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4 june/july/august 2019 www.ceramicsmonthly.org PRESENT TENSE 219 A conference exploring craft’s evolving roles in today’s world Presented by American Craft Council

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Early-bird registra on ends May 1 Members $295 / non-members $350 / students $200 Learn more and register today at cra council.org/conference

As craŠ organiza ons are evolving, ar sts are innova ng, and the defi ni on Featured speaker: of craŠ is expanding, the need for conversa on about craŠ ’s meaning, impact, Hrag Vartanian, editor in chief and sustainability, and relevance is more important than ever. co-founder of Hyperallergic

Join us in Philadelphia, a thriving educa onal and crea ve hub for craŠ Plus: and a case study for the way in which crea ve prac ces infl uence a whole Glenn Adamson, Leila Car er, community. You’ll encounter that fi rsthand on tours of local ar sts’ studios, Raheleh Filsoofi , Troyd Geist, museum collec ons, and more. You can also sign up for an aŠ ernoon bus tour Sonya Kelliher-Combs, Sharon Louden, with CraŠ NOW Philadelphia to explore Globe Dye Works and MaKen Studios, Jennifer-Navva Milliken, or discover historic and modern craŠ connec ons on a walking tour from Bruce W. Pepich, Mary Savig, Independence Mall to Old City, led by Jennifer Zwilling of the Clay Studio. Judith Schaechter, Michael J. Strand, Susan Szenasy, Jennifer Zwilling, and more yet to be announced!

Thank you to our program partners: This conference is supported in part by a grant from the Windgate Charitable Founda on.

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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 SECTIONAL DESIGN Ceramics Monthly (ISSN 0009-0328) is published monthly, Makes delivery and except July and August, by The American Ceramic Society, 550 Polaris Pkwy., Suite 510, Westerville, Ohio 43082; set up a breeze. www.ceramics.org. Periodicals postage paid at Westerville, Ohio, and additional mailing offices. GST#:RT0001; BN: 12399 4618. Opinions expressed are those of the contributors and do not necessarily represent those of the editors or The American Ceramic Society. The publisher makes no claim as to the food safety of pub- QUALITY COMPONENTS lished glaze recipes. Readers should refer to MSDS (material safety Our parts are of the data sheets) for all raw materials, and should take all appropriate highest quality and recommended safety measures, according to toxicity ratings. designed to last. subscription rates: One year $34.99, two years $63.94, three years $89.91. Canada: One year $49, two years $89, three years $130. [plus applicable GST and PST] International: One year $60, two years $99, three years $145. back issues: When available, back issues are $7.50 each, FLOOR ELEMENTS plus $3 shipping/handling; $8 for expedited shipping (UPS 2-day Heated floors help keep air); and $9 for shipping outside North America. Allow 4–6 weeks temperatures even all for delivery. around. change of address: Please give us four weeks advance @ConeArtKilns notice. Send the magazine address label as well as your new address to: Ceramics Monthly, PO Box 8556, Big Sandy TX 75755-9799 contributors: Writing and photographic guidelines are available online at www.ceramicsmonthly.org. EASY ACCESS PANEL indexing: Visit the Ceramics Monthly website at Well vented, easy access www.ceramicsmonthly.org to search an index of article titles and artists’ names. Feature articles are also indexed in the Art Index, panel for effortless Controller daai (design and applied arts index). maintenance. Options copies: Authorization to photocopy items for internal or personal use beyond the limits of Sections 107 or 108 of the U.S. Copyright Law is granted by The American Ceramic Society, ISSN 0009-0328, provided that the appropriate fee

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6 june/july/august 2019 www.ceramicsmonthly.org PRECIOUS METALS ARE OUT OF THIS WORLD!

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Learn more about Duncan Precious Metals at DuncanCeramics.com/precious-metals 1-800-CERAMIC | DuncanC eramics.com www.ceramicsmonthly.org june/july/august 2019 7 contentsjune/july/august 2019 volume 67, number 6

editorial

10 From the Editor Jessica Knapp quick tip

12 Sculpting Fingernails by Mac McCusker exposure 14 Images from Current and Upcoming Exhibitions techno file

66 Clay Restoration by Thomas Anderson Many ceramic artists make a practice of reclaiming clay, but it is important to avoid clay fatigue when doing so. Learn how to restore the lost properties that originally attracted you to the clay body. tips and tools

68 Test Sieve Toothbrush by Rebekah Myers and Tim Berg Never quite sure how to get glaze materials through a test sieve in an efficient manner? Repurpose an old toothbrush to make a tool custom suited for the task. recipes

70 Rich Surfaces by Beth Bolgla, Patrick Coughlin, Dan Finnegan, and Mizuyo Yamashita

72 Aquatic Effectby Mark Chuck 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 Changes Over Time We check in with one of Ceramics Monthly’s 2014 Working Potters, Adam Frew, and get a glimpse into his new studio and evolving practice.

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cover: Rhian Malin’s Mandala Bottles, to 81/2 in. (22 cm) in height, wheel- thrown and hand-painted porcelain. Photo: Yeshen Venema.

8 june/july/august 2019 www.ceramicsmonthly.org clay culture

24 A Potter’s Path by Jan-Alexander Haas The traditional path to becoming a potter in Germany is one of rigor and prestige, involving paid apprenticeships, examinations, and certification. Currently in the journeyman stage of his education, Jan-Alexander Haas describes the process. studio visit 28 Patrick Coughlin, Philadelphia, Pennsylvania When your work requires the use of multiple media, your studio setup has to accommodate those demands. Artist Patrick Coughlin’s two-floor studio has areas for working with clay, plaster, glaze, wood, and fabric. working potters 32 Rhian Malin She credits her grandmother’s collection of willow-patterned pottery as inspiration, but her hard work, eye for detail, and quickly honed business acumen have led to Rhian Malin’s thriving practice making elegant porcelain forms with striking cobalt linework. 36 Beth Bolgla Until recently, Beth Bolgla has had a number of side gigs to help pay for her studio and support her family in pricey New York City. Through it all, she has remained steadfastly committed to her studio practice. 40 Ian Connors Building a career as a self-employed artist often happens in stages, requiring the ability to adapt to professional and creative needs as well as unforeseen problems. Ian Connors shares his experience dealing with both successes and setbacks at the beginning of his career. 44 Mizuyo Yamashita After moving from Japan to London after college and being struck by Grayson Perry’s work, Mizuyo Yamashita enrolled in an adult education ceramics course to learn how to work with clay. Through continued education, dedication, and perseverance, she’s made working as a potter into her career. 48 Dan Finnegan A decades-long career making pottery began, as Dan Finnegan describes it, with a leap of faith. That leap led to apprenticeships, teaching, running a business, and starting a community art center. He now works out of an off-the-grid studio in Fredericksburg, Virginia, making wood-fired, salt-glazed pottery. features

52 Unearthed in France by Sebastian Blackie Jane Norbury’s hollow sculptures have a rugged, material appeal, and evoke the body in shape and scale, as well as in the marks, movement, and evidence of their making.

56 David Hicks: Field Language by Kay Whitney Working within a range of contrasts—organic and mechanical, order and disarray, one and many­—David Hicks parses the voyeuristic relationship of man to nature. 60 Aquatic Inspiration by Mark Chuck 36 Pulling from the time he spends on rivers and streams, Mark Chuck makes vessels that capture the iridescence and movement of trout by layering brushed underglaze, lithographic transfers, and thoughtfully applied glaze.

www.ceramicsmonthly.org june/july/august 2019 9 from the editor respond to [email protected]

I recently spoke to a group of materials science students and materials engineers (who use the same materials that we do, albeit in very different applications) at The Ohio State University as part of a meeting of the American Ceramic Society’s Central Ohio Section. Part of my presentation and our conversation addressed why artists in industrialized societies are still making functional work in clay today. I thought that it may seem anachronistic to people who are used to working with ceramic materials in medical, environmental, aerospace, and industrial applications. I explained one contributing factor was a reaction against the urbanization and mass production ushered in by the Industrial Revolution. In the late 1800s and early 1900s, artists, philosophers, architects, and designers in various parts of the 1 world (from the Arts and Crafts and Mingei movements to the Bauhaus School, among others) formulated and adopted principles aimed at countering the negative effects of industrialization on craftspeople making utilitarian objects. These ideas spread widely through a number of prominent artists and teachers, influencing the development of studio crafts, including ceramics, in many places. Much has changed through the intervening 100–140 years; however, that advocacy for valu- ing handwork, the acquisition and use of diverse skills, individual creativity, and the societal and individual importance of handmade items is still strong today. In addition to talking about the value of working directly with materials to make an object from start to finish, combined with a conceptual belief in the importance of an artistic voice and pursuit of self expression, I shared how using 2 handmade objects infuses my everyday routines with meaning. I described how using a mug made by a fellow artist can make me feel like I’m having a cup of tea and a chat with them as I contemplate the decisions they made when creating the mug. Talking with these students and professionals led me to think about how remarkable it is that despite economic and societal obstacles, artists are still compelled to make utilitarian and sculptural pieces that function to convey ideas and emotions as well as connect us to each other. The pull to create, to build a life and a career as a maker is central to this issue’s focus on working potters—folks who derive most of their annual income from selling their pots. We reached out to five artists, including people who are at the 3 4 earlier stages of their careers as well as those who have been working in ceramics for decades. Their stories and experiences show the importance of tailoring a career path to fit personal strengths, being flexible, building a support network of friends and colleagues, and being active in the local community. If you’ve contemplated making a career out of your art practice and are wondering what it takes to be successful, read on to hear from Beth Bolgla, Ian Connors, Dan Finnegan, Rhian Malin, and Mizuyo Yamashita, as well as Studio Visit artist Patrick Coughlin and Spotlight artist Adam Frew. They share how they chose where they work; how they responded to economic obstacles; how a career can evolve over the course of decades; what skillsets they’ve needed beyond the studio to build a business; and how they found or cultivated their audience, 5 support network, and community. 1 Rhian Malin’s Linear Bottle, Hand-Held Vessel, and Frangipani Dimple Jug. Photo: Yeshen Venema. 2 Ian Connors’ cream-and-sugar set, porcelain, wood fired to cone 10. 3 Dan Finnegan’s lidded ginger jar, 9 in. (23 cm) in height, wheel-thrown and chattered stoneware, salt glazed, wood fired, 2017. 4 Mizuyo Yamashita’s tiny jug with handle, 7 in. (18 cm) in height, stoneware with various white glazes, 2011. 5 Beth Bolgla’s Pink Cut-Out Bucket, cone 6 oxidation.

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Sculpting Fingernails by Mac McCusker 1 2 As a ceramic artist primarily working in figurative sculpture, I sculpt a lot of hands. When it comes to sculpting fingernails, I have found some short cuts. My long-time friend Judy Mooney showed me an easy method for sculpting nails on a life-size hand: using press-on nails. This method impresses the shape of the nail bed into the fin- ger without sculpting by hand. Press-on nails come in a multitude of sizes and shapes, so you will need to pick the ones that best fit the hand you are sculpting. (They even come in kid sizes for those smaller hand sculptures.) 3 4 After the general shape of the hand and fingers are sculpted, and the clay is leather hard, simply press the plastic nail into the clay on each finger (1), making sure that they are secure and that the clay Carefully remove the nails by lifting upward on the overhanging conforms to the form of the press-on nail. This will create a bit of a free edge of the nail. Use the cuticle end of the plastic nail to form suction. Do this to all of the fingers and then double-check that they a groove in the clay where the fingernail ends. Use a wet paintbrush are in place by gently moving them from side to side (2), which will or sculpting tool (3) to smooth over the surface of any marks made make a deeper impression in the clay. The side edges of the plastic by releasing the nails from the clay. If sculpting longer nails, extra nail should slightly disappear into the clay. clay may need to be added before application.

12 june/july/august 2019 www.ceramicsmonthly.org markerrol

Velvet Underglazes: underglaze transfers

Paint the Velvets on paper and cut out shapes to make transfers.

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Stoneware clay body

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www.ceramicsmonthly.org june/july/august 2019 13 exposure for complete calendar listings see www.ceramicsmonthly.org

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1 Shoko Teruyama’s square platter, 12¼ in. (31 cm) in length, handbuilt earthenware, sgraffito, 2018. Photo: Penland Gallery and Visitors Center. “Shoko Teruyama: Ceramics,” at Penland Gallery and Visitors Center (penland.org/gallery) in Penland, North Carolina, through July 7. 2 Undine Brod’s The Butter Host, 2019. 3 Bill Brouillard’s Machine Age Butter Dish, with butter spreaders by Pam Argentierie, 2019. 4 Kate Maury’s Lamb O’God, 2019. “Butter,” at The International Museum of Dinnerware Design (www.dinnerwaremuseum.org) in Ann Arbor, Michigan, through August 25.

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5 Maya Machin’s vessel, 13 in. (33 cm) in height, wheel-thrown white stoneware, salt glazed, wood fired to cone 10, 2017. 6 James Guggina’s vase, 12 in. (30 cm) in height, wheel-thrown stoneware, sgraffito decoration, 2018. 7 Stephen Earp’s Oak Leaf Charger, 10½ in. (27 cm) in diameter, earthenware, 2018. 8 Tiffany Hilton’s cups, 4 in. (10 cm) in height, stoneware, fired to cone 8 in oxidation, 2018. 5–8 Photos: John Polak. “Fertile Ground: Hilltown 6 and the Asparagus Valley Pottery Trail,” at Fuller Craft Museum (https://fullercraft.org) in Brockton, Massachusetts, through June 30.

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www.ceramicsmonthly.org june/july/august 2019 15 exposure

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1, 2 Lauren Mayer’s I am the Space Where I am (overall and detail) 10 ft. (3 m) in length, porcelain, stoneware, slip-dipped fabrics, glaze, gas oxidation and reduction fired to cone 10, cutlery, slumped glass, mixed media, 2019. Photo: Easton Green. “Insight,” at Holter Museum of Art (www.holtermuseum.org) in Helena, Montana, August 2–September 30. 3 Jason Piccoli’s Atom, 11 in. (28 cm) in height, porcelain, glaze, 2019. “Resonance,” at Baltimore Clayworks (https://baltimoreclayworks.org) in Baltimore, Maryland, June 29–August 24. 4 John Zimmerman’s Tectonic Regime #3, 22 in. (56 cm) in width, ceramic, glaze, gold luster. 5 Evan Hauser’s Preservation and Use (Yellowstone Falls, Albert Bierstadt, 1881), 15 in. (38 cm) in height, porcelain, digital ceramic print, gold leaf, 2017. 6 Renee Brown’s Rutile, Amethyst Vanadinite, Sheer Quartz, 20 in. (51 cm) in height, handbuilt cone-6 porcelain, wood, acrylic, mixed media, 2019. “Clay National XIV Nature Reconsidered: Reimagining Our Natural World through Ceramics,” at Carbondale Clay Center (www.carbondaleclay.org) in Carbondale, Colorado, August 2–30.

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16 june/july/august 2019 www.ceramicsmonthly.org Big, Bad Boy OVALS These bad boys are wired single or three phase and their walls are 3” thick firebrick, making them energy-efficient. We’ll wire and build the Oval tailored to your electrical specifications. They ride hard and can handle large loads and unusual size pieces. Ovals are equipped with standard relays but solid state or mercury relays are always a choice. Olympic Ovals are equipped with touchscreen or digital electronic controllers that you can control from your PC with additional accessories. These bad boys are built with a 2” blank brick ring at the top to avoid broken brick housing elements.

