is a cone

forms above 2012°F (1100°C), with 10 or cone 6 formula. Potassium oxide (K2O) and sodium oxide (Na2O) (combined they are high mechanical strength and thermal represented and calculated as KNaO) are the two body fluxes that are considered in porcelain. shock resistance. Particle Size Distribution (PSD): Development of a Glassy Matrix A formulation theory that arranges Unlike stoneware bodies that rely heavily on particle size distribution (PSD), porcelain bodies differing particle sizes in the tightest possible packing density. rely upon the development of a glassy matrix (glass like structure) to keep absorption rates in the functional use range (less than 2%). Not unlike glaze, the glassy matrix in porcelain is Plasticizer: A mineral or synthetic comprised of alumina, silica, and KNaO, thus making the molar levels of KNaO and the ratio of additive that imparts malleability or flexibility to a clay body. silica to alumina (Si:Al) the critical aspects of all porcelain bodies. The molar levels of KNaO are then raised or lowered pending cone firing values, while the Si:Al ratio remains fairly constant. Pyrophyllite: A clay mineral with In comparing the numerous tested recipes in the database I have collected in relation to the properties similar to silica that imparts thermal stability and lowers testing done decades ago, a 4:1 Si:Al ratio is the standard. Increasing alumina for structural thermal expansion. or thermal resistance is acceptable; lowering alumina too much can result in adverse effects. Remember glaze leaches alumina from clay, which in part controls glaze viscosity and plays a Spinel: An alumina/silicate crystal that forms between 1800–2050°F, which vital role in the clay/glaze interface (the structure that bonds glaze and clay tightly). While raising converts to mullite (glass) on cooling. alumina will strengthen the clay, it will also slow down the glaze run. Conversely, lowering alumina can increase the glaze run. Alumina is a critical component in spinel development, Translucency: A fired property that allows light to pass through the clay wall which is the primary component of the glass/mullite content in porcelain. creating a transparent effect. Kaolin, Fluxes, and Translucency All kaolin will supply some level of natural fluxes: calcium, magnesium, sodium, potassium, and in rare cases lithia. Naturally occurring KNaO levels become part of the final molar

1 2 3

1 This 4.29 molar % of KNaO sample is just beginning to develop glass content at cone 6. 2 When increased to 5.61 molar % of KNaO the glass content creates high translucency and lowers absorption at cone 6. 3 The glaze/clay interface reveals the undulating structure that forms a strong mechanical bond.

60 march 2019 www.ceramicsmonthly.org iron, magnesium, and titanium to maintain a bright Recipes and Cone Value KNaO Iron Titanium Si:Al COE white color. Converting this 50/50 cone 10 recipe to cone 6 only requires a change of silica to 20% 4.1 Cone 10 Grolleg Kaolin 4.70 0.14 0.01 4.05 5.97 and KNaO to 30% (4.4). 4.2 Cone 6 Grolleg Kaolin 5.32 0.14 0.03 4.21 6.15 In more current porcelain clay body formulations, additions are most often used as plasticizers. 4.3 Cone 10 50/50 4.38 0.20 0.28 5.07 5.82 For instance: 35% kaolin, 15% ball clay (high 4.4 Cone 6 50/50 5.16 0.20 0.28 4.67 6.11 plasticity), 25% silica, and 25% KNaO will produce a highly plastic throwing body for cone 10. Lowering 4.5 Cone 6 35/15 5.15 0.11 0.13 3.98 6.08 the silica to 20% and increasing KNaO to 30% will 4.6 Cone 6 Translucent 5.38 0.11 0.03 3.98 6.05 make this same recipe suitable for cone 6 (4.5). Ball

4 These recipes were developed in the 1950s, and have been thoroughly tested. They can clay additions become a trade-off between plasticity be used as a standard to analyze and compare your recipe formulation values. All values are and metallic oxide levels, with potters’ preferences given in molar %. in plasticity also governing additions. level, while the other fluxes do not occur in high enough levels to Interpreting Molar Percent have any real effect. The cone 10 Grolleg kaolin body shown in the The values given in the chart (4) are in molar percent, and not chart (4.1) has a 4.70 molar % of KNaO, and the cone 6 body (4.2) recipe percent. Molar % is easier to comprehend as a concentration has a 5.32 molar % of KNaO. Both bodies have absorption rates level. For example, if you added one drop of red dye into a gallon below the functional use criteria of 2% or less. To achieve higher of water, then 5, then 10, the color would increase because of translucency at cone 6, molar levels of KNaO can be increased into the concentration level. Applying this illustration to formulation, the 5.60% range. To control thermal expansion issues from raku ball clay was added in recipes 4.3, 4.4, and 4.5 in the chart, which or wood firings, simply swap out 50% of the silica in any clay body lowered the KNaO molar %, even though KNaO additions remained for 50% pyrophyllite. This mineral reacts less to sudden thermal constant. Due to the iron and titanium content of ball clays, the iron changes, while lowering thermal expansion. and titanium concentration spiked, which would affect translucency, Translucency requires higher KNaO levels, but it also requires much although fired whiteness would be unchanged. The Si:Al levels purer varieties of kaolin. Kaolin contains low levels of magnesium, ratio likewise changed because ball clays have more silica and less iron, and titanium. To maintain a bright white, iron and magnesium alumina than kaolin. must remain under 0.30% molar. For translucency, titanium must remain under 0.10% molar. Titanium, as an opacifier, absorbs and Studio Application refracts light, which diminishes the amount of light that passes When selecting a ball clay as a plasticizer in porcelain clay bodies, through the clay wall. Titanium has a direct effect on translucency. attention needs to be given to iron and titanium levels. Purer ball Grolleg kaolin and New Zealand (NZ) kaolin are the cleanest and have clays typically have 1% titanium or less, and 1.5% iron or less; but the lowest levels of magnesium, iron, and titanium, and are readily many tend to be medium plasticity. Higher plasticity ball clays can available. NZ kaolin is purer than Grolleg kaolin, but its fine grain contain 1.5% titanium and up to 2% iron content by weight. The produces a weaker throwing body. You can blend Grolleg kaolin level of plasticity you prefer, along with the translucent properties and NZ kaolin in any portion up to 50% of the recipe to achieve a you desire will predict the final ball clay percentage of the recipe. balance of throwing and translucent properties (4.6). Note: in the Recipes that include outdated kaolin sources can be altered to chart (4), the Cone 6 Translucent porcelain is 25% Grolleg kaolin substitute the original kaolin with Grolleg kaolin (or equal), unless and 25% New Zealand kaolin, for a total of 50%. Feldspar and silica those recipes are specifically for tile or slab work, in which case make up the remaining 50%. It should be noted that wall thickness larger grain kaolin such as #6 Tile clay are used. Kaolin typically has contributes to translucent/transparent properties. 37% alumina and 48% silica, and there is little deviation between A second cone 10 porcelain blend came from the studio potter varieties. The chart (4) reflects a baseline of molar values of the movement: 25% kaolin, 25% ball clay, 25% silica, and 25% blended recipes noted in this article. Use it to compare your existing KNaO (4.3). This formula is more commonly known as 50/50 formulas to determine appropriate cone values, Si:Al ratios, or porcelain today. Ball clay was used as the primary plasticizer in corrections required to achieve more translucency. lieu of premium plasticizers. The addition of ball clay comes at the expense of translucency due to titanium levels. This recipe does the author Thomas Anderson has spent the last decade researching produce a bright white color when fired, which is suitable for most technical research papers from various universities on clay formulation. all glazes. The selected ball clays should have the lowest levels of He is currently writing formula limits for clay chemistry.