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1 Tyler Gulden’s teapot, 8 in. (20 cm) in width, wheel-thrown porcelain, flashing slip, salt and soda fired. 2 John Dix’s Stone Bowl, 8 in. (20 cm) in diameter, wood fired. 3 Tom Jaszczak’s oval pitcher, 12 in. (30 cm) in height, wheel-thrown and altered red earthenware, slip, underglaze, soda fired to cone 2, 2018. “Making Matters: Fresh Perspectives in Fine Craft,” at Peters Valley School of Craft (petersvalley.org) in Layton, New Jersey, June 1–August 18. 4 Joanna Powell’s vase, 10 in. (25 cm) in height, ceramic, 2018. “Lay Me in a Hot Bed and Try Not to Drown,” at Jane Hartsook Gallery at Greenwich House Pottery (www.greenwichhousepottery.org) in New York, New York, through June 14. 5 Kristin Pavelka’s plates, wheel-thrown and altered earthenware, mishima, fired to cone 4, 2019. “Featured Artist Kristin Pavelka,” at Red Lodge Clay Center (www.redlodgeclaycenter.com) in Red Lodge, Montana, August 2–25. 6 Eliza Au’s Rondel, 9 in. (23 cm) in diameter, porcelain. “Conversations Between Chaos and Order,” at Shanghai Pottery Workshop (www.potteryworkshop.com.cn) in Shanghai, China, June 2–30. 7 Pattie Chalmers’ Every Day I Think of You (detail), earthenware, 2018. “Everyday I Think of You,” at Red Lodge Clay Center (www.redlodgeclaycenter.com) in Red Lodge, Montana, June 7–30.

18 june/july/august 2019 www.ceramicsmonthly.org www.ceramicsmonthly.org june/july/august 2019 19 exposure

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1 Kristina Bogdanov’s shino teapot, 5 in. (13 cm) in height, stoneware, shino glaze, fired to cone 6 in reduction. 2 Todd Leech’s Growth, 24 in. (61 cm) in height, handbuilt stoneware, glazed, sandblasted. “Best of 2019,” at the Ohio Craft Museum (http://ohiocraft.org) in Columbus, Ohio, through July 28. 3 Emil Yanos’ Column V, 23 in. (58 cm) in height, stoneware. 4 Molly Johnson’s Dark Matter, 13 in. (33 cm) in length, wheel-thrown and altered stoneware, 2018. “The Clay Center of New Orleans Sculpture National,” at the Clay Center of New Orleans (www.nolaclay.org) in New Orleans, Louisiana, August 2–31. 5 Joel Brown’s Structure No. 5, 12 in. (30 cm) in height, handbuilt stoneware, shino glaze, wood fired in a noborigama kiln to cone 11, 2018. Photo: Steve Katz. 6 Deborah Heid’s soft bowls, to 11 in. (28 cm) in length, wheel-thrown and altered stoneware, shino glaze, wood fired in an anagama kiln to cone 10, 2018. Photo: Loren Maron. “Confluence,” at Hudson Beach Glass (www.hudsonbeachglass.com) in Beacon, New York, June 8–July 7.

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20 june/july/august 2019 www.ceramicsmonthly.org 5 REASONS ...for you to try a Skutt Wheel

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1 Helen Beard’s Saturday Morning Swimming Club, to 3 in. (8 cm) in height, wheel-thrown, hand-painted porcelain, fired to 2246°F (1230°C), 2018. 2 Helen Beard’s Mercado dos Lavreores, 14 in. (36 cm) in diameter, wheel-thrown, hand-painted porcelain, fired to 2246°F (1230°C), 2017. 1, 2 Photos: Michael Harvey. “Helen Beard–Ceramic Showcase,” at Craft Centre and Design Gallery Leeds (www.craftcentreleeds.co.uk) in Leeds, United Kingdom, through July 27. 3 Hunter Stamps’ Velvet Aberration, 14 in. (36 cm) in width, wheel-thrown and altered stoneware, fired to cone 04 in oxidation, 2018. 4 Hunter Stamps’ Vicissitude, 25 in. (64 cm) in width, wheel-thrown and altered stoneware, fired to cone 04 in oxidation, 2019. 3, 4 Photos: Mary Rezny. “Hunter Stamps: Outpouring ,” at Sherrie Gallerie (www.sherriegallerie.com) in Columbus, Ohio, June 1–July 14. 5 Hannah Pierce’s Spilling It All, 10½ in. (27 cm) in height, earthenware, 2018. 6 Hannah Pierce’s Architect Defect, 10 in. (25 cm) in height, earthenware, 2018. “A Fault In My Structure,” at Baltimore Clayworks (baltimoreclayworks.org) in Baltimore, Maryland, June 29–August 24. 7 Tim Scull’s textured, wheel-thrown vessel, crackle glaze fumed with mineral salts of iron, raku fired. “Guilford Craft Expo 2019,” on the Guilford Green (guilfordartcenter.org/expo) in Guilford, Connecticut, July 19–21.

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22 june/july/august 2019 www.ceramicsmonthly.org New Floating Glazes For Stoneware, fires Cone 4/6

1435 Sangria

[email protected] ph: (800) 970-1970 www.spectrumglazes.com www.ceramicsmonthly.org june/july/august 2019 23 CLAY CULTURE

a potter’s path by Jan-Alexander Haas Long-standing traditions of craft dictate the training and education necessary to become a professional potter in Germany today.

Have you ever wondered if the training for a certain profession might Even with the legal/regulatory obstacles removed, the traditional differ from place to place? For example, are the paths to become a path of education to become a potter is still highly regarded and potter different in North America than, let’s say, Europe? The short ensures a certain reputation with customers and peers. answer is yes. I only realized these differences when I started my educational travels as a German potter in Canada. I met wonderful Steps to Becoming a German Potter peers who let me work with and learn from them, and discovered Every college or university, and any other kind of higher education that their training was very different from mine. or professional training, is free of charge (except for the very few Until an amending law in 2004, only those who possessed private institutions, or training in controversial professions such something that officials call a “qualified proof of performance,” were as chiropractor or homeopath). Or in other words: there are no allowed to operate their own pottery studio as a business and teach crippling student loans if you attend a German university, since others. What does that mean exactly? As opposed to pursuing a education is considered as a basic human right. degree from a university as is a common path for potters in Canada To become a potter, you need to find a qualified studio willing to and the US, the official professional training process in Germany train you in an apprenticeship. That is a huge commitment for both almost always includes a three-year apprenticeship in a qualified sides, apprentice and trainer/master, given that they are closely tied operating studio, some years as a journeyman/assistant, and then together for three years on a full-time basis. The master shares his finally passing the exams to become a certified master craftsperson knowledge and skills, provides tools, work clothes, and an environment after roughly two years of further advanced education. in which to train. The apprentice contributes his labor and willingness The reasons for such stringent guidelines are deeply rooted in the to learn. All expectations of tasks, rules, duties, etc. for both parties are history of European cities and their craft guilds in medieval times. In set down in a contract that is monitored by the Chamber of Crafts and 2004, the government made these regulations more suitable for the Trades. Apprenticeships are paid positions. The amount varies largely modern age, allowing declining crafts to find successors. However, depending on the branch of trade, the location, and the ability of the they are still in effect in trades that could endanger the customers’ employer. If the amount isn’t high enough to cover expenses through health if performed incorrectly by an improperly trained person, such each month’s end, the government usually chips in funding to ensure as plumbing, electrical work, and roofing. that the apprentice can truly concentrate on his or her education.

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1 The Keramikschule Landshut is a public vocational school for training potters in Landshut, Germany. 2 A classroom in Landshut, 1913. 1, 2 Photos: Courtesy of Keramikschule Landshut. 3 Journeying craftsmen from Germany in traditional attire (Kluft) 1990. Photo: Ralph Hirschberger, Erfurt, Germany.1 4 Jan-Alexander Haas’ graduation pieces, tea service, salt- glazed stoneware, wood fired, 2017.

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5, 6 Decorating and wheel-throwing classes in Landshut today. 7 Students shown working today in the same wheel-throwing classroom as shown in image 2. 5–7 Photos: Courtesy of Keramikschule Landshut. 8 Jan-Alexander Haas chopping wood for a firing. Photo: Courtesy of Hendrik Schöne.

Naturally, every studio varies in prestige, work ethic, type of The next stage of advanced education to become a master concen- work produced, and methods used. To make sure that every ap- trates mainly on the legal aspects of running a business. This includes prentice is trained to the same high standards, it is mandatory to two years of studies in economics, management, fiscal considerations, visit a specialized vocational school in addition to the studio train- and educational science to enable the future master to train further ing—hence the name “dual educational system” in Germany. To put generations of apprentices, followed by another set of exams. it simply, training for practical aspects takes place in the studio and Unfortunately, the number of qualified studios and vocational the theory behind every craft is taught in vocational school. Here schools that are willing to take in trainees is seriously declining as the apprentices learn to handle the raw materials, glaze composition, regulations changed (you must be a master potter to train apprentices, applied mathematics, drafting, the history of ceramics, geology, but not to operate a studio). My class at the vocational school Berufss- safety measures, ceramic chemistry, and much more. chulzentrum Dithmarschen in Heide consisted of only 14 apprentices After three years, all of this culminates in a final exam, overseen by from 6 German federal states, and 2 academic years bundled together. teachers, state officials, and experienced master potters. A few months But, there is an equivalent alternative. In Landshut, a city in before the exams, the apprentices start creating their graduation Bavaria, there is a public vocational and training college for ceramic pieces, a tea service, for example. All the necessary steps like planning, artists. Founded in 1873, the Keramikschule Landshut combines the drafting, producing, decorating, glazing, and firing are documented above mentioned processes under one roof. Again after three years of and assessed, along with the finished pieces, by the examiners. This full-time training, the successful graduates earn a certificate of equal is followed by a comprehensive written exam of several hours that value as the traditional journeyman’s. Admittance is free. Currently, tests knowledge of everything learned in school. Finally, there is a there are students from 13 nations attending. The only requirements practical trial, in which the apprentices perform certain tasks on a are to pass a suitability test and the ability to understand German tight schedule, like throwing batches of identical, predefined shapes. in writing and speech. If all goes well, the apprentice is given a certificate and is of- ficially promoted to journeyman. Typically a journeyman will the author Jan-Alexander Haas was born in Germany in 1985. After continue to work for other masters or, like I’m doing now in finishing several years of apprenticeship in a very traditional, family- Canada, pursue a journeyman’s waltz. This is a fascinating tradi- owned pottery studio near Rostock, Germany, he is traveling through tion of embarking on nomadic educational travels far from home, Canada as a free journeyman to learn more about the craft. where the journeyman offers skilled labor to a variety of studios. 1 Image attribution: The German Federal Archives (Deutsches Bundesarchiv), Bild (Image) 183-1990-1210- This tradition sadly only survived in the word “journeyman” in 001 / CC-BY-SA 3.0. Licensed under the Creative Commons Attribution-Share Alike 3.0 Germany License. English-speaking countries. https://creativecommons.org/licenses/by-sa/3.0/de/deed.en.

26 june/july/august 2019 www.ceramicsmonthly.org To celebrate our 100th Anniversary, we invited 100 artists to create a glaze jar using their

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www.ceramicsmonthly.orgwww.amaco.com/100years june/july/august 2019 27 STUDIO VISIT Patrick Coughlin Philadelphia, Pennsylvania

Just the Facts Clay earthenware Primary forming method Studio handbuilding, wheel throwing, My studio, located in the heart of Fishtown in Philadelphia, Pennsylvania, is a mixed-use casting, sewing, upholstering, property that has both commercial and residential space. I keep a studio on the first floor and gluing, woodworking basement, and live on the second and third floors above. This close proximity of home to the Primary firing temperature studio has made all the difference in being able to have greater productivity while allowing cone 04–1 oxidation me the ability to play, discover, and explore in those shorter time periods that commuting Favorite surface treatment to the studio often made impossible. That 30-minute period while dinner is in the oven can terra sigillata be a productive time to sketch out ideas, add some coils, roll out some slabs, or clean in Favorite tools preparation for when I have several hours to focus on a project or task. my hands After moving studios three times in five years, it has been a dream come true knowing Studio Playlist that by purchasing a property like this one, I have secured a workspace that I have control podcast junkie: NPR Up First, NPR Politics, 2 Dope Queens, The Rachel over, where I can build long-term plans and strategies to expand my practice. This forward Maddow Show, On the Media, Snap thinking was something nearly impossible to do when continually packing and unpacking Judgement, Wait Wait... Don’t Tell work and equipment. Me!, The Moth, Ted Radio Hour, Slate My practice has developed to incorporate a variety of materials and processes, creating Political Gabfest, Dumb People Town, the need for flexibility in the studio. Having a ceramics studio, fibers area, wood shop, Fresh Air, This American Life, and the local NPR WXPN radio kilns, plaster area, and glaze mixing/testing space means that there is a lot of changeover and transformation of the space to fit the practice at hand. Having the studio downstairs from Wishlist a Juki industrial sewing machine the living space allows me to take that transition time seriously. When I was commuting and a better ventilation/dust collec- to a studio, I didn’t always allow myself the meditative process of preparing the area for tion system what I planned to do next. With all of my work and teaching obligations, it was difficult

28 june/july/august 2019 www.ceramicsmonthly.org for me to make time for the process of cleaning and preparation sible. However, it generally allows for certain days to have big time when my studio time could be so sporadic. I wish it didn’t take slots available to spend in the studio. the responsibility of owning property to force me to mop the Teaching is my primary income; the studio work that I make floors every week or organize and put tools away. The stress of does sometimes supplement that. However, its income contribution home ownership made me care about the space in a way that I is not one I can count on for meeting expenses. Having now been in never did when I rented—not that I was a slob, but sometimes I this studio for just about two years, I am exploring the possibilities was. I consider myself incredibly fortunate to be able to have this of foot traffic, in-studio classes, sales, and adding more commercial studio/living situation, and understand that it’s not always possible lines of work. for everyone. But I do wish I had made the connection to that I also rent portions of the space to Stephen Aleckna and Han meditative headspace of cleaning and organizing as an essential Wang, both of whom are successful and dynamic artists. They 70 aspect of making sooner. have dedicated workspaces and access to equipment, kilns, and RECIPE shared working areas. It has been an organic process building Paying Dues (and Bills) the infrastructure and space to accommodate two other artists. It Being a part-time teacher means that my schedule and income are meant that I had to make some studio upgrades: installing a slop relatively unpredictable. I teach handbuilding, wheel throwing, sink, having kilns that will assuredly get to cone 6, and ventilation foundations, graduate-level studio art, and industrial design mold for using china paint, lusters, and decals. Their inclusion in the studio making at two universities, and an advanced handbuilding class at is a vital financial and creative force. Having two independent artists The Clay Studio. During any given semester I teach anywhere from work out of the space keeps the energy high and fosters a sense of 5–6 courses between these 3 institutions. My schedule changes every community while also allowing me to keep my studio time focused three months, so having a regimented studio plan is nearly impos- on my practice.

www.ceramicsmonthly.org june/july/august 2019 29 STUDIO IMAGES: EVAN KALMAN. FINISHED IMAGES: LOUISE OROURKE.

Mind Being a news podcast junkie in the studio, and with the current My schedule is like a Rubix Cube. I only have so many squares; reality-TV disaster that is our national politics, I have leaned heavily I can’t add new ones, I can only move around the squares I have. into sci-fi and fantasy fiction for much needed escape. Currently, I I know how to engage in the rigor of making, thinking, and teach- am reading Dune by Frank Herbert. Reading has always been the ing; I have been well educated in those areas. However, my comfort best way for me to recharge; there is nothing better than getting level with business practices or lack thereof makes it a hard-fought lost in an excellent story. As JRR Tolkien said, the only people who slog to move that bar forward. I think academia is currently doing gripe over escape are jailers. A good book is my best day off, the cure a poor job building curriculum around professional practices for for a mental block, and how I recharge my battery. As a maker, I makers. I was taught a professional practice curriculum created for consider myself a type of world builder, crafting meaning, emotion, a different era of academia and job markets, and a dialog is much context, and history. What better way to spark my creative agency needed to prepare all of us better for creating viable pathways to sus- than to thoroughly lose myself in imagining a world an author sets tained making. But that is a much larger discussion for better-trained down in prose? members of our community. I want nothing more than to better leverage my skills and time toward marketing, branding, finances, Marketing networking, and creating a purposeful business plan in pursuit of The marketing side of my practice is what usually keeps pushing building a more extensive practice. To any students reading this, itself further down the list of priorities. My last semester teaching take a business and marketing class, learn to write a business plan, had me in class 29 hours a week, not including preparation or grad- develop financial literacy, and for God’s sake, learn Excel. ing. Consequently, I can only engage in so many things in a week, month, and year. Maybe I am just bad at multitasking, but I find www.patrickcoughlin.com that I either have time to make work or time to promote the work. Instagram: @p.coughlin

30 june/july/august 2019 www.ceramicsmonthly.org www.ceramicsmonthly.org june/july/august 2019 31 WORKING POTTER RHIAN MALIN

All of my ceramic pieces are wheel-thrown porcelain that I hand cate one-off patterns and can take up to a whole day to map out paint in cobalt blue underglaze. I was initially inspired by my and paint by hand. grandmother’s large collection of blue-and-white willow-patterned china. I use a lot of geometric patterns in my work. They are all Taking the Plunge mapped out by eye in pencil first and then followed over with the I’ve always been creative and had the drive to have a career in underglaze using a slip-trailing bottle with a very fine nib. making things for as long as I can remember, but it wasn’t until The throwing and trimming are the quickest part of the pro- my third year at university studying three-dimensional design at cess, while the patterns take much longer to apply depending on Camberwell College of Arts, that I realized I would become a their complexity. The easiest ones are probably the Linear and potter. For my degree show, I displayed around fifteen blue-and- Dotty patterns, as I find it easier to add vertical lines down the white hand-held vessels, and nearly all of them sold. From that vessel compared to the patterns with circles in them, such as the exhibition, I got an order from a gallery in London—Cavaliero Double Ring or Frangipani patterns. My most complex and time Finn, whom I still work with today—which meant that I had to consuming pieces are the Mandala collection, which are all intri- find a studio to work from and make more vessels to fill the order,

1 2 and it all just snowballed from there. I don’t know if I ever would have taken the plunge to be a full-time potter without that order. Back then I wasn’t really expecting my work to be as well received by galleries and the public as it has been, which has carved a very different career path than the one I imagined before graduating. I expected to not have enough work and instead I have quite the opposite problem, too much work, which is a very nice problem to have. There are lots of deadlines to stick to, and that can make it more stressful than I ever thought, but I wouldn’t swap my job for anything. I love being my own boss.

Branching Out The most difficult decision I’ve made so far was taking on my own studio space and leaving The Ceramics Studio 3 in Stratford-upon-Avon, Warwickshire, which was where I had been making for the four years after I graduated. Initially I started there as the artist in residence, but I ended up getting on so well with the owner, Leyla Fol- well, that I never left. It was a shared studio space primarily set-up for teaching, but I had my own small space for making with my own wheel and I had access to their kiln. It was beneficial in terms of always having someone around to bounce ideas off or get feedback from, as well as not having to worry about the maintenance of equipment. Eventually it was clear that I had outgrown my space, but I had learned so much over the years and had become so 4 comfortable that the idea of leaving and taking on more responsibility really scared me. My new studio space is perfect. There’s a lot more room to spread out, and I’ve even taken on my first as- sistant, Alice Funge. On the days that she isn’t helping me out, Alice has her own space at the studio to make her work. We get along and work really well together, which makes coming to work a pleasure. Now that I’m settled in, I don’t have any regrets. Plus, The Ceramics Studio is only five minutes down the road, so I still pop in for regular catch ups and cups of tea! My studio is based just out of Stratford-Upon-Avon, which is close to where I grew up. After living in London for four years I was ready to come home to a calmer pace of life. We put on open studio events twice a year, which attract a lot of visitors. People do come and visit us outside of those times, but generally they let us know they’re coming first, as we’re a bit off the beaten track.

1 Rhian Malin hand painting a Layered Lines Bottle. Photo: Lucy Barriball. 2 Frangipani Dimple Jug, 6 in. (15 cm) in height, wheel-thrown and hand-painted porcelain. 3 Fluted ginger jars, to 73/4 in (20 cm) in height, wheel-thrown and hand- carved porcelain. 4 Ginger jars, to 73/4 in. (20 cm) in height, wheel-thrown and hand-painted porcelain. 5 Mandala Bottles, to 81/2 in. (22 cm) in height, wheel-thrown and hand-painted porcelain. 2–5 Photos: Yeshen Venema. 5

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34 june/july/august 2019 www.ceramicsmonthly.org Becoming a Business CAREER SNAPSHOT Being selected for the Crafts Council’s Hot- house program in 2016 was a huge turning YEARS AS A PROFESSIONAL POTTER point for me in terms of learning to treat 5 my ceramics practice as a business. I learned how to identify who my customers are so I NUMBER OF POTS MADE IN A YEAR could be more selective and target where More than 500, less than 1000 they would be shopping as opposed to what they called spraying and praying (saying yes EDUCATION to everything and hoping for the best). BA (Honors) Three Dimensional Design, Ceramic fairs are a huge part of my busi- Camberwell College of Arts, London ness. I try to do around four shows a year, aiming for quality of shows, not quantity, THE TIME IT TAKES in order to be able to make better use of my Making work (including firing): 75% time. They do vary in terms of success, even Promotions/Selling: 20% sometimes down to the weather that week- Office/Bookkeeping: 5% end, which can be quite unpredictable in the FAVORITE TOOLS UK, but I see them as marketing opportuni- My Bison trimming tools. They are handmade—a turned wooden handle ties rather than just a place to sell directly with a tungsten-carbide trimming loop that does not blunt. to the public. I’ve met many of the galleries that represent me at these shows. They do a FAVORITE PROCESS great job of selling my work throughout the hand painting rest of the year, which is invaluable. Another great tool for marketing, as well WHERE IT GOES as sales, is Instagram. I think it’s a must for Galleries: 30% any creative business in this day and age. It Craft/Art Fairs: 40% takes time to build up a following, and hav- Studio Sales & Commissions: 25% ing your own individual style really helps, Online: 5% but once you have a following it’s a way to literally have the whole world at your fin- WHERE TO SEE MORE gertips. I’ve recently agreed to go to Taiwan Open Eye Gallery, Edinburgh https://openeye.org.uk on a month-long residency. The opportunity The Biscuit Factory, Newcastle www.thebiscuitfactory.com came from the organizer seeing my work on Bils & Rye Gallery, Kirkbymoorside www.bilsandrye.com Instagram and inviting me to take part. Snug Gallery, Hedben Bridge www.snug-gallery.com My advice for those interested in pursu- The Craft Centre and Design Gallery, Leeds ing studio ceramics as a career would be to www.craftcentreleeds.co.uk only take advice from people whose pottery The Harley Gallery, Nottinghamshire www.harleygallery.co.uk or business you look up to. I’ve had so many Gallerytop, Matlock www.gallerytop.co.uk people give me ideas over the years, and they Roundhouse Gallery, Foston www.roundhousegallery.co.uk are only trying to help, but it can be very easy Bircham Gallery, Holt www.birchamgallery.co.uk to be led astray if you aren’t strong willed and Cambridge Contemporary Art Gallery, Cambridge you take advice from the wrong people. And www.cambridgegallery.co.uk secondly, don’t be shy about getting your The Stratford Gallery, Stratford-upon-Avon, work out there, whether that be via social www.thestratfordgallery.co.uk media or exhibiting at events, otherwise New Brewery Arts, Cirencester www.newbreweryarts.org.uk people won’t know your work exists. Sarah Wiseman Gallery, Oxford www.wisegal.com Art In Action Gallery, Waterperry Gardens www.waterperrygardens.co.uk/art-action-gallery Cavaliero Finn, Herne Hill, London www.cavalierofinn.com Hexagon Classic Design, East Finchley, London http://hexagonclassicdesign.com 6 Moon jars, 4 in. (10 cm) in height, wheel-thrown The Burton @ Bideford, Devon www.burtonartgallery.co.uk and hand-painted porcelain. 7 Kaleidoscope Moon Jar, Dotty Bottle, and Condensed Double Ring Ginger Jar, to 81/2 in. (22 cm) in height, wheel- LEARN MORE thrown and hand-painted porcelain. 8 Hand-held www.rhianmalin.co.uk vessels, to 63/4 in. (17 cm) in height, wheel-thrown and altered, hand-painted porcelain. 6–8 Photos: Instagram: @rmalindesign Yeshen Venema. www.facebook.com/RhianMalinCeramics

www.ceramicsmonthly.org june/july/august 2019 35 WORKING POTTER BETH BOLGLA

Like most of you who are reading this article, I walked into my first However, I always dreamed about living and working in New ceramics class, and well, that was it. But perhaps unlike many of you, York City, and being a part of the great diversity of people and

RECIPE I never saw myself living in the country in an old farm house with individual expression there. As soon as I was able, I moved from 70 a barn for a studio, hauling clay in my pickup truck, taking long Georgia to New York and never looked back. Living in New York walks, and throwing hundreds of pots with my trusty dog at my for the past 30 years, and the last 6 years in Brooklyn, has been side. Don’t get me wrong, I have a profound love of nature and everything I imagined. I love tall concrete buildings as much as I admire that solitary lifestyle, and I really believe that it’s probably love old trees. I love walking everywhere I need to go as much as I the best choice for anyone wanting to pursue a livelihood in ceramics. dislike driving in cars.

36 june/july/august 2019 www.ceramicsmonthly.org Finding a Studio and Home Still, it is challenging to be a ceramic artist here. Find- ing a studio that was somehow affordable and accessible where I could have even an electric kiln was no small feat, and having to do so several times was a nightmare. Lugging clay up flights of stairs or finding the building manager to open the gates and let the delivery truck get near the (hopefully working) freight elevator is a routine nightmare. The closest ceramic supplier is outside the city, requiring a car rental or steep delivery charges. And then there is the two-hour, round-trip daily subway commute. Though I love traveling by train, it is difficult to be so far away from my studio, especially during the drying and firing processes. It is not really possible to 1 follow through on a creative impulse that occurs to me anywhere outside my studio. And though there are some great appreciators in the area, relative to other art forms there is little support for the ceramic arts from museums and galleries—and certainly not for functional pots. In spite of these challenges and more, the city feels like home to me, and I have been determined to stay. So how have I been able to live here for all these years? Until recently, I have always had gigs to pay for my studio and help support my family. I worked for many years as a museum consultant either in exhibition design, or as a registrar, art handler, or model maker. I also worked for many years as a photo stylist, and taught in a number of schools, and still teach all day on Mondays. Although these jobs were at times interesting and even somewhat fulfilling, they were always a means to another end. I was never confused about that and often I made just enough to pay studio rent and expenses. I am seriously committed to my studio practice, though I never think of myself as making a living as an artist, but rather as living the life of an artist. To me this means always showing up and doing whatever it takes 2 to support the habit, except compromising where my process leads me. My studio is a sanctuary for me, and once I’m there I rarely invite visitors or leave, except to roll my cart of 5-gallon buckets down the hallway to change the water or clean up. It’s a pain not having a sink, but I romanticize it by envisioning Japanese brush- work drawings of people carrying buckets, and I remind myself it’s a small price to pay for the good fortune of being in the studio.

Opposite: Beth Bolgla in the studio, 2019. Photo: Jack Hayes. 1 Installation from the exhibition “Joy of Color,” Orange Bucket, 24 in. (61 cm) in width, fired to cone 6 in oxidation, 2018. Photo: Uffe Kjaer. 2 Four cups, 2¾ in. (7 cm) in height, stoneware, 2018. 3 Moon White Teapot, 5¼ in. (13 cm) in height, Moon White 3 glaze, fired to cone 6 in oxidation, 2019. Photo: Malcolm Varon.

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Struggle and Pursuit I am well aware of the struggle to balance making a living with pursuit of one’s artistic ideas, and I somehow always come down on the side of following my ideas. The pressure to sell work seems to be in conflict with following an inner path; if you have to produce so many cups to pay rent, how can you take the time to explore making a really good handle, or really explore an idea fully? When I pursue an idea, it can sometimes take years. I have been making two-handled vessels for over 40 years. In 2000, I was invited by the US State Department to travel to Syria and Saudi Arabia to work with women and students at the University of Damascus. While there, I found amazing two-handled black rubber containers holding all manner of items for sale in the markets. I made drawings and paintings of these containers, but never thought to make an actual object until I happened on some very dark clay. I have worked with this form for many years now and it continues to evolve, most recently during my preparations for a three-person exhibition in Denmark, in September 2018.

Finding Opportunities Despite my focus on following ideas, no one likes selling pots more than me and it’s a huge financial help when I do. I sell my work any way I can. I sell directly from my studio to individu- 5 als through word of mouth or from Instagram (a great tool in so

38 june/july/august 2019 www.ceramicsmonthly.org CAREER SNAPSHOT

YEARS AS A PROFESSIONAL POTTER Full time for the last 14 years. Part time for 26 years prior while also working in painting and drawing.

NUMBER OF POTS MADE IN A YEAR about 500

EDUCATION MFA in Ceramics from Georgia State University, Atlanta, Georgia, 1978; also coursework for Masters in Art History, 1978–80. 6 4 Color Pages, 10 in. (25½ cm) in height, stoneware, 2018. Photo: Uffe THE TIME IT TAKES Kjaer. 5 Red Cut-Out Bucket, 9 in. (23 cm) in height, fired to cone 6 in oxidation, 2018. Photo: Malcolm Varon. 6 Green Landscape Square Vase, Making the work including firing: 70% 9 in. (23 cm) in height, stoneware, 2018. Photo: Frieda Dean. Promotion/selling: 25% Office/book keeping: 5% only when necessary (taxes, rent, utilities, etc.)