www.ceramicsmonthly.org march 2019 61 TIPS AND TOOLS extruder conversion by E. Preston Rice and Madeleine Coomey

Add some power to your extruding with this modification of a hardware store purchase. Complete the new and improved tool with custom-cut dies for unique shapes suited to your work.

This project began with a discussion on the Ceramic Arts Network Community Forum (http://community.ceramicartsdaily.org). I am no longer able to pull handles like I used to due to arthritis of my right hand and an enlarged thumb. I was also not happy with the way the small hand-held extruder caused a line (and weak point) perpendicular to the die each time I cranked, every 4 or 5 inches. One reply to me was from Madeleine Coomey (Min), one of the other moderators on the forum. She wrote,“Pres, how about using an electric caulking gun? Ryobi makes an inexpensive one ($40 in Canada) with 500 pounds of push force. I know the battery and charger would be expensive, but if you already have those [it could be an inexpensive solution]?” After about a week of thinking about it and researching on the Internet, I spent part of an afternoon at a big box lumber/hardware store and came up 1 with what I hoped would be a solution. I customized an electric caulk gun to accommodate a customized PVC pipe and plunger. Supplies • Length of 1½-inch inside diameter PVC pipe, cut to 8 inches • 1½-inch trap adapter (Solvent Weld, PVC Schedule 40, Everbuilt C9000) • Electric Caulk Gun (1) • One battery and charger kit Modifications Modify these parts with tools that you have available. I used a hand drill, vise, 2 Dremel Tool with grinding/sanding bits and a cut-off wheel, and hack saws. Wear safety goggles and wear a dust mask when sanding or grinding metal or plastic. Begin by cutting the pipe to 8 inches. A standard caulk tube is 8½ inches long, but cutting the extruder tube slightly shorter makes the plunger fit inside more easily. I used a hack saw to make the cut after marking evenly all around, turning the piece in a vise as I cut. A PVC cutter or power miter saw will also work. Bevel the inside edge of one end of the 8-inch PVC pipe to ease the fit of the plunger. I used a knife, files, and sandpaper to bevel this edge. Next, cut off the narrow neck of the trap adapter for a collar to slide onto the end of the pipe to hold the die in place (2). Remove the plunger from the toothed rod of the caulk gun by loosening the center screw. Next, remove the screw that holds the metal backing plate and the plastic plunger together. A 3 caulk cartridge is 1¾ inches in inside diameter. The inside of the PVC pipe is 9 1 Electric caulk gun before loading. 2 A 1½-inch trap adapter slightly smaller, at 1 ⁄16 inches in diameter. To make these diameters compatible, 3 modified to create the die collar. 3 After trimming the plunger remove ⁄16 inch of material from both the plastic plunger and metal backing plate. and backing plate, smooth uniformly with sandpaper while a drill keeps the parts spinning. To keep the shapes symmetrical while reducing their size, I set up a lathe of sorts and removed material as the pieces spun. Mount a hand drill into a vise. Using a #10 screw, sandwich the plastic plunger between two washers tightened together with a nut. Put the bolt assembly into the drill, then, with the drill running, use the Dremel Tool and the grinding bit to reduce the diameter to approximately 1½ inches. Repeat with the metal backing plate. Smooth in the same manner with a sanding pad or emery paper/cloth (I used a diamond sanding pad) (3). Reassemble the plunger and backing plate on the toothed rod.

62 march 2019 www.ceramicsmonthly.org IDYLLWILD ARTS HOT CLAY WORKSHOPS June 9-July 6,2019 THADDEUS ERDAHL, LORD CARDIGON THADDEUS ERDAHL, LORD

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www.ceramicsmonthly.org march 2019 63 Custom Dies Blank die plates can easily be cut from Plexiglas using a 2-inch hole saw, which cuts a plug that fits perfectly on the end of the pipe. When using the hole saw, cut nearly through the Plexiglas then flip it over and finish cutting from the other side. This helps prevent the softened Plexiglas from sticking to the hole saw. Draw a design on paper, glue the paper onto the die blank, and cut using the tool of your choice. After removing the paper template from the Plexiglas, briefly run a heat gun on the low setting across the surface to soften and round the cut edge. The side with the smooth edges faces inward, enabling the clay to pass through the die with more fluidity. Dies can also be made from sheet aluminum, 4 solid polyethylene cutting boards, or Baltic plywood. I create the templates for mine using a computer drawing program, print them out on paper, and affix the template to the blank die. I use a drill bit and a coping saw to cut the die and smooth with needle files. Assembling the Extruder Assemble the extruder tube with the die held in place by the collar (5) attached to the non-beveled end of the tube. Feed wedged and rolled clay into the beveled end of the tube, leaving a little space at the end for the plunger. Place the entire assembly into the caulk gun/ clay extruder with the open end aligning with the plunger (6). Plug in your battery and starting extruding! Within 3 minutes, I had 4 clay 5 extrusions that were 8 inches in length to use for making handles. They were smooth, had no cross lines from short pumps of the manual-type handle extruder, and the process was very easy on my hands. The benefits of using the power extruder go beyond health issues as it makes a better, more consistent extrusion. After using this tool to create handles for 10 teapots and over 50 mugs, I have found that it has eased my workload. The handles work much the same as my own pulled handles, and I have a greater variety of extrusion designs to choose from for different forms (7). Beyond handles, I am looking forward to using this new tool to make walls for low trays, feet for platter forms, and numerous other items. As a multi-purpose bonus, I can still use the power caulk gun to caulk around the window and door frames of the shop! 6

the authors: E. Preston Rice is a potter, retired art teacher, a past ICAN Advisory Board member, and an active member and moderator on the Ceramic Arts Network Community Forum. To learn more, visit http://picworkspottery.blogspot.com.