FAVORITE TOOL many ways), or as part of organized annual open-studio tours in new electric drill Brooklyn. For several years I had a wholesale account with a shop in Brooklyn. I was a member of the Brooklyn Chamber of Commerce FAVORITE PROCESS and participated in trade shows, including Brooklyn Designs and throwing . . . at the moment Brooklyn Eats. This led to widespread exposure, several commis- WHERE IT GOES sions, and a very special collaboration with a baker and expert tea Retail Stores: 20% maker for teabowls and plates for a pop-up tea shop in Manhat- Galleries: 20% tan. I’ve been accepted to online and gallery exhibitions. I rarely Craft/Art fairs: 20% participate in large local or regional crafts festivals (difficult to do Studio/Home Sales: 20% without a car), but I have had good results participating in small Online: 0% I recently created an online shop and hope select makers’ markets. to have success selling online. After all these years though, I might be ready to take my own Other: 20% commissions or orders from patrons. advice and move to the countryside; the French countryside actu- In any given year or years I might sell mostly at small ally. After attending the Third European Wood Fire Conference markets (1–3 most years), from my studio (usually as and the Grand Fuex 2018, in LaBorne, France, I have found part of local studio tours), in stores (for several years, nearby a perfect little gîte (small vacation house), just about the but not now), or through galleries. size of my Brooklyn apartment, with a room attached off the back for a studio. The area around LaBorne is a dream, quintessential WHERE TO SEE MORE pastoral landscape, with piles of wood stacked everywhere for www.bethbolgla.com the wood kilns in every other backyard. And most importantly, there is a community of potters who seem willing and anxious to LEARN MORE share space and knowledge. I look forward to this new chapter in Instagram: @bethbolglastudio my life, and as the poet Mary Oliver says, “Things take the time Facebook: @bethbolglastudios they take . . .”

www.ceramicsmonthly.org june/july/august 2019 39 WORKING POTTER IAN CONNORS

As a young potter working through a recent setback in my career, about making and selling work. At 18 years old, I got to see the I am facing a common struggle. I am constantly searching for joys and difficulties of making pottery as a full-time job. This was creative paths to support myself financially so I can prioritize my an extremely influential time and it deeply affected the path I have artistic growth when I’m in the studio. Although I was fortunate chosen. I spent most of my college summers working with Tony in enough to find a passion for pottery in my youth, I wonder how some capacity, and he is still a close friend and mentor. my work might have grown if I hadn’t been as focused on making a sustainable living from clay early on. Learning About Balance After high school, I was introduced to a potter named Tony While I was studying at the University of Wisconsin-Milwaukee, Winchester. I spent the summer with Tony and his wife, Mindy, I naively thought I would be able to graduate and immediately in their studio and traveling to art fairs. They graciously welcomed support myself making pottery. After graduation, I went on to do me into their home and, for the first time, I witnessed the daily a residency at Taos Clay in El Prado, New Mexico, and tried to life of a studio potter. Until this point I had no idea what it took survive on my stipend, teaching, and sales alone. I quickly real- to make a living as an artist. Tony taught me all sorts of things ized that without another source of income or compromising the

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1 Ian Connors in the studio. Photo: Cody Hilleboe. 2 Vase, 8½ in. (22 cm) in height, 2017. 3 Cream and sugar set, 9 in. (23 cm) in diameter, 2017. 4 Mug, 4½ in. (11 cm) in height, 2016. All pieces: porcelain, wood fired to cone 10.

quality of the work to make it more affordable, I would be unable to support myself right away making pots. Initially, I was concerned that working part-time jobs away from the studio would push me further from my goals. In practice, these outside jobs have actually taken a lot of stress out of my studio, allowing me to slow down and focus on the quality of my work. I have been able to protect my time in the studio from the influence of sales and the pressure to make what sells. This idea was encouraged while I was an appren- tice with Simon Levin at Mill Creek Pottery, after my residency at Taos Clay. During that year and a half, I continued to sell work, but the fact that I wasn’t de- pendent on that income alone gave me the freedom to take chances I hadn’t allowed myself. Simon taught me how to make pots that have more character by help- ing me clarify the ideas that made my work personal. This encouragement to dive deeper into those ideas helped my pots become more genuine and cohesive. I started handbuilding and began developing the work I make now.

Professional Growth My work grew exponentially toward the end of my ap- prenticeship as I continued to develop professionally. 4

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While apprenticing with Simon, I had the opportunity to see how upper body brace and decided to move out of the studio I had he interacted with galleries and customers. I was included in his been renting. Along with the financial setbacks that came from home and online sales and played an active role in their promo- the injury, I was unable to make work for about six months. I was tion. That gave me visibility to Simon’s audience and allowed me to extremely lucky that my parents were able to house me and help learn by doing. I also had the opportunity to travel to conferences, me through this time, but still it was very difficult both physically workshops, and home sales. Assisting with those events allowed and mentally. It made me look at my life, career, and wellbeing me to see lots of great art and get to know many of the artists on with a new sense of urgency. a personal level. Seeing how each of those artists found a different Before my injury, I was struggling with technical issues associ- path to a successful studio practice was encouraging. ated with my making process and high-temperature wood firings. I market my work based on how involved my making process I lost more than half of a firing (about 70 pots) right before a big is. I avoid selling at craft fairs because I can’t justify the overhead deadline. I was struggling with the workload of preparing for an cost and energy associated with traveling and booth fees. Gallery anagama firing and feeling isolated working alone. After spend- sales are a great way to sell work without requiring much extra time ing this past summer working full time at a bike shop and getting from the artist, with the added benefit of being not only a source physically back into shape, I went on a month-long road trip. I of income, but a promotional tool to share my work with a larger used that time to look for a studio out west, focus on improving audience. I do at least one big online sale around the holidays my attitude, and celebrate my health. I made my way down the and always try to keep a handful of pots available for purchase Rockies, skiing at a dozen resorts from Big Sky, Montana, to Taos, on my website. I try to do as many home sales and pottery tours New Mexico. as I can, because the overhead is low and meeting my customers Skiing and the outdoors have played a formative role in my is nourishing. identity, and I intend to follow those passions as I begin to put down roots. I am currently working full time at the Taos Ski Valley Setbacks and a Time for Change as I ease my way into rebuilding my studio practice. I am making Last May I had the first major setback of my career when I broke work at Taos Clay until the end of the ski season, and plan to be my back in a diving accident. I spent the next two months in an making pots full time by the summer. I am re-tooling my making

42 june/july/august 2019 www.ceramicsmonthly.org CAREER SNAPSHOT

YEARS AS A PROFESSIONAL POTTER 4

NUMBER OF POTS MADE IN A YEAR 600–800 6 EDUCATION 2009 Summer Apprenticeship, Winchester Pottery, Persia, Iowa 2014 Bachelor of Fine Arts with a concentration in ceramics from the University of Wisconsin-Milwaukee, Milwaukee, Wisconsin 2017 Apprenticeship with Simon Levin, Mill Creek Pottery, Gresham, Wisconsin

THE TIME IT TAKES Making work (including firing): 80% Promotions/Selling: 15% Office/Bookkeeping: 5%

FAVORITE TOOL industrial felt-covered work table

FAVORITE PROCESS building with soft slabs from templates

WHERE IT GOES

7 Retail Stores: 10% Galleries: 40% Craft/Art Fairs: 0% process, experimenting with low-fire earthenware in an attempt Studio/Home Sales: 30% to resolve some of the technical issues I faced previously, speed up Online: 20% my firing cycle, and give my body a break from splitting wood WHERE TO SEE MORE and loading large kilns. Lillstreet Gallery https://lillstreetgallery.com I plan to continue wood firing a couple of times a year, but I Etsy www.etsy.com/shop/IanConnors am excited about the challenges of exploring a new firing range. My forms and surfaces were created with wood firing in mind, LEARN MORE leaving me curious to see how I can use new techniques to my www.ianconnors.com advantage, and how the work will change accordingly. I am work- Instagram: @ianconnorspottery ing to come to terms with the financial instability of a career in clay while focusing on the beauty of this unconventional lifestyle. I 5 Tumbler set, 7 in. (18 cm) in height, 2016. 6 Creamer, 5 in. (13 cm) in feel extremely privileged to be a part of this passionate community diameter, 2017. 7 Side plate, 7 in. (18 cm) in diameter, 2017. All pieces: and find strength in our continued survival as a vibrant profession. porcelain, wood fired to cone 10.

www.ceramicsmonthly.org june/july/august 2019 43 WORKING POTTER MIZUYO YAMASHITA

My career as a ceramic artist started in the course of a series of events. I was in London after finishing my studies in domestic science and working for a few years in lifestyle shops in Japan, and was learning English when I saw and was struck by Grayson Perry’s pots. It was very shocking to see social issues depicted on the surface of pots, and I was intrigued with the variety of surface treatments he employs in multiple layers of color, carving, and im- agery. I wanted to find out what goes into pottery making, so I enrolled in a local adult education ceramics course at Kensington and Chelsea College. While in the course, I was introduced to a professional ceramic artist, Julie Goodwin, and worked for her for a few months. Her workspace was in a studio complex of many artists, makers, and designers. It was very refreshing to work in such a creative environ- ment after the hectic routine of life in Tokyo. It was surprising to see ceramic artists working in the city. A studio potter’s life, I imagined, would be something like working alone in the studio in the mountains. You’d dig clay, throw on the wheel every day, and fire the anagama kiln twice a year. You’d sell only a few pieces out of the hundreds in the batch. I don’t think my assumption was valid even 20 years ago; however, it didn’t occur to me that you could make pots in a city while also enjoying a variety of other cultural ac- tivities it has to offer. In fact, I don’t think I knew the studio-size electric kiln existed until I started working in that urban studio. I helped Julie make modern and colorful bowls and beakers, which were fired in an electric kiln. I learned how to prepare clay, colored slip, and glazes, as well as how to use jigger jollying equipment. I enjoyed the whole experience and was inspired to become 1 a ceramic artist.

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1 Mizuyo Yamashita in the studio. Photo: Nigel Wright. 2 Mizuyo Yamashita wheel throwing in her studio. 3 Carving the bottom design on Kiriko (cut glass design) cups using Japanese chisels for wood-panel printing, 2018. 2, 3 Photos: Nick MacMahon. 4 Mentori (faceted) teapot, 7¾ in. (20 cm) in height, stoneware, Matte White glaze, brass handle, 2018.

Taking the First Steps Through this experience, I got to know a few other ceramic artists By this point I was already taking orders from a few places 70 and started renting table space from them. I also continued tak- as a result of a Christmas craft fair I participated in organized RECIPES ing classes. Gradually I grew my collection of tools, materials, and by one of my teachers at Kensington and Chelsea College. I was buckets. Outgrowing my table space, I moved to East London to making simple, handbuilt porcelain bowls using subtle textural find a bigger and cheaper space. The rent in the East back then was patterns and underglaze transfers with tints of colors. These didn’t much cheaper and there were a lot of studios available for artists. require much skill to make, but were unique. I received great feed- One day I came across an ideal space in a shared studio with partly back at the show, which was overwhelming and very encouraging. open dividing walls and two kilns to share. There were four other This experience led me to think of pottery as my profession, even workspaces, all for ceramic artists, and we could have a chat while though I was only in my third year of ceramic studies. making our own work. I just fell in love with the space and I continue My work started getting featured in magazines and I started to work there today. The studio is on the 7th floor of an industrial working with prominent shops, which was enough to keep me go- building with two freight elevators and high ceilings. I love the fact ing. Other suppliers found me through the shops that stocked my I can have my own space without being completely on my own and work. I was very lucky. What I was doing was completely immersing also appreciate the amazing city view from the studio. myself in making without thinking about other elements in life. I’m

www.ceramicsmonthly.org june/july/august 2019 45 not sure if that was the right way to approach this business, but that the country. My business was not established enough to categorize was how it happened in my case. me as an entrepreneur. And on top of that, the investment banking When I started my porcelain work, magazines were a very powerful company Lehman Brothers collapsed and ushered in the recession. The media, and this exposure connected me to more shops that wanted number of orders for my work went down significantly, which made to carry my work. I feel social media is a very strong tool nowadays. my situation even more difficult. This was one of the hardest times Shops and individuals who want to purchase my work find me though of my career so far. Perhaps understandably, art was not perceived as other shops’ social media accounts of or directly through my own. a necessity by society at large during such a difficult financial time. I like using Instagram, which automatically updates my Twitter Luckily, after graduating from the University of Westminster, I and Facebook accounts, as I can upload images in a way I like. It is was granted what was then called a two-year post-study visa. With a great way to share my work and behind-the-scenes information. that, my total stay in the UK reached 10 years, which made me I don’t think I’m making full use of it as my English language skills eligible to apply for permanent residency. When I applied for the are still a work in progress; however, I try to share good pictures, permanent resident visa, I had to show them two years’ worth of without repeating the same/similar photos or stories. bank records and write a letter explaining my profession, the sup- pliers and shops I worked with, as well as my passion for staying in Expanding My Knowledge Base the UK. I was very lucky to receive the resident visa, as my income While working from the studio, I kept on studying as my knowledge was just enough to live on. Since then, passport control and visa and skillset were very limited. When I started selling my work, requirements have become stricter. Many countries have artist or a lifestyle chain reached out to me to work on their new range entrepreneur visas for people who are established in their home inspired by Japanese hotpot food. In a meeting with them on the countries. While the criteria differs for each country, letters from project I felt I was in over my head, so I decided not to take it. galleries and shops that support you, as well as proof that you can After that experience and on the recommendation of my studio create jobs or increase cultural capital will usually help in the visa mates, I enrolled in the City Lit 2-year program to gain experience. application process. Going to City Lit, followed by the University of Westminster to study were good opportunities to explore different genres of ceram- Reframing After the Recession ics. We were given projects with themes such as texture making, This global financial crisis forced me to assess my work and busi- repetition, abstracting the vessel, etc. I was drawn to the format of ness skills. I realized I was lacking the talking/selling skills that are installation and admired work by Clare Twomey and Pieter Stock- important in the field. I also realized that I’m not the kind of maker mans, along with Antony Gormley’s Field installation. I was never who comes up with thought-provoking ideas constantly. I like repeat- keen on making large-scale or sculptural work, but I appreciate in- ing things, getting lost in the making process. I gradually shifted to stallation’s ability to make a big impact using lots of small elements. making functional objects. For my final project while at university, I made a cityscape consisting At the same time that I was reassessing my work and grappling of minimal, house-shaped blocks and found objects. This project with the financial realities of the recession, my friends and gallery sparked ideas and forms I would work to develop in my own studio. connections gave me some work as a technician supporting artists In 2008, I set up my business. I already had good relationships whose backgrounds and training were not in ceramics. This was an with a few galleries and shops, so I didn’t feel like it was a tough deci- exciting experience as I had a chance to glimpse their unique and sion to make. It was more like going with the flow, but that does not different ways of working with materials, how they approach their mean there weren’t complications along the way. One of my biggest subjects, how they see space, and how they build their ideas and concerns was my uncertain residency status in the UK. I didn’t have sustain their creativity. I was also lucky to feel the artists’ increas- a permanent visa, so I needed to apply for a residence permit every ing interest in clay as a medium. I still sometimes work for artists year. After eight years, I was running out of good reasons to stay in if requested, which happens less often now, but as long as I’m able

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YEARS AS A PROFESSIONAL POTTER 11

NUMBER OF POTS MADE IN A YEAR Approximately 2500

EDUCATION Domestic science, domestic design, Kyoto Women’s University, Japan 3-D Pre-Foundation—Ceramics, Kensington and Chelsea College, UK (2-year course, followed by evening courses) HE Diploma Fine and Applied Arts: Ceramics, City Lit, London, UK, Adult Education (2-year, part-time course) BA Ceramics, University of Westminster, UK 6

5 Core vases, varied sizes, stoneware, terra cotta, feldspathic THE TIME IT TAKES stone, 2016. 6 Kiku plate, 11¾ in. (30 cm) in diameter, white stoneware, Making: 80% pine-ash glaze, 2018. Promotion: 5% Bookkeeping: 5% and it’s not too far outside my specialty, I’m happy to get involved Teaching: 10% (I run workshops on throwing, in something I’d never think of on my own. handbuilding, nerikomi, and kintsugi techniques) During this period, my business was quiet, but I worked in the FAVORITE TOOL studio all day. I took part in a show every year to network with clients wheel and other artists and tried to see how my new work was perceived. wire tool I was very shy at first. Although later I realized that when someone Japanese chisels for wood-panel printing compliments your work, you should engage them in conversation, instead what I would say was just “thank you,” and shy away. I think FAVORITE PROCESS many makers are introverted, but communicating with your audience shinogi, carving is important, and you get used to it. People want to learn about the maker behind the work. WHERE IT GOES To gain business skills, I attended a couple of business mentor- Retail stores: 50% ing programs. Pottery is not always a money-making business and Galleries: 30% I didn’t feel that many of the programs were relevant to me, but I Craft/art fairs: 5% learned how to behave in the business scene and gained some un- Studio sales: 5% derstanding of business economics, which I was completely missing. Other: 10% commission (café use, food styling props, etc.) Pottery making is very physically demanding and time consum- WHERE TO SEE MORE ing. You need passion and patience to endure hard times. I used Flow Gallery www.flowgallery.co.uk to think the apprentice system in some Japanese potteries was just Tate Edit https://shop.tate.org.uk/homeware/tate-edit cruel and suppressed youthful energy and creativity, but now I feel Momosan Shop www.momosanshop.com it makes sense. You learn so much from seeing a master working. Maud and Mabel www.maudandmabel.com You waste less material as you don’t get your pieces fired until you Cambridge Contemporary Crafts practice for a long time and get better at various techniques. It is www.cambridgecrafts.co.uk a worthwhile challenge if you have a strong passion to work hard. New Craftsman Gallery www.newcraftsmanstives.com If I were to start my pottery practice now, I would work for some- Oriel Myrddin Gallery https://orielmyrddingallery.co.uk one first. The knowledge he or she has inherited or gained through Cavaliero Finn https://cavalierofinn.com experience is much more than what can be learned in school. Selling White Space Art www.whitespaceart.com is the most difficult and important part. Find your audience by trying Stilleben https://stilleben.dk craft, trade, and art fairs; shops; galleries; and maintaining a website The Stratford Gallery www.thestratfordgallery.co.uk and social media presence. Through trial and error, you will learn what Wood & Meadow www.woodandmeadow.com works best, and where to focus your time and effort. While presenta- tion isn’t everything, it’s important to take really good pictures. Most LEARN MORE of the time, people see your work first through images online. And, www.mizuyo.com most importantly, stay positive even when it seems difficult.