Madeleine Coomey is a studio potter working in British Columbia, Canada, and also an active member and moderator on the Ceramics Arts Network Community Forum. To learn more, visit madeleinecoomey.com.

7

4 Plunger and backplate trimmed to size and reassembled. Even though the screw is tightened, the plunger assembly is loose enough to fit easily into Send your tip and tool ideas, along with plenty of images, to the PVC pipe. 5 Extrusion pipe, collar die holder, and die. 6 Insert assembled [email protected]. If we use your idea, you’ll receive extruder tube with die and end cap at an angle to fit into the gun and in line a complimentary one-year subscription to CM! with the plunger. 7 Extrusion designs, each with their accompanying die.

64 march 2019 www.ceramicsmonthly.org www.ceramicsmonthly.org march 2019 65 RECIPES recipes to build on Artists who participated in the Collaborative Companions exhibition share recipes they use as versatile ARTICLE

46 foundations to build on.

Shalene Valenzuela’s Recipes Kari Radasch’s Recipes CONE 6 CASTING BODY (1) OM 4 BASE TERRA SIGILLATA (3) Cone 6 Oxidation Cone 03 Oxidation Ferro 3110...... 1.00 % OM 4 Ball Clay...... 10.0 lbs. Custer Feldspar ...... 9.00 Sodium Silicate...... 22.7 g Nepheline Syenite ...... 35.00 Water...... 20.0 lbs. EPK Kaolin...... 23.00 OM 4 Ball Clay...... 25.00 For Orange: Silica ...... 7.00 Add: Mason Stain 6028 . . . . 3.0 Tbsp 100.00 % For Yellow: Add: Distilled Water ...... 42.00 % Add: Mason Stain 6450 . . . . 4.0 Tbsp 1 Sodium Silicate...... 0.25 % For Red: Add up to 0.5% sodium silicate. This is a modified Hensely/Polseno recipe. It fires to a warm white and Add: Amaco Bright Red works well for casting complicated forms. Underglaze (V-387)* ...... 1.0 parts In a 5-gallon bucket, let the clay slake down into CONE 04 CASTING BODY (2) the water, then mix well (5–10 minutes or more). Cone 04 Oxidation Add the sodium silicate and mix again. Set the bucket off the floor about 6 inches and leave Talc ...... 50.00 % covered and undisturbed for 8 hours. Siphon off PV Clay ...... 16.70 the center layer of terra sigillata. The ideal specific OM 4 Ball Clay...... 33.30 gravity is 1.15. If it falls below 1.1, leave the terra 100.00 % sigillata uncovered for a while longer or remix 2 in the bucket and let it settle for less time. If it’s Add: Distilled Water ...... 45.00 % above 1.2, add a bit of water to the terra sigillata Soda Ash...... 0.06 % or remix and let it settle longer. This recipe yields Sodium Silicate...... 0.35 % approximately 2 gallons of terra sigillata. Use one cup of the base for each color addition. Generally, I Sturdy earthenware body that fires white at cone 04. don’t add any more than 3 tablespoons of Mason stain per 1 cup of terra sigillata base. *For red, I use 1 part underglaze to 3 parts base. Note: each Eric Botbyl’s Recipe stain/colorant will saturate the base at different levels. Work pretty intuitively when testing sigillata MARY BARRINGER’S SLIP BASE (4) colors—add a little of this, try a little of that, and Cone 6 Oxidation/Reduction take notes so you can easily reproduce the results. Ferro Frit 3124...... 12.5 % NC-4 Feldspar ...... 12.5 DEBS CLEAR REVISED BY KARI (3) 3 EPK Kaolin...... 25.0 Cone 03–04 Oxidation OM 4 Ball Clay...... 25.0 Ferro Frit 3134...... 29.13 % Silica ...... 25.0 Ferro Frit 3195...... 43.69 100.0 % EPK Kaolin...... 24.27 For Eric’s Black: Silica ...... 2.91 Add: Cobalt Carbonate. . . . . 1.0 % 100.00 % Copper Carbonate. . . . . 3.0 % Add: CMC Gum...... 0.58 % Red Iron Oxide...... 10.0 % Veegum...... 1.55 % I use this slip to fill in the voids of the crackle For Emerald Green: slip that I also use and provide contrast. Pots are saturated in slip and wiped clean, leaving slip in the Add: Copper Carbonate. . . . 3.88 % recessed areas. While the recipe belongs entirely Adding CMC Gum makes this glaze easy to brush. to Mary Barringer, I call it Crackle Spackle. It works well at cone 6 and has been successfully fired to 4 cone 12 in various wood kilns.

1 Shalene Valenzuela’s Cinched in the Garden, 15 in. (38 cm) in height, handbuilt, slip-cast Cone 6 Casting Body slip, underglaze, fired to cone 6, 2016. 2 Shalene Valenzuela’s Telephone: Tangled (green cord), 9 in. (23 cm) in width, slip-cast Cone 04 Casting Body slip, underglaze, 2018. 3 Kari Radasch’s Charm Butter Dish, 81/2 in. (23 cm) in diameter, earthenware, OM 4 Base Terra Sigillata, Debs Clear Revised by Kari glaze, Kanthal wire, gold-plated jewelry findings, fired to cone 03, 2018. 4 Eric Botbyl’s Scraggler Cup, wheel-thrown and altered stoneware, multiple slips including Mary Barringer’s Slip Base, fired 5 times to cone 6 oxidation, 2018.