www.ceramicsmonthly.org june/july/august 2019 47 WORKING POTTER DAN FINNEGAN

I became a potter through a series of fortunate accidents and a job was to make the tea, stack the wood, load and help fire the few fortuitous leaps of faith. In the early 1970s, I went to college huge double-bourry box wood-burning kiln; everything, in fact, to study law and discovered pottery. Over the course of several but make pots. They gave me access to a wheel to use on my off years and at several universities, my interest in clay continued to hours, but the knowledge that I acquired there came in handling grow. Then, in my biggest leap of faith, I left the excellent pottery every pot and observing the skill of these craftsmen. By the time program at Arizona State University to accept a teaching job at I left, my path was set, and I had an understanding of the place

RECIPE the Guildhouse, a craft center in rural England. where creativity, craft, and business intersect. I also left with a 70 strong sense of form and aesthetics that has guided me ever since. Finding Opportunities I returned to the US in late 1979 and by the fall of 1980, I had This is where fate first played its part. Seven miles away from accepted a job as the manager of the Fredericksburg Pottery, in my job at The Guildhouse was the Winchcombe Pottery, and Fredericksburg, Virginia. The job was advertised in the want ads with persistence I was given a job there. Winchcombe has a storied in the back of Ceramics Monthly ! Like most potters, I began selling history, and the opportunity to work alongside Ray Finch and his at local craft fairs and art shows, but I can’t say that I had great team was life changing. The pottery employed six people and my success or enjoyed the erratic nature of sales, so I began a wholesale

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Opposite: Dan Finnegan at work in his studio. Photo: Kenneth Lecky. 1 Double-necked bird vase, 19 in. (48 cm) in width, crackle slip, wood-ash glazes, 2016. 2 Lidded jar, 8 in. (20 cm) in height, wood-fired and salt-glazed ceramic, crackle slip, wood-ash glazes, 2018. business. It was a small team and was very influenced by my time in England. We made lots and lots of pots and sold them cheaply. As an example, my first wholesale price list included—Mug: $2.25. This is when my own skills were honed and I am very grateful to have had that time in my career.

Coming Into My Own After three years of running the Fredericksburg Pottery, I moved to a farm and kept up the wholesale business on my own. Then in the early 1990s, I moved back to town and established a studio and showroom in my old neighborhood. It was here that I came into my own as a maker. For the first time, I was able to sell all of my work directly from the studio. Once again, I employed full-time assistants. (I think that 2–3 years is just the right time to share what knowledge I have with each assistant.) Then, I started a small pottery school. The assistants could be paid well for teaching, mak- ing it easier for them to afford a comfortable life. The first school was tiny and demand for classes was great, so I began to think about expanding. In 2001, I went looking for a 2000-square-foot space and found myself instead with more than 12,000 square feet of commercial space on the fringes of downtown. I borrowed money from 23 different customers and 2 friends (this was before of the days of internet crowdfunding) and

www.ceramicsmonthly.org june/july/august 2019 49 converted the building into LibertyTown, an art center with an slips, chattering across that surface, slip trailing over those layers, expanded school, a grand pottery space, a gallery, and 30 artists’ and then wood firing and salting. As it comes off the wheel, my studios. It took a while, but my initial investors were paid back work tends to be pretty clean, I use the firing and surface treat- with interest. ment to soften that up. A few years ago I made a bird from clay, While running the art center, I closed my retail shop and loosely modeled on the work of the Martin Bros. I wanted to make moved my studio to a farm and built the two-chamber wood- something special for a birdwatching friend of mine. Crude as burning kiln of my dreams. I made pots half time while build- that first one was, the response to it was exciting and it has led me ing and then managing LibertyTown, but after a dozen years, I down a very different path as I have continued to find new ways yearned to return to my studio full time. I happily sold the art to explore them. I have always enjoyed handbuilding and these center in 2013 to a local couple, and LibertyTown continues to peculiar things continue to amuse me. Several of them stand next be a vibrant part of the arts community. I now spend most days to Martin Bros. birds in private collections. driving down a mile-long dirt road just outside of town to my studio. My studio is off the grid, but I have to confess to owning A New Chapter a generator for certain tasks. It’s funny how when one door closes another opens. Just as I closed Most of the work I make is intended to be used—the legacy of my retail shop and sold the art center, I was invited to participate Winchcombe has always informed my pots, even as I have con- in the St. Croix Valley Pottery Tour. This opportunity changed stantly explored new ideas. I don’t really see myself as a decorator, my life again; much of my work these days is sold at invitational but I have often employed layers of texture to build up interest on shows like St. Croix Valley Pottery Tour, Flower City Invitational, the surface. I have used a crackle slip for many years, both on its and Pottery on the Hill. I also still sell my work locally through own and under glazes. Lately, I have been brushing and combing LibertyTown.

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3 Finnegan’s two-chamber bourry-box wood/salt kiln. 4 Teapot, 9 in. (23 cm) in width, wood-fired and salt-glazed ceramic, brushed and trailed slip, chattered, 2019. 5 Pitcher with pellets, 11 in. (28 cm) in height, wood-fired and salt-glazed ceramic, crackle slip, wood-ash glazes, 2018. 6 Dan Finnegan’s studio (left) and kiln shed (right).

In 2012, I was invited to collaborate with the staff at the Hill Center in Washington, DC, to create a pottery show (Pottery CAREER SNAPSHOT on the Hill). It is an exciting project on many fronts—held in an elegant, intimate space with a small group of potters in our YEARS AS A PROFESSIONAL POTTER nation’s capital, in view of the Capitol Building. While not a 39 completely new idea (thank you Old Church Pottery Show and Sale in Demarest, New Jersey), I think that this show is a great NUMBER OF POTS MADE IN A YEAR model for other potters; it was an instant success and continues to 1200–1500 grow each year. The show is made up of a regular group of mak- EDUCATION ers with a few guest artists each year. While the business end is S.U.C. at Geneseo, New York important, the show also provides a great opportunity for personal S.U.N.Y. at Buffalo, New York connections between exhibitors and patrons. The emphasis is on Arizona State University (no degree) useful pots and we offer educational opportunities like lectures Trained at the Winchcombe Pottery and demonstrations that expand our mission beyond sales. THE TIME IT TAKES Staying Connected Making: 75% I came a bit late to the Internet, writing a blog while running Promotion/Selling: 15% LibertyTown; it became quite popular and began to connect Office/Bookkeeping: 10% me to the wider, online pottery community. Nowadays, I post regularly on Facebook and Instagram. I don’t often see a direct FAVORITE TOOL link to sales from this, but it has helped my career to share my my hands work and ideas with like-minded people. FAVORITE PROCESS There’s a small group of potters in town (some are my former changes all the time assistants) who meet most Friday mornings. It’s a great chance to discuss pots and business and keeps me in touch with what WHERE IT GOES is happening in town. We started our own show, Sophia Street Retail Stores: 0% Pottery Throwdown, 3 years ago over pastries and coffee (tea Galleries: 10% for me, please). Studio/Home Sales: 65% I have always believed that to be successful makers, we need Online: 5% to be as creative in our business practices as we are in our stu- Other: 20% (invitational shows) dios; over a long career, the old models fade and opportunities for new ideas arise. I think potters are optimists. So much can LEARN MORE go wrong, and yet we get up the next day and try again to get danfinneganpottery.com it right. It’s not for the faint of heart. I also think that these are [email protected] the glory days of pottery—great work is being made all around Instagram: @dan_finnegan_pottery the world and there is a place—and a very satisfying life—for Facebook: Dan Finnegan those determined to make it work.

www.ceramicsmonthly.org june/july/august 2019 51 UNEARTHED by Sebastian Blackie IN FRANCE

At Morvan Regional Natural Park, in central eastern 1 France, a massive hill fort is being excavated. Built by the Gauls on Mount Beuvray about 200 BCE, it once encircled a city of 10,000 inhabitants. The archaeology that has been uncov- Norbury and Menter have been active members of France’s ered so far is beautifully displayed in the Musée de Bibracte. It artistic community for many years, working in collaboration and shows the Gauls to have had an advanced culture, distinct from the individually. Norbury predominately works with clay and the other Romans with whom they traded peacefully until cynically attacked elements associated with ceramic such as fire, wind, and water. Men- and eventually conquered after several years of war by Julius Caesar. ter’s work also has an allegiance to this matter but his fascination Bibracte, the museum, demonstrates how the Romanization of with sound and the performative aspects of the medium mean that the countries that made up the empire has somewhat eclipsed the anything may potentially be deployed (a July 2016 performance indigenous cultures they occupied. However, seeing the Gauls’ art involving ice blocks suspended like fruit in scrub oaks on a French and decorative style, it is clear it has endured to re-emerge in the in- hillside comes to mind). Illuminated with pencil spotlights in the dividualistic carvings of Europe’s rural Medieval churches and even warm summer night, the melting ice dripped onto aluminium fast- persists today in the spirit of free thinking that continues to rebel food containers strategically place on the woodland floor, producing against the rationalism and conformity the Romans bequeathed a hypnotic, random percussion that was startling in its ability to to the Western world. The museum and the forest-clad mountain evoke the elemental from such a disparate range of objects. In the above were the venue for a major exhibition by two British artists; same summer, Norbury installed a line of raw clay forms through a ceramic artist Jane Norbury and sound artist Will Menter. ruined Medieval church. The clays had been gathered from different

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1 Orange Inside, 16 in. (41 cm) in height, ceramic, fired to cone 1, 2018. Photo: Ben Timpson. 2 Jane Norbury’s studio in France–The Nine Doors. 3 90 buckets of earth, 196 ft. 9 in. (16 m) in length, local clays, L’église de Cortiambles, 2016. 4 Jane Norbury using an extruder at Anderson Ranch Arts Center, 2018. Photo: Levi Basist. sites in the region using cheap, mass-produced plastic buckets, which ancestry, was an internationalist. He had studied in Japan and the molded the clay into identical forms. As the forms weathered, the US and used the college’s scenic location to attract visiting artists individual character of each sample was revealed chiming with the from all over the world, producing a heady mix for the students. decay, albeit at a slower pace, of the stone church. The elements of During Norbury’s association with Aix-en-Provence College of Norbury’s piece were beautifully simple and as a whole, resonant Art, he organized an exhibition for American ceramic artist Paul in its location as the formed clay began to spew across the ancient Soldner at Marseille’s Cantini Museum of Modern Art and a raku flagstone floor, aided by occasional showers, to be turned to dust in workshop/symposium at the college. This had a profound impact summer sun as it returned, funereal like, to the ground from which on French ceramics where, up to that point, vessel making, with it had been taken. some rare exceptions, was synonymous with peasant pottery and associated with the country markets rather than sophisticated art From the Beginning galleries. As a result of the connection through Norbury of Farn- Norbury’s artistic journey in France started when Britain, having ham and Aix-en-Provence College of Art, I was able to persuade recently joined the European Union, began to explore new cultural Soldner to include a workshop in Britain—still heavily influenced links with neighboring countries. Norbury was one of several art by the attitudes of Bernard Leach—as part of his European tour. students at West Surrey College of Art and Design, in Farnham, For Norbury (and many others), Soldner’s demonstrations were UK (now The University of the Creative Arts), who undertook a largely symbolic. They did not particularly lead to the adoption foreign exchange as part of their studies. She initially started at of Soldner’s methods but did inspire fresh thinking about the sig- Marseilles, but quickly moved to the dynamic ceramic department nificance of working with clay and what it might become as well at nearby Aix-en-Provence College of Art, run by the energetic and as what it had been. Jean Nicholas Gérard, who was studying at entrepreneurial Jean Biagini. Biagini, a French national with Italian Aix-en-Provence College of Art at this time, is a good example of

www.ceramicsmonthly.org june/july/august 2019 53 Clay and Forming Techniques For the Bibracte project Norbury made a clay body from unprocessed clay dug from a quarry in central France mixed with commercial, low- firing black stoneware. She combines slabs with coiling, scraping, and paddling to stretch and compress the clay. All work is fired to 2012° F (1100° C) under heavy reduction.

the dogma-free culture in which students were able to find 5 their place within the cannon of studio ceramics. France has provided a supportive home for many visual artists attracted by cheap, idyllic, rural housing and a dis- tinct culture. But, as for so many who choose the life of the independent, self-employed artist, a commission like an exhibition at Musée de Bibracte has only been secured after many years of commitment to practice, financial insecurity, and endless applications for residencies and funding.

A Resistant, Rugged Material Much of Norbury’s work is site sensitive, if not site specific, and at Musée de Bibracte she used the architecture to strong effect. The historic collection is set out in a series of inter- connected rooms that look out onto empty, inaccessible, courtyard-like spaces and the wooded mountain beyond. Norbury’s unglazed, uncompromising forms which were set in these khoras’ (or chora—a philosophical concept first discussed by Plato, then more recently by Heidegger and 6 Derrida; it is a space between places), neither belonging to the natural world of rocky outcrops and tree stumps beyond nor the fragmented artifacts within, whose distressed fabric speaks of the generations over which they laid hidden. They have, however, something of the rugged, straightforwardness of both. They are not elegant forms nor do their surfaces shine, qualities present in the few Roman pots in the mu- seum collection and much favored by so many contemporary makers. Norbury’s handbuilt forms have a kind of resistance; as if refusing to be anything other than what they are. The material appeal gave value to the historic collection but there was no attempt to seduce the viewer with the overt displays of sensuality that the medium is capable of. As such they work as art, provoking reflection beyond the object. It is not that they lack aesthetic appeal but they do not trade in the self-absorbed sexiness that seems such a common feature of contemporary craft. Though hollow and sometimes open, the forms are not vessels. They are about the body and tell of the body in two senses: The forms evoke human bodies in shape 7 and scale but defy explicit anatomical identification. They also

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obsession with the body, but this time aided by mechanization. It will be interesting to discover what this determined artist will create with cutting-edge technology, dealing with a ubiquitous subject, but in a culture so different to France and England. It seems that the US, or at least Anderson Ranch, has recognized, as has France, Norbury’s creative independence and, unlike the Romans, is embracing a diversity of values. Now a mature artist, Norbury’s practice embodies the enrichment that comes from cultural exchange—a process that began with a stu- dent exchange and continues with her recent residency in the US. 9 Jane Norbury is author of the new book, 5 Queule 5, 3 ft. 5 in. (1.1 m) in height, mixed clays, reduction fired to cone 04, 2017. 90 Buckets of Earth, which is published 6 Queule 2 and 3, to 30 in. (76 cm) in height, mixed clays, reduction fired to cone 04, 2017. in English and French, and available at 7 Queule 1, 38¾ in. (96 cm) in height, mixed clays, reduction fired to cone 04, 2017. 8 Sillon 33, 17 in. (43 cm) in diameter, stoneware, 2017. 9 Inward Out, 40 in. (1 m) in length, stoneware, fired to www.janenorbury.com/news.htm. cone 3, 2019. Photo: Jane Norbury. the author Sebastian Blackie is an artist, writer, and academic. Professor of ceramics at represent the dynamic body in the traces of their making. The physicality of the rolling, the University of Derby in the UK, head of re- smearing, banging, and scraping that have brought them into existence can still be read. search school of art (retired), he is the author of This naked use of material rejects the idealized, objectified body, whether it is flesh or clay. Dear Mr Leach, and has recently participated Norbury recently undertook a residency at Anderson Ranch Arts Center in Snow- in residencies including Shangyu Celadon, mass Village, Colorado, closely associated with Soldner. She continues to pursue her China, and FLICAM, China.

www.ceramicsmonthly.org june/july/august 2019 55 DAV ID HICK S

Fieldby Kay Whitney Language

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Opposite: Violet Frame, 27 in. (69 cm) in height, ceramic, stainless steel, 2018. 1 Citrus and Turquoise, 21 in. (53 cm) in height, ceramic, stainless steel, 2018. 2 Branch, 33 in. (84 cm) in height, ceramic, stainless steel, 2018.