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www.ceramicsmonthly.org march 2019 67 RECIPES tried and true Artists from the Collaborative Companions exhibition, the Franklin County Clay Guild, and this issue’s ARTICLE

22 process-focused feature share recipes they rely on. ARTICLE 46 ARTICLE 53

1 2 3 4 5

Deb Schwartzkopf’s Recipe Jackie Head’s Recipes

NAN’S CLEAR (1) CAMPANA CLEAR (4) REEVE’S CASTING SLIP (4) Cone 5–6 Oxidation Cone 6 Oxidation Cone 6 Oxidation Gerstley Borate ...... 14.05 % Wollastonite...... 20 % Kona F-4 Feldspar* ...... 34.00% Strontium Carbonate. . . . . 1.11 Zinc Oxide...... 8 Grolleg Kaolin ...... 40.00 Whiting...... 16.88 Ferro Frit 3134...... 21 Silica ...... 26.00 Ferro Frit 3195...... 7.63 Spodumene...... 11 100.00 % Custer Feldspar ...... 15.31 EPK Kaolin...... 20 Add: Water...... 35.00% EPK Kaolin...... 16.51 Silica ...... 20 Darvan...... 0.35 % Silica ...... 28.51 100 % 100.00 % Water and Darvan amounts are only approximate I use this as a clear glaze and as a base glaze and will vary. This casting slip recipe was adapted Add: ...... 2.00 % with added colorants. This recipe was developed from John Reeve’s throwing body. Reeve passed by Jeff Campana. Found in the The Complete away in 2012. *Substitute Minspar 200 feldspar for This base takes stains really well. I use up to 9% Kona F-4 feldspar, which is no longer available. stain for fully saturated color swatches and smaller Guide to Mid-Range Glazes by John Britt, Sterling sections of glaze that I paint on, and 1–3% stain Publishing, 2014. in my liner glaze palette choices. This recipe was shared by Richard Burkett in San Diego, California.

Justin Rothshank’s Recipe Mike Cinelli’s Recipe Jennifer Higerd’s Recipe

HORSEMAN (5) RON MEYER’S LOWFIRE SALT #1 (3) OATMEAL (2) Cone 10 Reduction Cone 04 Oxidation Cone 10 Reduction Whiting...... 14.46 % Talc ...... 10.16 % Barium Carbonate...... 13.55 % Minspar 200 Feldspar. . . . . 71.08 PV Clay ...... 3.91 Whiting...... 15.81 Silica ...... 14.46 Ball Clay...... 23.44 Custer Feldspar ...... 54.19 100.00 % Red Art ...... 62.49 EPK Kaolin...... 12.26 100.00 % Silica ...... 4.19 Add: Zinc Oxide ...... 9.64 % 100.00 % Red Iron Oxide...... 9.64 % This clay body functions well for both wheel throw- Rutile...... 1.93 % ing and handbuilding. It darkens significantly in a Add: Red Iron Oxide...... 2.00 % salt firing. Rutile...... 7.97 % This recipe works well in wood, soda, and gas- reduction firings. It can be used as a glaze and This breaking glaze is beautiful for sculptural works, as a thin wash. but isn’t advised for contact with food.

1 Deb Schwartzkopf’s pitcher, wheel-thrown and handbuilt porcelain, Nan’s Clear glaze, fired to cone 6 in an electric kiln, 2018. 2 Jennifer Higerd’s Speckled Slipstitched Vase, Oatmeal glaze, fired to cone 10 in reduction, 2016. 3 Mike Cinelli and Margaret Haden’s urn, 10 in. (25 cm) in height, wheel thrown, Ron Meyer’s Lowfire Salt #1 clay body, underglaze, luster, 2018. Photo: Margaret Haden. 4 Jackie Head’s Black and White Study #2, 32 in. (81 cm) in length, Reeve’s Casting Slip, underglaze, Campana Clear, 2018. 5 Justin Rothshank’s cup, stoneware, Horseman Tenmoku glaze, fired to cone 10 in a wood kiln, decals and luster fired to cone 016, 2018.

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76 march 2019 www.ceramicsmonthly.org call for entries deadlines for exhibitions, fairs, and festivals

international made by the applicant within the last two [email protected]; 702-375-4147; 3) open to all artists 18 years of age or exhibitions years, and not previously exhibited at the www.clayartsvegas.com. older living within 170 miles of Blacks- Clay Center gallery. Fee: $30. Juried from September 13, 2019 entry deadline burg, VA. Artists may submit up to three March 1, 2019 entry deadline digital. Juror: Adam Field. Contact Clay Cen- Pennsylvania, Wayne “Craft Forms (3) artworks for consideration, in various California, Roseville “Off Center: ter of New Orleans, 1001 S. Broad St., Unit 2019, 25th International Juried Exhibition media including ceramics. Works can’t be Third Annual International Ceramic Art 116, New Orleans, LA 70125; info@nolaclay. of Contemporary Fine Art” (December 7– hung from the ceiling, must pass through Competition” (April 5–June 1) open to org; 504-517-3721; www.nolaclay.org. January 31) open to all professional artists an opening of 100 inches in height, and all ceramic artists 18 and older. All work May 17, 2019 entry deadline working in clay and various other media. must be free standing. Fee: $40. Juried must be original and completed within Colorado, Carbondale “Clay National Works submitted must have been completed from digital. Juror: Emily Smith. Contact the last two years. Artwork cannot have XIV Nature Reconsidered: Reimagining the after January 1, 2017. If the work was ac- Blacksburg Regional Art Association PO been previously exhibited at Blue Line Natural World Through Ceramics” (August cepted into a previous Craft Forms exhibi- Box 525, Blacksburg, VA 24063; braaarts@ Arts. Wall pieces must be ready to hang. 2–30) open to all types of ceramics: utilitar- tion, this work cannot be re-submitted for gmail.com; www.blacksburgart.org/ Awards offered. Work must not weigh ian pots or sculpture. Clay should be the this or future Craft Forms. Fee: $45. Juried biennial-exhibit; https://artist.callforentry. over 60 pounds, and must fit through primary medium. All work must have been from digital. Juror: Jane Milosch. Contact org/festivals_unique_info.php?ID=5816. a doorway of 94 inches in height. Fee: completed within the last two years and Wayne Art Center, 25 Meadowood Rd., $35 for three images. Juried from digital. must be original, unsold work. All works Wayne, PA 19087; [email protected]; fairs and festivals Juror: Joshua Green. Contact Blue Line entered must be smaller than 14×14×14 610-688-3553; www.craftforms.org. March 15, 2019 entry deadline Arts, 405 Vernon St., #100, Roseville, CA inches or less than 3000 cubic inches and Arkansas, Hot Springs “Art Springs 95678; [email protected]; 916-783- less than 20 pounds per piece or part. united states 2019” (April 27–28) open to all artists 4117; www.bluelinearts.org. Fee: $30. Juried from digital. Juror: Trey exhibitions 18 years or older. Art Springs is a juried March 26, 2019 entry deadline Hill. Contact Carbondale Clay Center, 135 March 1, 2019 entry deadline festival with fine artists, artisans, and Nevada, Las Vegas “Colors of Spec- Main St., Carbondale, CO 81623; annma- Connecticut, Guilford “Ceramics 2019” fine crafts. Artists must submit 6 images trum” (May 1–30) open to all ceramic [email protected]; 360-671-3998; (May 17–June 14) open to artists nationally representative of the work they wish to artists 18 and older. The exhibition will www.goodearthpots.com. and all works using clay as the primary me- exhibit. Include a photo of your typical feature functional and sculptural works June 30, 2019 entry deadline dium, both functional and non functional. booth. All art must be original and created featuring the products of Spectrum Glaze. Washington, Bellingham “Pitcher Presenting the ways contemporary ceram- by the applicant. Fee: $20. Juried from We are looking for original and exciting Perfect” (September 1–30) open to ics furthers craft traditions and serves as a digital. Contact Hot Springs Area Cultural combinations and firing techniques that residents of the US and Canada. Show medium for creating new art works. Must be Alliance, PO Box 21358, Hot Springs, AR shed light on the versatility of Spectrum us your best original and functional original, completed within the last 2 years, 71903; [email protected]; 501- Glaze products. The format for images ceramic pitchers. Juror’s Choice Award and weigh less than 75 pounds. Fee: $30 321-2027; https://hotspringsarts.org. should be: jpeg file type, 800 pixels in $300. Submit up to 3 entries. Exhibition for three entries. Juried from digital. Juror: May 1, 2019 entry deadline either direction, with a maximum file size will be online as well as in gallery. Fee: Joshua Green. Contact Maureen Belden, New Jersey, Verona “Fine Art and of 1.0 MB. Fee: $35. Juried from digital. $35. Juried from digital. Juror: Deborah Guilford Art Center, 411 Church St., Guilford, Crafts at Verona Park” (May 18–19) Juror: Peter Jakubowski. Contact Clay Arts Schwartzkopf. Contact Ann Marie Coo- CT 06437; [email protected]; open to all artists 18 years or older. Vegas, 1511 S. Main St., Las Vegas, NV per, Good Earth Pottery, 1000 Harris http://guilfordartcenter.org. Submission of 4 images of work and 89104; [email protected]; Ave., Bellingham, WA 98225; annmarie@ April 26, 2019 entry deadline one of booth display. Booth fees start at 702-375-4147; www.clayartsvegas.com. goodearthpots.com; 360-671-3998; Colorado, Manitou Springs “Cheers! $430. Entry fee is application fee. Fee: April 30, 2019 entry deadline www.goodearthpots.com. Drink-Up! Celebrating the Clay Drinking $30. Juried from digital. Jurors: Janet Louisiana, New Orleans “Creep Show” July 1, 2019 entry deadline Vessel” (June 7–July 1) open to artists work- Rose, Howard Rose. Contact Rose (October 4–26) open to ceramic vessels, Nevada, Las Vegas “Luscious Lus- ing in clay. Original drinking vessels made Squared Productions, Inc., 101 West End sculptures, and wall-mounted works that ters” (April 1–September 30) open to all within the last two years. Clay is the primary Ave., New York, NY 10023; howard@ can be described as creepy, scary, spooky, ceramic artists 18 and older. Will feature medium. Food-safe glazes. Categories: Beer, rosesquared.com; 908-930-4363; or downright terrifying. All submitted functional and sculptural works that Coffee, Tea, Spirits (think whiskey). Cash www.rosesquared.com. pieces must be original works made by feature luster and waterslide decals as awards. Fee: $30. Juried from digital. Juror: June 1, 2019 entry deadline the applicant within the last two years, and part of the finish. Show will feature work Sumi von Dassow. Contact Commonwheel New Jersey, Montclair “Spring Fine not previously exhibited at the Clay Center of Nathan Bray. The format for images Artists Co-op, 102 Cañon Ave., Manitou Art and Crafts at Brookedale Park” (June gallery. Fee: $30. Juried from digital. Juror: should be: jpeg file type, 800 pixels in Springs, CO 80829; art@commonwheel. 15–16) open to all artists 18 years or older. Brian Patrick Weaver. Contact Clay Center either direction, with a maximum file size com; 719-685-1008; www.commonwheel. This is a juried fine art and craft show. of New Orleans, 1001 S. Broad St., Unit 116, of 1.0 MB. Fee: $35. Juried from digital. com/cheers-drink-up.html. Submission of 4 images of work and one New Orleans, LA 70125; [email protected]; Jurors: Peter Jakubowski and Nathan Bray. April 26, 2019 entry deadline of booth display. Booth fees start at $430. 504-517-3721; www.nolaclay.org. Contact Clay Arts Vegas, 1511 S. Main St., California, Tujunga “16th Annual Ce- Entry fee is application fee. Fee: $30. Juried April 28, 2019 entry deadline Las Vegas, NV 89104; 4information@ ramics Juried Open” (June 8–28) open to from digital. Jurors: Janet Rose, Howard Nevada, Las Vegas “Serve It Up 2019” clayartsvegas.com; 702-375-4147; www. artists creating works utilizing any type of Rose. Contact Rose Squared Productions, (June 4–July 30) open to all ceramic artists clayartsvegas.com. fired clay or process, in whole or predomi- Inc., 101 West End Ave., New York, NY 18 and older. We are looking for original and September 1, 2019 entry deadline nantly, is acceptable. We seek one-of-a-kind 10023; [email protected]; 908- exciting combinations and firing techniques Nevada, Las Vegas “What Goes Bump entries that have been created by the artists 930-4363; www.rosesquared.com. that show the diversity of functional pot- In The Night” (October 3–November 12) hand in some way, shape, or form. There August 1, 2019 entry deadline tery. The format for images should be: jpeg open to all ceramic artists 18 and older. Will are no size restrictions. Freestanding and New Jersey, Montclair “Fine Art and file type, 800 pixels in either direction, with feature functional and sculptural works wall-hanging sculptural and vessel forms Crafts at Anderson Park” (September a maximum file size of 1.0 MB. Fee: $35. that explore the sublime. From nightmares are welcome. Fee: $35. Juried from digital. 21–22) open to all artists 18 years or Juried from digital. Jurors: Peter Jakubowski to the darkness that might live in the soul, Juror: Stanton Hunter. Contact Brian Peshek, older. This is a juried fine art and craft and Martha Grover. Contact Clay Arts there are things that remind us of when we McGroarty Arts Center 7570 McGroarty show. Submission of 4 images of work Vegas, 1511 S. Main St., Las Vegas, NV were children scared in the dark by things Arts Center, Tujunga, CA 90142; mcgro- and one of booth display. Booth fees 89104; [email protected]; that go bump in the night. The format [email protected]; 818-352-5285; start at $430. Entry fee is application 702-375-4147; www.clayartsvegas.com. for images should be: jpeg file type, 800 www.mcgroartyartscenter.org. fee. Fee: $30. Juried from digital. Jurors: April 30, 2019 entry deadline pixels in either direction, with a maximum Janet Rose, Howard Rose. Contact Rose Louisiana, New Orleans “Function Fest” file size of 1.0 MB. Fee: $35. Juried from regional exhibitions Squared Productions, Inc., 101 West End (November 1–December 14) open to all digital. Jurors: Peter Jakubowski and Rob April 26, 2019 entry deadline Ave., New York, NY 10023; howard@ manner of handmade functional pottery. Kolhouse. Contact Clay Arts Vegas, 1511 S. Virginia, Blacksburg “New River Art rosesquared.com; 908-930-4363; www. All submitted pieces must be original works Main St., Las Vegas, NV 89104; 4informa- Juried Biennial 2019” (June 13–August rosesquared.com.