David Hicks’ work implies nature, mirrors its infinite and varied and the wire armatures supporting them, Hicks also comments on manifestations, and embodies the energies of the vegetable world. mechanization, on the mechanical proliferation of objects, and His botanical imagery addresses the characteristics of a dozen or the contrast between mass-produced and handmade. His work, so different fruits or vegetables, but imitates none. His work is colonies of highly detailed objects held within bent and fitted metal an amalgam of seeds, pods, buds, stems, flowers, a reinvention of supports, slows viewing down and exposes the time-consuming botanical potential. It’s pointless to attempt identification—these nature of his process. objects are 100% artificial, totally invented. While they may bear some resemblance to something actually occurring in nature, A Voyeur of Nature the most important aspect of Hicks’ work is its science-fictional David Hicks is no gardener; his intense interest in nature is more quality. The work bulges, contracts, expands, and has a distinctly theoretical than tangible. He’s a voyeur of nature, someone who anatomical presence, as if he’s merged the mammalian with the values it, is attracted to its beauty, but has no actual physical rela- botanical and come up with some impossible vegetate chimera. tionship over and above consumption. Like most of us, he passes He echoes the astonishing fecundity of nature through reinven- through nature, beholds it from the car, contacts it in the super- tion. His forms sometimes resemble the odd plant, vegetable, and market, but the relationship, though acknowledged, is distanced, human combinations found in Hieronymus Bosch paintings. detached, indirect. Hicks lives in what could be considered the These inventions have an otherworldly aspect; his point is not to heartland of California, the immense fields of the San Joaquin duplicate nature, but to reinterpret it. The results could be seen as Valley. As he commutes through this landscape, he says he finds futuristic representations from the swiftly morphing landscape of himself “looking at nature from a distance, separated through an gene splicing and recombination. Through the repetition of forms abnormal mechanism that keeps me physically disconnected, but

www.ceramicsmonthly.org june/july/august 2019 57 visually immersed, experiencing the landscape locked behind auto glass.” In his recent show “Field Language,” at Edward Cella Art & Architecture (https://edwardcella.com) in Los Angeles, California, Hicks exhibited aggregate works—collections of objects held in place by squared- off, steel or copper armatures. These collections of botanical forms are like coral reefs—there are multiple components, each of which is highly individualized. The parts have family resemblances, but are never iden- tical. His process of selecting forms begins somewhat randomly, but he says, “Almost always the first piece I create becomes the nucleus that all the other objects get their formal considerations from.” The armatures are 3 a gridwork of metal loops and rods, each wide enough to contain the stalks/stems of a single ceramic object. This collection of loops and rods often supports dozens of discrete forms that vary in terms of shape and size. While not presented in a regimented, purely gridded fashion, there is a particularly uncomfortable tension between the twisted, biomorphic ceramic forms and the way they are held rigidly parallel to the wall. The contrast between the mechanical nature of the metal and the organic irregularity of the ceramic pieces underscores the artificiality of our conception of nature as something that can be controlled and conditioned. The aggregations are built around fundamental ten- sions—while they create a formal conversation about pattern, color, texture, and beauty, they are also about obscurity and a kind of choking density. These objects are more about anxiety than about beauty; they are too crowded in, too strictly held in place to have a simple, relaxed, bouquet-like presence. It’s clear why Hicks has long been fascinated by Dutch still-life paintings— those elaborate floral displays whose beauty is always distorted by the presence of a worm or something decaying in their vicinity. Although many individual pieces included in the show at Edward Cella Art & Architecture employ a narrow range of color, the small piece Citrus and Turquoise is emblematic of his body of work as a whole. It uses a range of blue-green and orange-yellow colors on surfaces that are bubbled, pocked, and sand- blasted; the glazes seem to ooze from the forms. There are dozens of stemmed objects capped by a profusion of ambiguous shapes that could be bones, spikes, dried fruits, or vegetables. Each piece is encircled by one or two steel loops that hold them parallel to the wall. The loops are welded to a narrow, rectangular steel frame and the ceramic forms protrude from it. The pieces, some piled on top of others, leap out from this framework in orderly but congested rows, twisted and turned so they seem to be wrenching free 4 of their constraints.

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3, 4 Pale Field, 6 ft. 6 in. (2 m) in length, ceramic, steel, 2017–18. 5 CU, 37 in. (94 cm) in length, ceramic, copper, 2018.

Technical and Experimental Hicks’ organic/mechanical forms are a consequence of his com- texture, color, and variation. Although he has worked monochro- mitment to material and process. He speaks of his work using the matically in the past, he considers himself to be a colorist at heart. formal language of texture, color, form, and composition, citing His use of color is not limited to the descriptive or thematic—it’s the complex relationship between touch and material. His work contentious, emotional, and occasionally irrational. is both highly technical and experimental. Equally reliant on well-honed craft skills and the lucky accident, he wants to break David Hicks teaches at Reedley College in Reedley, California. He has the traditional molds he sees as strangling ceramic practice. Hicks an MFA from Alfred University and a BFA from California State started his ceramic practice as a functional potter; he now uses University Long Beach where he studied with Tony Marsh and Kristen many fabrication techniques to make his forms; mold making, Morgin—he attributes their influence to his interest in cumulative work. casting, and handbuilding. Hicks’ work is in the collection of the Boise Museum of Art; Arizona Nothing could be more experimental than his work with glazes. State University Art Museum; US Embassy Art Collection, Washington Hicks uses a wide and eccentric variety of commercial and studio DC; American Museum of Ceramic Art, Pomona, California; KOCEF, glazes—in all, hundreds of different formulations including lusters. Cerapia World Ceramics Center, Icheon, South Korea; and the Glory He does multiple firings at all ranges. He has no trepidation about Hole Collection, Schien-Joseph International Museum of Ceramic Art, the one-shot experiment; dusting or sifting chemicals directly onto Alfred, New York. See more of his work at www.dh-studio.com. forms, making up glaze pastes, and massaging them onto pieces. Glazing is often not the final step for him; he makes extensive use of the author Kay Whitney, a frequent contributor to Ceramics Monthly, sandblasting to alter the fired surfaces. His goal is surfaces that blend is an artist and writer living in Los Angeles, California.

www.ceramicsmonthly.org june/july/august 2019 59 Aquatic by Mark Chuck Inspiration

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Opposite: Trout Yunomi, 5 in. (13 cm) in height, handbuilt porcelain, underglaze, fired to cone 10 in reduction. 1 Apply a diluted black underglaze to the bisque-fired surface. 2 Brush excess underglaze from the relief surfaces with water. 3 Brush orange underglaze over the black underglaze. 4 Continue layering by applying red underglaze using a dry-brush technique. 5 Brush rose mauve underglaze across the surface. 6 Finish the underglaze layers with an additional layer of black underglaze. All process images: Sam Olfano.

I grew up in a rural part of the northeast where natural resources and streams they call home into every piece. Just like every fish is abound and I have been fishing in Pennsylvania rivers and streams unique, every mug I make is one of a kind. for as long as I can remember. My best ideas come to me when I’m When the piece is still green, I press a carved block of plaster out on the water where I can relax and take in all the beauty of my that I’ve been using for the past year to create the scales, gills, and surroundings. Nature never disappoints; there is always something fins. These details are then highlighted in the glazing process new to see, hear, or touch. It’s an endless supply of material for my through layers of wash. work as a ceramic artist.

Glazing: Start with Black 72

Whenever I catch a fish, I stop to study its colors before RECIPE releasing it. I love the way trout look; how they’re streamlined, I developed a glazing process that creates a layered, illustra- and how they glide through the water without even having to tive surface. This method allows me to add realistic trout spots swim. They just move their fins and tails and sit in the current. on exteriors, highlight fishbone imprints on interiors, and create Their colors are beautiful, and their movements seem effortless. the signature water droplets that flow from the rim and down the My work is my interpretation of the fish, and I do my best to sides of each vessel. It takes roughly three hours to glaze each piece capture their essence in each piece I create, from mugs and plates from start to finish, which includes drying time in an electric kiln. to teapots and platters. First, I fill the inside of the piece all the way to the top with In the early stages of my career, I used the wheel to throw pot- San Miguel Icy Blue Glaze and pour out the excess. Next, I layer tery to create traditional, cylindrical pieces, adding the aquatic Amaco Velvet underglazes on the exterior, starting with a heavy elements later. As my work progressed, I discovered that I prefer wash of Amaco Velour Black on the exterior (1). While it may seem more sculptural pieces with organic, imperfect forms. To me, counterintuitive to start with black, I’ve found it to be a critical they’re more interesting, and much more closely related to those part of the process in achieving a natural tone. When the piece is found in nature. That’s when I began experimenting with differ- fired, the black comes through, subduing the lighter colors for a ent forms, and blending elements of trout, salmon, and the rivers more subtle, natural look. I water the underglaze down because

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7 All the tools and supplies needed to transfer the image: glass plates, brayer, gum arabic, Lithography Stain Mixture, and Xerox copy image. 8 Rub gum arabic on the top surface of the image. 9 Lithography Stain Mixture (a mixture of Mason stain and linseed oil) is rolled onto the image. 10 Flood the surface with water and blot with a damp sponge.

I’ve found that a thick application shows brush strokes. Adding Once it dries, I rub a paper towel over the entire piece. Any brush water reduces, or in some cases, eliminates the number of brush strokes that are on the surface disappear, and some of the clay is re- strokes that appear in the finished product, and makes it easier to vealed. At this point, gills emerge as the orange, rose mauve, and red later wipe away the excess from high spots. layers are applied (5) in another progression of layers. Black under- After the wash is dry, I use a bamboo brush dipped in water to glaze is dry brushed to enhance the definition of the fins and gills (6). wipe the black underglaze from the raised surfaces of the piece (2), highlighting the textured detail. Creating Spots In the past, I hand painted all the trout spots, but now use an Layer with Color alternative image transfer method with roots in lithography (7). To Now it’s time to add the color that will bring this rainbow trout to make a transfer image, I altered a trout photo in Adobe Photoshop, life. To introduce color, I treat the body of the cup like the canvas creating a silhouette of its spots. I make photocopies of this image of a painting. I apply green to the bottom and add a red stripe and cut the paper into a strip, to fit the piece. It is important to through the center, or slightly off center, with the trout spots cov- note that only Xerox copies (not inkjet prints) will work, because of ering the cup. While the surface is still wet from wiping the first the chemical properties of the toner. For the photocopy to adhere layer, I apply bright orange underglaze to add highlights (3). This to the cup, water is sprayed on its surface just before the transfer is followed with a coat of intense yellow. Next, I mix several shades is applied. Wearing gloves, I apply gum arabic by hand to a clean of green underglaze to layer over the yellow in areas. I continue to piece of glass. I’m careful to use a modest amount and spread it layer with rose mauve and allow it to dry. To make the stripe, I dry evenly. The gum arabic seals the paper to the glass. I place the brush red underglaze (4). I use the dry-brush technique to avoid paper (spots-side up) on the glass, then cover the paper with gum harsh transitions and to prevent the red from building up in a solid arabic (8). The gum arabic will keep the ink from soaking into the line. This creates a more natural appearance with a painterly feel. white of the paper.

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11 Position and align the damp image. Carefully, wrap it around the bisqueware. There is only one chance to get it right. 12 After the transfer is complete, the finished piece must dry completely before dipping. 13 Dip the rim of the cup in San Miguel Icy Blue glaze. 14 Spray the piece lightly with Ferro frit 3134 and water. 15 Diving Trout, 24 in. (61 cm) in height, handbuilt porcelain, underglaze, fired to cone 10 in reduction.

A soft brayer is used to evenly distribute ink (a mixture of Peel the paper off to reveal the transferred spots (12). Before two parts Best Black Mason stain to three parts linseed oil) on a I spray the final coat of exterior glaze, I apply wax to the fin to second clean piece of glass. Use the brayer to apply the ink to the prevent the glaze from covering up the details. paper (9). Roll evenly to coat all areas, but don’t get too concerned about covering every spot—I like to see some variation. The ink Create Dripping Water Effect will adhere to the toner of the image, but not the paper. First, I apply Leach White glaze to the rim of the cup. After the white Splash some water onto the ink-covered transfer to loosen the ink is dry, I dip it into San Miguel Icy Blue glaze (13). Next, the cup from the paper (10). Run the whole transfer under warm water to is dipped into Leach White glaze (blue variation). Then it’s dipped remove all the excess ink not stuck to the toner. I dab away any little back into San Miguel Icy Blue glaze. To clean it up before spray- spots left behind with a sponge, being careful not to smear the image. ing, I wipe the foot. I spray Semi Gloss, a Ferro frit 3134 mixture, Next, I use tweezers to pick up the paper and rest it on a on the exterior of the cup (14). When spraying this mixture, water paper towel (spots up). I quickly blot with another paper towel. beads on the wax creating tiny blue imperfections. To correct this, Blotting reduces areas of ink that are too thick. This is important I wait until the mixture dries, then wipe it away with a brush. I let because a buildup of Mason stain creates blisters. I carefully wrap the piece dry and fire in reduction to cone 10 (2370°F (1299°C)). the paper around the cup (11) and burnish with a wooden tool. I’m careful at this step, because the transfer can only be used the author Mark Chuck is a ceramic artist in Scranton, Pennsylvania. once. If the piece is too wet, the underglaze will smudge. If it’s When he isn’t working as the art studio technician at Marywood University too dry, the bisqueware will suck the moisture from the paper in Scranton or teaching ceramics classes to members of the community and adhere it to the cup, which can pull the layers of underglaze at Abington Arts Studio in Clarks Summit, Pennsylvania, he will most off. Avoid spraying the piece after the transfer is applied as the likely be found fishing in the Lackawanna River or in a local stream. To stain will bleed. see more of his work, visit www.markchuck.com.

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www.ceramicsmonthly.org june/july/august 2019 65 TECHNO FILE

clay restoration by Thomas Anderson Many potters make a practice of reclaiming clay, but how do you restore the all of the properties that originally attracted you to the clay body?