www.ceramicsmonthly.org march 2019 77 classified advertising Ceramics Monthly welcomes classifieds in the following categories: Buy/Sell, Employment, Events, Opportunities, Personals, Products, Publications/Videos, Real Estate, Rentals, Services, Travel. Accepted advertisements will be inserted into the first available print issue, and posted on our website for 30 days at no additional charge! See www.ceramicsmonthly.org for details.

Buy/Sell “Current,” a contemporary clay exhibition, juried Craftsman House Gallery, Café & Studio, by renowned ceramic artist, Sunshine Cobb, in St. Petersburg, Florida is seeking artist-in-residence. 113 cubic-foot Blaauw Gas Kiln for sale. $45,000. conjunction with Silver City NM’s 8th annual CLAY Benefits include 24-hour studio space, use of electric Computer operated, reduction or oxidation car kiln. Festival. For a prospectus and more information, go and gas kilns, studio equipment, and gallery repre- Price includes kiln shelves (worth $15,000 if buying to www.clayfestival.com. sentation in a vibrant arts community. Responsibilities shelves new). Kilns are made in Holland, and are top include working in the gallery, studio, café and store. notch for quality and performance. Email pottery@ Debra Fritts—Sculpture: The Human Animal Con- Paid employment for hours exceeding trade agree- minot.com for photos and discussion. nection—August 26–30, Blackberry Hill Art Center, ment. For information contact Jeff at 727-323-2787 Orford NH—Hands-on Workshop. For Information: or [email protected]. Looking to buy Magdalena and Michael FRIMKESS www.BlackberryHillArtCenter.com, 603-353-4312 pottery and other pottery/sculpture by Warren MacK- or [email protected]. CUB CREEK RESIDENCY. Applications now being enzie, Shaner, Voulkos, Michael Simon, Ferguson, accepted for the three month summer program DeVore, Beth Cavener, Betty Woodman, etc. Email Helen Otterson—Glass Casting Techniques: Integrat- and we have one opening for the year long pro- [email protected] Call/text 406-360-0164. ing Glass & Ceramic Sculpture—July 26–28, Blackberry gram. Several openings anticipated in September. Hill Art Center, Orford, NH—Hands-on Workshop. For Information 434-248-5074, www.cubcreek.org or Employment Information: www.BlackberryHillArtCenter.com, [email protected]. [email protected], or 603-353-4312. Ceramics Instructor at Camp Towanda. Join us at Camp Towanda, premier residential coed summer Eye of the Dog Art Center may be just the Summer Workshop Opportunity: Sunshine Cobb. clay community you have been searching for! camp in northeastern PA. Teach campers ages 7–17 The Silver City CLAY Festival and Western New Mexico in our beautiful rustic Arts and Crafts barn, helping Look for our brochure at NCECA and visit us at University will host a two-week workshop: Exploring www.eyeofthedogartcenter.com. them explore a variety of creative projects. Required to Functional Hand Building: Discovering the New in the work electric kiln, teach handbuilding/wheelwork, have Old led by Sunshine Cobb 7/8/19–7/19/19. The CLAY Natchez Pottery Studios seeking Resident Artist knowledge of glazes. June 11–Aug 11, 570-253-3266, Festival will also feature a four-day workshop: Compel- to assist in studio management and teaching. Two- www.camptowanda.com—[email protected]. ling Ceramic Surfaces: Imagery through year commitment preferred. RA has private studio and Decals taught by Bradley Klem 7/17/19–7/20/19 Events space, free firing, reclaimed clay, glaze materials and along will many more ceramic activities and educa- access to all studio equipment. Friendly studio and tional opportunities. Please visit: www.clayfestival.com “ALL THINGS PORCELAIN.” PORCELAIN AND town. Beautiful location overlooking MS River. RA is for more information. [email protected]. PAPER CLAY MASTER CLASS IN PARIS—1/6 July paid for teaching. Contact Patricia at natchezpottery@ 2019. With the ceramic artists Nathalie Domingo and gmail.com or call 601-215-5121. Summer Workshops in Tahoe! Jeff Downing, Luca Tripaldi www.nathaliedomingo.com—www.luc- Randy Brodnax, Don Ellis, Matt Long, Helen Otter- atripaldi.com. Download the program on our website: son, T Roberts Pacini, and Nick Schwartz. Throwing Products www.atelierterra.fr. Contact: Nathalie Domingo— and Handbuilding. On-campus housing available. [email protected]. Custom Extruder & Pugmill Dies from 39.99. www.sierranevada.edu/workshops 775-881-7588. Custom dies for North Star and all other extruders BILL VAN GILDER WORKSHOPS 2019—The Func- and any pugmill. Any material. Download order form THE PHILADELPHIA POTTERS THIRD ANNUAL tional Pot: Tips, Tools and Techniques. Ten Demo at www.northstarequipment.com or email: orders@ URBAN STUDIO TOUR. April 26–27–28, 2019. Enjoy workshops across the USA and Canada. March 8–10 at northstarequipment.com. Phone: 1-800-231-7896. a diverse collection of pottery for sale from 25 nation- the 39th Annual Potters Gathering, Ripley, WV. March ally recognized potters in the friendly atmospheres of 15–17 at Frederick Clay Studio, Frederick, MD. March Diamond Grinding Tools For The Potter. Double five local studios. www.thephiladelphiapotters.com. 22–24 at Dorval Potters Guild Quebec, Canada. April sided diamond grinding discs, 12- and 14-inch diam- eter, polishing pads all adapted for a potter’s wheel. 12–14 with the Amarillo Potters at West Texas A&M Two-day, hands-on Jomon Pottery workshop. Effective, easy to use and reasonably priced. www. University, Amarillo, TX. April 26–28 at The Clay and Taught by Ifurai, Genya Murakami, and Ryujiro Oyabu, slickfoot.com, www.etsy.com/shop/SlickfootClayTools Metal Loft, Leesburg, VA. More info and workshops responsible for the revival of ancient Jomon ceram- 559-542-2203. at www.vangilderpottery.com. ics. March 2 and 3 at Studio Arts Boulder Pottery Lab. www.studioartsboulder.org or 720-379-6033 Brian Somerville—Sculpture: Building Solid, Hollow- GREAT HANDBUILDING TEMPLATES! Developed for registration. ing, Carving & Mixed Media—August 9–11, Blackberry by Sandi Pierantozzi. A set of 24 durable, flexible, Hill Art Center, Orford, NH—Hands-on Workshop. For Opportunities templates to create a variety of Circular/Conical Information: www.BlackberryHillArtCenter.com, Forms. DVD also available. Perfect For Teachers and [email protected], or 603-353-4312. Apprentice/Internship. Small production pottery Potters. www.CircleMatic.com. in northwest Montana seeks motivated individual for Chandra DeBuse—Ceramics: Sketch & Stretch: Hand one-year position starting end of August. 40 hours/ TOOLS THAT WORK! Hand tools for throwing, Building and Surface Intensive—July 19–21, Blackberry week in exchange for studio space (includes materials hand building and glazing. Hole cutters, spray Hill Art Center, Orford, NH—Hands-on Workshop. For and firing), room and board, monthly stipend, gallery cans, wire knives, corrugated texture boards, Information: www.BlackberryHillArtCenter.com, sales. Check www.whitefishpottery.com for more 10-piece wooden tool kits, sponges and more. Visit [email protected], or 603-353-4312. details about applying. www.vangilderpottery.com.

78 march 2019 www.ceramicsmonthly.org Real Estate wheel. Beautiful gallery, gardens, home. Tourist Ralph Scala, Tara Wilson, Josh Copus, Chris Gustin. area; loyal customer base. $295,000. Information: www.tallerdeterreno.org. 2300 square-foot Hudson Valley New York Art- www.brickyardpottery.com/for-sale 715-468-7341. ist’s Home w/attached, fully equipped Clay Studio CLAY, ART & TUSCANY. Workshops for all levels (400 square feet ) 20 cubic-foot ALPINE gas kiln, 2 Owner Trademarked working and instructional pot- and about all ceramic topics in a facility of great electric kilns, showroom, outside deck and huge well tery studio. Kilns, wheels, slab press, clay and glazes fascination. Italian culture, Mediterranean flair, food organized basement storage on 4.3 acres of rolling etc., inventory included with office area, two bedroom and wine. Full programme at www.lameridiana.fi.it. woods and waterfalls. Beautifully detailed interiors, 3 apartment on 2nd story, and 400 square-foot new bedrooms, 2.5 baths, wine cellar. 3 miles from historic added gallery. Affiliated 10+ years with local university GREECE, THESSALONIKI—The Almond Grove: and lively Millbrook, New York. 90 min NYC w/easy and community center. Located in small town with view Workshops in Ceramics. Winter-Spring-Summer- access. May to October Farmers Market. $425,000. of park and fishing creek dam among several antique Autumn 2019. Residential courses in ceramics. De- contact: [email protected]. shops. $195,000. Call for details—570-925-1000. tails: +30(2310)450451. [email protected]; www.hectormavridis.com. Attention Professional Ceramic Artists—Waterfront Service double lot home South Florida! 3/2 newer roof, impact JAPAN! Ceramics, Sushi, and Sightseeing! May windows, renovated kitchen. Detached studio w/bisque Ceramics Consulting Services offers technical 19–June 3, 2019. Visit , art museums, temples, electric kiln. 2 chambered atmospheric gas/wood/soda information and practical advice on clay/glaze/kiln shrines, and studios—Kyushu to Kyoto. Hands on art kiln w/front chamber 90 cubic feet, back chamber 38 faults and corrections, slip casting, clay body/glaze workshops. $3900 www.sierranevada.edu/workshops cubic feet. The kiln is high-alumina fire brick and k26, k23 formulas, salt glazing, and product design. Call or 775-881-7588. insulation brick for second course. Arches covered with write for details. Jeff Zamek, 6 Glendale Woods Dr., 3000-degree, 2-inch refractory wool blanket in steel Southampton, MA 01073; 413-527-7337; e-mail SOUTH KOREA. Pottery Tour and hands on workshop mesh. Kiln supported by industrial steel and covered by [email protected] or www.jeffzamek.com. 2019. May 7–23. ALL INCLUSIVE. See details https:// 18×30 ft. open steel bldg. Includes 3 large 300-gallon www.potterybyunha.com/pottery-tours. Contact Unha propane tanks. $358,000! Call 561-322-8867 or email Custom Molds—For over 25 years, Petro Mold Hill cell 905-518-3621 [email protected]. [email protected] for more information. Company has been creating molds for renowned potters and ceramists worldwide. Our innovative OVERSEAS CERAMIC WORKSHOPS & TOURS Bohn Farm Cohousing Community of Art and molds can increase your productivity and profits. We WITH DISCOVERY ART TRAVEL DENYS JAMES Farming forming in Longmont, Colorado. Your own set the bar for quality with sculpting, mold design, Canada: 1-250-537-4906, [email protected] home in urban cohousing with clay art studios, organic and new ceramic casting services. Visit us today at MOROCCO 2019, October 7–28. The Full Circle—Fez, farm, all creative arts and community. Join online: www.custommolds.net or call 814-796-6635. Chefchaouen, Essaouira, Volubilis, Marrakech, Zagora, meetup.com/Artists-Housing-Community; Email: Meknes, Rabat, Casablanca. Studio visits, adobe ar- [email protected]. Website: www.bfcc.me. Travel chitecture, tile art, Roman mosaics, traditional and NW Wisconsin Studio, Gallery, Home renovated Baja, Mexico ~ Destination Workshops. Visit Taller contemporary ceramics, fabrics, a camel ride in the schoolhouse for sale, northwestern Wisconsin. Forty de Terreno’s secluded desert ranch setting w/views desert, and much more. www.discoveryarttravel.com years in business. Fully equipped studio, slab and of the Pacific Ocean + Sierra Mountains. Featuring: UPCOMING 2020: Spring, T.B.A. Japan, November. index to advertisers