Defining the Terms Potters refer to it as clay fatigue when describing the loss of plasticity. Every time you throw, Ball Clay: A 2:1 aluminosilicate clay fine particles of clay, silica, and feldspars are pulled from the clay body and deposited as slip particle used to impart plasticity in a on your hands. When clay is reclaimed after throwing, a percentage of plasticizer, silica, and clay body. feldspars are lost, pending the amount of water and pressure applied. In order to correct this BentoneMA: Highly refined loss, you must determine the level of plasticity your fresh clay had. Although it is not scientific, montmorillonite clay that imparts high the first step is to conduct the “slip test.” Every potter is aware of the amount of slip that plasticity and is used primarily in is deposited on their hands when they throw fresh clay. The amount of slip is an indication porcelain bodies. of the type and levels of plastic materials (clays) used in formulation. Use this simple guide: Clay Body: A formulation of one or 1. Heavy slip buildup that passes between your fingers and requires constant removal more types of clay, with feldspar and indicates higher levels of plasticizers. silica additions to produce specific firing 2. Medium slip buildup with some slip passing between your fingers requiring occasional properties at specific cone values. removal indicates medium levels of plastic materials. Feldspar: Natural alumino silicate 3. Light slip that requires occasional removal, but typically does not ooze, indicates lower minerals that supply sodium or potassium levels of plasticizers. See sidebar for slip-test protocols. that act as a flux in a clay body. Of course every potter applies different levels of pressure and the amount of water they Plasticity: Mechanical property that use differs. The trick then becomes to take the slip test after you center and are ready to allows a clay body to hold its shape after start coning. Clean your hands before you start. Make four passes at coning, pulling up, and pressure from various forming techniques compressing, wetting one hand between each of the four passes. At the end of the fourth has been applied. pass, assess the amount of slip deposited on your hands. Heavy, medium, or light slip? With Plasticizer: A clay mineral or synthetic this information, you now have an insight to how much plasticizer is in your favorite clay. additive that imparts malleability or If your slip test produced heavy slip (1), then your clay has higher additions of fine particle flexibility to a clay body. ball clay. Medium slip (2) indicates either medium levels of plasticizer additions or a lower Silica: Silicon dioxide (SiO2), also referred plasticity ball clay was used to make the clay body. Light slip (3) levels indicate lower levels of to as flint in older recipes, and as quartz an added plasticizer. All throwing bodies require the addition of plasticizers in order to form in others. Primary milled from quartz, it is the primary glass former in most glaze properly on the wheel. These additions range from high plasticity ball clay such as Foundry Hill and clay recipes. Creme (FCH) ball clay, to higher levels of medium plasticity ball clay such as OM 4. Premium white porcelains often use BentoneMA as the plasticizer in order to maintain higher levels of translucency. Rejuvenation Test Protocols for Each time you reclaim a batch of clay, the loss of fine particles of clays, plasticizer, silica, and Clay Restoration feldspar increases until it begins affecting the original working properties. The loss of plasticizers affects malleability; while the loss of feldspar and silica will lower the vitrification levels and Start with 1000 grams (dry weight) increase absorption. Using excessive water when throwing can accelerate the loss of fine of 80% clay(s), 10% silica, and 10% particles as well. The easy fix is to keep the dry blend of your favorite clay on hand to add to potash feldspar—a typical stoneware your reclaim, if it is available. Most often it is not, so some simple clay chemistry is required to formula—and mix with water to a create a fix-it mix blend that will work with your clay body. usable consistency. Cone the clay Most stoneware bodies have some amount of ball clay in their composition. Mix 80% OM 4 on the wheel with heavy pressure ball clay, 10% silica, and 10% nepheline syenite or 10% G200 feldspar until it is well blended. and water. Dry and weigh the Add 1 cup of dry mix per gallon of slurry if you had heavy slip, ½ cup for medium, and ¼ cup collected slip, with an added 10% for light slip results from your original slip test. This one-size-fits-all blend will help maintain approximation for slip lost in the water. For porcelain, two 1000-gram recipes were used: Porcelain A (50% Grolleg, 20% silica, 30% potash, and Reclaim Rejuvenation Recommendations 2.5% BentoneMA) and Porcelain Test Results Added Fix-It Mix B (35% Grolleg, 15% Foundry Hill Heavy slip buildup 1 cup dry mix per gallon of slurry Creme ball clay, 20% silica, and 30% Medium slip buildup 1 cup dry mix per gallon of slurry potash feldspar (cone 6)). Light slip buildup 1 cup dry mix per gallon of slurry

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Slip tests: 1 Heavy slip leaves dense build up on the hands with pieces of clay if pressure is used, and oozes through the fingers, requiring frequent removal. 2 Medium slip coats the hand with some oozing through the fingers. 3 Light slip barely coats the hand, with some bare skin visible. plasticity and ensure absorption rates do not increase due to silica and With porcelain clay bodies made with ball clay, the slip test becomes feldspar loss. Check your reclaim as you go along and adjust additions relevant to determine the ratio of ingredients when mixing a dry to suit your taste. Before you begin to test for plasticity, remember maintenance blend. Heavy slip indicates the porcelain is closer to equal it will take several days before full plasticity develops. You can check parts of kaolin and ball clay. Medium slip indicates a mixture toward it by doing a simple coil test: roll the clay to a ¼-inch-thick coil and the 35% kaolin and 15% ball clay range. In this case, leave light slip wrap it around your middle finger. If no stress cracks develop, then buildup off the list because of the numerous variables involved. You it is ready for use. However, if it acts rubbery, then reduce your fix-it must also make a decision of how precisely you want to duplicate 1 mix additions by ⁄3. the original blend. Gray-body porcelains may incorporate FHC or an Making a dry blend of fix-it mix to add to porcelain requires a bit equal ball clay, which has a higher plasticity index than OM 4. FHC is more chemistry, starting with analyzing the color of the clay. White medium gray in color. Tan colored porcelains use OM 4 or equivalent or off-white color indicates that premium plasticizers or a whitish ball types of ball clay for plasticity, which give the porcelain body its color. clay such as C&C have been used for plasticity. Does your porcelain The fix-it mix for ball-clay porcelains that produce heavy slip body produce translucent properties after glaze firing, or does it fire buildup is 25% EPK kaolin, 25% OM 4 ball clay, 25% silica, and to a bright white finish? Premium white porcelains use BentoneMA 25% nepheline syenite. For medium slip buildup the fix-it mix is: as the plasticizer. Most white porcelains typically create the same 35% EPK, 15% OM 4, 25% silica, and 25% nepheline syenite. Add slip buildup because BentoneMA is the primary plasticizer. Ball clay 1 cup per gallon of slurry. If the body color is gray or if you prefer additions would minimize translucency due to titanium content. After high plasticity, swap out the 15% OM 4 ball clay for FHC. Add 1 cup answering these questions, you need to decide how much of the of dry mix per 1 gallon of slurry. necessary ingredients to buy, which is directly related to how much If you are certain bentonite has been used as a plasticizer, then only 1 you reclaim. Most suppliers sell BentoneMA in ¼-pound, 1-pound, add up to ⁄8 cup per 1 gallon of slurry. Bentonite should be dispersed and 5-pound bags. This material is pricey, but the good news is slowly in a cup of warm water first, then add this solution slowly to that a little goes a long way. Most porcelain bodies use nepheline your clay slurry, mixing as you add it. syenite as a body flux, so limit the feldspar replacement in your mix to nepheline syenite. Put It to the Test If your clay is bright white and/or translucent, dry blend a fix-it mix of These are one-size-fits-all remedial fixes that do not require exact clay 50% Grolleg kaolin, 25% nepheline syenite, and 25% silica together chemistry and incorporate pocket-book friendly ingredients. Once you and set aside. Add 2% BentoneMA to this white porcelain dry mix throw the reclaimed clay using these fixes, make a determination if and thoroughly blend. Add ½ cup of dry mix per gallon of slurry or the plasticity level is too high or too low for your personal use. The ¼ cup if you prefer slightly less plasticity. Spend extra time blending this true test is to compare your reclaim to the original clay body, putting slurry addition to ensure even distribution of this specialty plasticizer. both to the coil test as mentioned above. You should also perform If your fresh porcelain clay body is off white, gray, tan, or fires off an absorption test if you are making functional ware. If absorption white, it probably includes ball clay. Porcelain tile bodies incorporate has risen above 2%: increase the fix-it mix by 10% over the initial larger particle-sized kaolin such as #6 Tile clay, and have a light tan addition to help lower absorption back into range. If you own a color. Most often ball clays are used as plasticizers in order to keep pugmill, estimate how many gallons of slurry the chamber holds and their price points lower. Other porcelain bodies may be light gray in multiply the fix-it mix accordingly. color, which is the result of another type of ball clay. White porcelain the author Thomas Anderson has spent the last decade researching follows the pure standard of 50% kaolin, 25% silica, and 25% technical papers from various universities on clay formulation. He is feldspar. Bodies that use ball clay as the plasticizer follow a standard currently writing formula limits for clay chemistry. of 35% kaolin, 15% ball clay, 25% silica, and 25% feldspar, and are less white, with no translucency. Some recipes follow a standard of 25% kaolin and 25% ball clay, 25% silica, and 25% feldspar, which Send your technical topic ideas and questions to Ceramics Monthly at [email protected]. is known as 50/50 porcelain.

www.ceramicsmonthly.org june/july/august 2019 67 TIPS AND TOOLS test sieve brush by Rebekah Myers and Tim Berg

A simple, smart update to an old toothbrush makes an ergonomic and perfectly sized brush for getting glaze material through a test sieve.

Re-purposing household items in the studio is a great way to give We thought a brush might work for this task, and then realized we a second life to objects that have exhausted their original use. We had many old toothbrushes stockpiled. We tried to use a toothbrush always have a stash of used toothbrushes in the studio that are great in the sieve, but found we just couldn’t find a good angle at which the for cleaning tiles after grouting, adding texture to sculptures, and brush contacted the mesh. Then we thought about the functionality scrubbing hard-to-clean spots. We discovered another novel use for of the large Talisman sieve and how its three brushes sit flat against an old toothbrush that makes tedious work more efficient. the screen. After some consideration, we quickly and easily modified the toothbrush so that it had the perfect angle for pushing material Achieving the Perfect Surface through the sieve. While working on a recent project, we found ourselves searching for In order to make this tool for your own studio, you will need a the most elusive of things—the perfect surface. For this project we toothbrush, cutting pliers, a drill and drill bit, quick-setting epoxy were using a light-colored engobe and glaze combination. In order (such as one minute) or cyanoacrylate (CA) glue (super glue), a pair to achieve a uniform color throughout the piece, we wanted to make of locking pliers, coarse sandpaper, and safety glasses (1). First, cut sure that any little bits in the glaze or engobe that weren’t sufficiently off the head of the toothbrush (2). Keep the cut close to the bristles crushed during ball milling were sieved out of the mixtures. Although and at the narrowest point of the handle. Rotate the toothbrush commercial engobes and glazes are very reliable, we have found while you squeeze the cutting pliers incrementally around this part that sometimes there are chunks that need to be passed through a of the handle until you have cut all the way through (alternatively, sieve or just removed entirely in order to avoid discoloration in the you could use a small hand saw or rotary cutting tool to make this final surface. cut). Using coarse sandpaper, shape and soften the sharp cut end We methodically sieved the engobes and glazes, one jar at a time, of the brush head and handle. into one-quart mixing containers that the Talisman test sieve we own Next, on the back of the toothbrush head, mark a spot in the middle sits in nicely. We found it difficult to find an efficient way to move where you will drill a shallow hole about the diameter of the cut end material through the sieve because it has such a narrow opening. of the toothbrush handle. While holding the head of the toothbrush Often we would just swirl our fingers around and use our fingertips in a pair of locking pliers, drill the hole carefully, being sure not to to press the material through the face of the mesh. This was a slow drill all the way through the plastic head (it is okay to reveal the back process and ultimately led to sore hands. We also tried moving the of the bristles where they are glued into the brush) (3). material around with a rubber rib, but again, because the sieve After you have drilled the hole, test the placement of the toothbrush opening is so small this wasn’t really feasible. handle for fit and adjust the depth and size of the hole as necessary.

1 2 3

1 Tools needed to make test sieve brush. 2 Use cutting pliers to remove the toothbrush head from the handle. 3 Hold the toothbrush head with locking pliers, then drill a shallow hole in the back of the removed toothbrush head.

68 june/july/august 2019 www.ceramicsmonthly.org 4 5 6

Using your test sieve, experiment with the angle at which you will glue the handle to the brush head to discover the most ergonomic and useful placement. Mix up the epoxy or use the CA glue and permanently affix the handle into the drilled shallow hole in the back of the toothbrush head (4); you will need to hold it steady while it sets (5). Allow the glue to fully cure before use. This brush not only works incredibly well for stirring glaze through the test-sized sieve (6), but it is also equally good for scrubbing the hard-to-clean groove in the sieve where the mesh attaches to the plastic (7). This simple yet effective new tool for your studio comfortably speeds up the time-consuming tasks that accompany mixing glaze tests and reconstituting dried-out glazes, while keeping one more item out of the landfill. 7

4 Attach the handle into the drilled hole using the author Rebekah Myers and Tim Berg are a studio art collaborative based in Claremont, epoxy or CA glue. 5 Hold the handle in place while the glue sets. 6 Completed brush in use in California. Their studio is filling up with used toothbrushes, plastic utensils, and food containers sieve with glaze. 7 Completed brush in groove of waiting for their chance at a useful second life. To learn more, www.myersbergstudios.com. sieve without glaze. All photos: Joe Myers.

www.ceramicsmonthly.org june/july/august 2019 69 RECIPES rich surfaces Studio Visit artist Patrick Coughlin and Working Potters Beth Bolgla, Dan Finnegan, and Mizuyo Yamashita ARTICLE

28 share the recipes that lend their ceramic surfaces richness and warmth. ARTICLE 36 ARTICLE 44 ARTICLE 48 1 2

Beth Bolgla’s Recipe Patrick Coughlin’s Recipe

MOON WHITE (1) HIRSH SATIN MATT GLAZE (2) Cone 6–10 Oxidation/Reduction Cone 04–02 Oxidation Dolomite...... 22 .22 % Gerstley Borate ...... 30 .77 % Gerstley Borate ...... 11 11. Lithium Carbonate...... 9 62. Custer Feldspar ...... 33 33. Whiting...... 16 35. EPK Kaolin...... 11 11. Nepheline Syenite ...... 4 81. Silica ...... 22 23. EPK Kaolin...... 4 80. 100 .00 % Silica ...... 33 65. Add: Zircopax...... 10 .10 % 100 .00 % This glaze is very simple, reliable, great as a liner Apply thinly to medium thin. Can be layered, but glaze, and also works for cone 10 reduction. It only you have to be careful of thickness. This glaze runs when layered with a runny glaze. It works well brushes very well because of the Gerstley borate with Mason stains for colors (I add 8% stain to the and clay content. Stains can be added between base). Omit the Zircopax for a great clear glaze. 5–15% for color. I fire to cone 04 in oxidation. 3

Dan Finnegan’s Recipe Mizuyo Yamashita’s Recipes

CRACKLE SLIP (3) MANGANESE MIX (4) Cone 6–11 Oxidation/Reduction Cone 7 Oxidation Borax...... 5 .26 % Manganese Dioxide...... 50 % Custer Feldspar ...... 20 00. Terra Cotta Clay...... 50 Calcined Kaolin ...... 20 00. 100 % EPK Kaolin...... 17 37. Not food safe without a glaze applied over top. My OM#4 Ball Clay ...... 17 37. terra cotta clay can be fired to a maximum tempera- ture of 2282°F (1250°C), approximately cone 7. Test Silica ...... 20 00. with your local clay to find the right temperature. 100 .00 % MATTE WHITE (4) Add: Zircopax...... 5 .26 % 4 Cone 7 Oxidation 1 Beth Bolgla’s two beakers, 31/2 in. (9 cm) in height, This recipe is based on the classic Daniel Rhodes Dolomite...... 18 .81 % cone-6 white stoneware with grog, Moon White formula. I fire in reduction in my wood/salt kiln to cone 11. The slip would work at cone 6 and in any Whiting...... 4 95. glaze, 2019. 2 Patrick Coughlin’s Ottoman Joinery, Nepheline Syenite ...... 31 68. 30 in. (76 cm) in length, earthenware, Hirsh Satin atmosphere. This is a tricky slip; it only crackles for Matt Glaze, fabric, foam, wood, 2018. Photo: Louise a day or two after being prepared, so mix a batch China Clay...... 22 78. ORourke. 3 Dan Finnegan’s ginger jar, 13 in. (33 cm) and use it on the same day. Save any leftover slip Silica ...... 21 78. in height, Crackle Slip, wood-ash glazes, wood/salt and add more dry mix to it to reconstitute it. Apply 100 .00 % fired to cone 11. 4 Mizuyo Yamashita’s Kiriko beaker to bisque-fired pots. If the crackle is deep and made with a mix of terra-cotta and stoneware clay, prominent when you apply the slip, it’s probably too with the application of three glazes (transparent thick and will flake off. Translucent glazes can be layered over it. Want to test more slip and glaze recipes? glaze on interior, Matte White glaze on exterior, and Visit ceramicrecipes.org. Manganese Mix on bottom 1/4 of exterior).