3D Potter...... 70 DiamondCore Tools...... 71 NCECA...... 9 Nidec-Shimpo ...... Cover 3 Aardvark Clay...... 75 Ebay...... 69 North Star Equipment...... 73 Alligator Clay...... 59 Epperson Gallery...... 14 Olympic Kilns...... 23 Amaco and Brent...... 4, 19, 29 Functional Ceramics Workshop. . . . . 58 Archie Bray Foundation...... 70 Ox-Bow School of Art ...... 71 Geil Kilns...... 3 Arrowmont...... 65 Paragon...... 5 Giffin Tec ...... 21 Penland...... 73 Bailey Pottery...... 1, 13, 27, 67 Great Lakes Clay...... 59 Peter Pugger Mfg ...... 7 Carolina Clay Connection...... 76 Heartwood Mountain Sanctuary. . . . .71 Peter’s Valley School of Craft...... 72 Ceramic Art London...... 2 Highwater Clays...... 75 Philadelphia Museum of Art...... 71 Ceramic Arts Network Shop...... 74 Hollins University...... 58 Skutt...... Cover 4 Chinese Clay Art...... 70 ICAN...... 72 76 Smith-Sharpe...... 65 Classifieds...... 78, 79 Idyllwild Arts...... 63 Socwell...... 76 Clay Art Center/Scott Creek...... 59 Spectrum...... 6 K-12...... 70 Clay Arts Vegas...... 65 Stoneleaf Pottery/Slabmat...... 63 Clayflicks...... 76 L & L Kiln Mfg...... Cover 2 Strictly Functional Pottery...... 73 Larkin ...... 58 Clayscapes ...... 69 Touchstone Center for Crafts...... 67 Leslie Ceramic Supply...... 59 Collet Clays...... 73 Tucker’s...... 8 Continental Clay ...... 72 Mayco...... 25 Vent-A-Kiln...... 75 Cornell Studio Supply...... 63 Mighty Mud Mixer...... 76 Coyote Clay...... 63 MKM...... 67 Workhouse Arts Center...... 75 Cress Mfg...... 69 Mudtools ...... 15 Xiem Tools USA...... 75

www.ceramicsmonthly.org march 2019 79 SPOTLIGHT repurposed

Ceramics Monthly: What was the concept for the exhibition importance of seasonality, temperature, and crop timing as a “American Monolith” in which you collaborated with Sow critical part of sustainable agriculture. True Seeds? Lindsay Rogers: The work in American Monolith was my first CM: What are a few of the responses you received from the attempt to challenge the idea of monoculture as a production viewers, either in person or after the exhibitions? method in the American food landscape. For this exhibition, LR: The overall response to the work was positive. Most of the I presented a series of unfired, bone-dry vessels that were people who contacted me after the opening to talk about the built out of local clay and embedded with seeds. The forms exhibition were already invested in sustainable agriculture as of these vessels were, in essence, baskets. However, their a cultural value system. However, I think the most prevalent design was intended to mimic some of the visual attributes response I received during the opening was shock when I told of the iconic barn silhouetted on the agricultural landscape. people that I was going to willingly break the pieces and plant In the small container of each basket, I placed very specific the seeds. seeds—seeds that championed sustainable growing practices like planting cover crops, companion planting, succession CM: How were the elements of the vessels repurposed? Was planting, and seasonal planting. After the exhibition was over, the clay reclaimed, or the parts reused in some way? all of the vessels were broken into pieces and their elements LR: With the exception of the paint used on the wall, every repurposed: the seeds planted, the vegetables grown, the food element of the exhibit was recycled. All of the basket wire harvested, and the new generation of seeds saved. was repurposed in my garden as ties for my fruiting plants. All Like previous projects of mine, this show aimed to use the of the clay that was embedded with seeds was planted and beauty of the seed as well as our cultural familiarity with the the rest of the clay was reclaimed, and still sits in my studio clay vessel to introduce the audience to sustainable practices in waiting to be used for another project. food cultivation. In the end, my aim was to give the audience a visual metaphor that spoke in support of another option for CM: Are these vessel forms something you are considering the American agricultural landscape. making in a permanent form? Why or why not? LR: No, I don’t think I would ever make these specific forms CM: What types of seeds were on display in the pots? permanent. While I really enjoyed the final composition of LR: There were 15 different types of seeds in the exhibition. some of these pieces, the process of letting go and the focus Seeds such as buckwheat and crimson clover were used in a on transformation was critical to the content. In addition series of cover crop vessels. Complimentary crops like tomato, to this, by letting the audience know that these objects basil, and marigold seeds were used to focus on companion were ephemeral, I was able to make them feel the emotional planting. Radish, lettuce, and carrot seeds emphasized weight of the labor that went in to the work. I think succession planting. Lastly, I used the seeds from several these ideas are just so relatable in both making art and cool-weather crops, like kale and onion, to emphasize the growing food.

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