70 june/july/august 2019 www.ceramicsmonthly.org www.ceramicsmonthly.org june/july/august 2019 71 RECIPES

aquatic effect by Mark Chuck When used in combination as described in Mark Chuck’s process article, these recipes develop surfaces ARTICLE

60 that capture the visual effects of fish and splashing water.

LITHOGRAPHY STAIN MIXTURE LEACH WHITE Cone 06–13 Oxidation/Reduction Cone 10 Oxidation/Reduction Mason Stain 6600 Best Black. . . . 2 parts Whiting...... 20 0. % Linseed Oil...... 3 parts Custer Feldspar ...... 40 0. Use a brayer to evenly roll a coat of the ink mixture EPK Kaolin...... 10 0. onto photocopied designs (sealed in gum arabic) for Silica ...... 30 0. a lithographic transfer process. If firing to cone 06, 100 0. % apply a glaze over the stain otherwise it can be rubbed off. I normally fire to cone 10 in reduction. Add: Zircopax...... 10 0. %

SAN MIGUEL ICY BLUE For Blue: Cone 10 Oxidation/Reduction Add: Cobalt Carbonate...... 0 5. % Whiting...... 25 0. % Red Iron Oxide...... 1 0. % 1 G200 Feldspar...... 25 0. I use this glaze on the rim of cups layered under San EPK Kaolin...... 20 0. Miguel Icy Blue to create a watery, dripping effect. SEMI GLOSS Silica ...... 30 0. 1 Mark Chuck’s Trout Yunomi, porcelain, San Cone 10 Reduction 100 0. % Miguel Icy Blue on interior and base, Lithography Ferro Frit 3134...... 70 g For an Icier Blue: Stain Mixture and underglazes on fish details, Water...... z28 o Add: Yellow Iron Oxide...... 0 5. % Leach White glaze on rim (layered under San Miguel Icy Blue for a watery effect), and Semi Spray on the exterior for a subtle, satin finish. Fire in oxidation for a glossy clear. Gloss sprayed on exterior for a satin finish.

Highwater Clays NEW BOOK & VIDEO RELEASE! Teachers: The resource you have been waiting for!

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In this comprehensive workbook, artist and educator Jeni Hansen Gard provides an Teacher’s Workbook! informative guide for teaching ceramics at the K–12 level. Because many K–12 art teachers have to teach this complicated subject with little or no ceramics background, this workbook gives a thorough introduction to all aspects of teaching clay in the classroom. Filled with detailed illustrations and step-by-step images, this workbook also includes helpful instructional handouts to hang in your classroom, classroom contracts for students, kiln logs for teachers, and so much more! You’ll learn where clay comes from and the different Everything You Need to Know firing temperatures for clay and glaze, how to build and decorate using basic and advanced techniques, how to load and fire ceramic kilns, and practical knowledge for setting up your classroom for success. The answers are here, along with resources that will assist you in putting your newfound knowledge into practice. to Teach Ceramics in the K-12 Classroom! Answers to Questions You

JeniVersatile Hansen Gard grew up in a small bed residency program. To learn more about her and breakfast in Grand Haven, Michigan. work, please visit www.jenihansengard.com. She is an artist and teacher with an inte- Didn’t Know to Ask! grative art practice that focuses on using Gunyoung Kim was born and raised in Seoul, the ceramic vessel as a catalyst for bringing South Korea. She is a figurative ceramic artist Responsivepeople together. Her community-focused who focuses on capturing subtle expres- approach to ceramics and education led sion of human emotions. Gunyoung earned 3 her to become a founding member of the her bachelor of fine arts in ceramics from Classroom the in Clay Teaching 4

In this video, ceramics educator Jeni Hansen Teaching Clay in the Classroom the in Clay Teaching Socially Engaged Craft Collective, a craft Kook-Min University in Korea in 2010, and 2 Gard presents an in-depth overview of basic

Teaching Clay in the Classroom with Jeni Hansen Gard Teaching wheel-throwing techniques for the K–12 level. and social practice organization. At the her master of fine arts from The Ohio State Jeni’s clear instruction is an invaluable tool for Teaching 1 K–12 teachers, especially those who are new Teaching Perhaps the most exciting part of the ce- Teaching Clay in the Classroom to teaching ceramics and wheel throwing. time of publication, she and her husband, University in 2014. After graduate school, she ramic process is surface decoration, and in this video, JeniCLAY Hansen Gard focuses on fellow ceramicist, Forrest Sincoff Gard, were completed artist residencies at Lawrence Arts Teaching Here’s a sampling of what you’ll learn: 1 just that! Many K-12 art teachers are asked CLAY Dependable to teach the complex subject of ceramics In this video, ceramics educator Jeni Hansen • Tools You’ll Need: in the resident artists at the Mill Hill Community Center and the Archie Bray Foundation for in the C L AY in the 2with only an introductory ceramics class in the Gard provides a thorough introduction to wheel better with a Get thorough to know explanation the pottery of under their belts.CLASSROOM This presentation is the 4

Arts Center in Macon, Georgia. They also run the Ceramic Arts. Gunyoung currently lives handbuilding processes for the K–12 level. Be- how it works. Plus all the tools you’ll need for perfect next step and covers a wide variety

with Jeni Hansen Gard Hansen Jeni with 3CLASSROOM CLAYcause many K–12 art teachers need to teach throwing and how to use them. of decorating techniques that will help stu Gard Clay Studios, a collaborative studio for in Columbus, Ohio, and works as a full-time this complex subject with little or no ceramics • Throwing Cylinders, Tumblers, and Bowls: dents make expressive, personalized work.

CLASSROOM - with Jeni Hansen Gard Hansen Jeni with background, this video is an excellent resource Get expert instruction on throwing the basic Jeni Hansen Gard grew up in Grand Ha for becoming familiar with the material of clay Here’s a sampling of what you’llA learn:guide for K-12 TEACHERS their research and where they make a line artist. To learn more about her work, please cylinder and using tools to manipulate that ven, Michigan. She earned her BA in art andCLASSROOM planning lessons and projects. A guide for K-12 TEACHERS shape. Also learn how to throw small and of functional wares and have a small artist visit www.gunyoungkim.com. In this video, ceramic educator Jeni Hansen A guide foreducation K-12 from TEACHERS Hope College, MA in art • Pre-firing Techniques: with JENI HANSEN GARD large bowls with helpful pointers on ways education from the University of Florida, - Ceramic decora Gard provides a comprehensive guide to set- Here’s a sampling of what you’ll learn: tion can start way before the work goes with JENI HANSEN GARD to facilitate student learning. - Jeni Hansen Gard grew up in Grand Hav- with Jeni Hansen Gard and her MFA in ceramics from The Ohio ting up a classroom for teaching ceramics at A guide for K-12 TEACHERS with JENI HANSEN GARD into the kiln, and Jeni covers a plethora • Trimming Time: State University. Jeni was the recipient of en, Michigan. She received her MFA in ce- the K-12 level. Because many K-12 art teach- • Pinch, Coil, and Slab: Start with the basics of techniques from stamping to sgraffito, with JENI HANSEN GARD the 2015 MJ Wood–DO GOOD Residen- ramics from The Ohio State University, her ers have to teach this complicated subject and learn how to teach pinch, coil, and slab properly trim leather-hardLearn how pots to centerto an even and and everything in between. cy at Red Lodge Clay Center and recently MA in art education from the University of with little or no ceramics background, this Jeni Hansen Gard grew up in Grand Ha- thickness throughout, which will help • Techniques for Bisque and Beyond: The company that keeps you in mind. techniques. You’ll pick up great project ideas completed residencies at the Archie Bray Florida, and her BA in art education from video gives a thorough introduction to clay ven, Michigan. She earned her BA in art avoid problems in the firing. for all levels! Foundation and Denison University. She is a only does Jeni thoroughly cover the manyNot Hope College. Jeni was the recipient of the and glaze materials, equipment used in the education from Hope College, MA in art different options for glazing, she even • Handles 101: Learn multiple ways to make founding member of the Socially Engaged 2015 MJ Wood–DO GOOD Residency at ceramics studio, classroom safety, and more. education from the University of Florida, This informative video will help teachers delves into post-glazing techniques! and attach handles—from simple slabs to Craft Collective, a craft and social prac Red Lodge Clay Center and recently com and her MFA in ceramics from The Ohio effectively teach wheel throwing and help elegant pulled handles. tice organization. Jeni and her husband, • Just What a Teacher Needs: pleted residencies at the Archie Bray Foun- Here’s a sampling of what you’ll learn: State University. Jeni was the recipient of struggling students achieve success in the - Jeni Hansen Gard grew up in Grand Ha- fellow ceramicist Forrest Sincoff Gard, run at the K-12 level herself, JeniHaving shares taught great dation and Denison University. She is a • Simple Molds, Great Results: Hump and the 2015 MJ Wood–DO GOOD Residen- ceramics classroom. Get helpful tips to set ven, Michigan. She received her MFA in Gard Clay Studios in their home studio. To - teacher tips from reducing waste of ex founding member of the Socially Engaged • Classroom Setup: slump molds are great for the K–12 class- cy at Red Lodge Clay Center and recently The American Ceramic Society ceramics from The Ohio State University, learn more about Jeni Hansen Gard and pensive supplies to adapting lessons for - Craft Collective, a craft and social prac up your classroom efficiently and safely. room because the learning curve is small, completed residencies at the Archie Bray Learn about the MA in art education from the University see more images of her work, please visit various grade levels. tice organization. Jeni and her husband, www.CeramicArtsNetwork.org but the results can be beautiful. Plus, Jeni Foundation and Denison University. She is a - • Proper Use of Materials: - of Florida, and BA in art education from www.jenihansengard.com. fellow ceramicist Forrest Sincoff Gard, run

TEACHER shows how to make sprig molds from found founding member of the Socially Engaged This informative video will give teachers Printed in the USA stages of clay, which glazes are best for Hope College. Jeni was the recipient of Gard Clay Studios in their home studio. To Think of us for all your ceramic needs. your needs, how to recycle clay and mini objects—a great way for students to add a Craft Collective, a craft and social prac- the knowledge they need to make their stu the 2015 MJ Wood–DO GOOD Resi- learn more about Jeni Hansen Gard and personalized touch to their work! tice organization. Jeni and her husband, Total Running Time: dents’ clay experience more meaningful. mize waste, and more! Find out about dency at Red Lodge Clay Center and re- - see more images of her work, please visit fellow ceramicist Forrest Sincoff Gard, run Approximately 2 hours cently completed residencies at the Archie www.jenihansengard.com. • Proper Use of Equipment: This informative video will help teachers Gard Clay Studios in their home studio. To Bray Foundation and Denison University. safety, maintenance, and cleaning of the learn the techniques to effectively teach learn more about Jeni Hansen Gard and CERAMIC ARTS She is a founding member of the Social- LEARN HOW TO: potter’s wheel, slab roller, extruder, and handbuilding, and help their students see more images of her work, please visit Total Running Time: ly Engaged Craft Collective, a craft and HANDBUILDING pug mill. Plus learn how to load and fire a achieve successful results! www.jenihansengard.com. NETWORK Approximately 3 hoursWHEEL THROWING DECORATING kiln, mix and apply kiln wash, avoid com- social practice organization. Jeni and • Set up your classroom Copyright 2018 The American Ceramic SocietyTECHNIQUES TECHNIQUES: TECHNIQUES: mon firing problems, and much more! her husband, fellow ceramicist Forrest efficiently CERAMIC ARTS Sincoff Gard, run Gard Clay Studios. To Total Running Time: • Pinching, coiling, slab • Teach NETWORK throwing and • Learn to teach exciting learn more about Jeni Hansen Gard and Approximately 2 hours, 50• minutesUse & store building, handle mak- This informative video will help teach- . trimming cylinders, tum- decorating techniques ers bring clay into their classrooms in the see more images of her work, please visit materials safely ing, slump/hump molds, Copyright 2018 The American Ceramic Society Teacher Workbookwww.jenihansengard.weebly.com with blers, and bowls with from pre- to post firing! most efficient and effective way so they CERAMIC ARTS NETWORK and more! can avoid frustration and spend more time • Properly use & main- ease and confidence! • Gain a greater under- helping their students make great work! tain your equipment • Teach handbuilding Total Running Time: Copyright 2018 The American Ceramic Society • Learn to reduce obsta- standing of glazes and Approximately 2 hours, 45 minutes projects with confidence cles to student success! glazing techniques! NETWORK forms and worksheetsCERAMIC ARTS Copyright 2018 The American Ceramic Society 4 Comprehensive Videos

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www.ceramicsmonthly.org june/july/august 2019 75 Wood Kiln Loading Techniques for Optimal Surface Effects

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This video is a little bit different than other wood firing videos. Rather than focusing on the firing,- Simon Levin focuses solely on loading techniques, understand the offering practical guidance and strategies for get ting the best effects out of every firing. Here’s a sampling of what’s included: flame path and Simon Levin has been working in clay since - • Learn how to understand the flame path and discover ways to move the flame through the 1990, when an elective ceramics course in college changed the direction of his life, lead kiln to create the best outcomes. with Simon Levin ing to an MA and an MFA from the University - discover ways to • Find out how to compartmentalize a large of Iowa. He is a fulltime studio potter working kiln into smaller sections so it can be fired exclusively with wood firing. His work is ex more often. hibited internationally, and appears in several • Get tips on placing posts, shelves, and ware so contemporary ceramics books. Simon is a writ- move the flame that you are using the maximum space possible er for many ceramics journals, and in 2013 he in your kiln. traveled to Taiwan as a Senior Fulbright Schol- ar researching local materials. He has built • Pick up creative wadding techniques to create wood-fire kilns for colleges and universities in beautiful marks on your pots. the US, Taiwan, and China. His apprenticeship through the kiln program has trained and influenced 17 young- Wood firing is a process fraught with variables. potters since 2005. A resident of Wisconsin for Simon’s practical techniques gleaned from years- 18 years, Simon has recently moved to Paw of experience will help you organize, make sense nee, Illinois, where he is currently re-establish- to create the of, and utilize these variables to improve your out ing his pottery business. To learn more about comes in atmospheric firings. Simon Levin and see more images of his work, please visit www.simonlevin.com. best outcomes. Total Running Time: Approximately 1 hour, 30 minutes NETWORK CERAMIC ARTS

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76 june/july/august 2019 www.ceramicsmonthly.org call for entries deadlines for exhibitions, fairs, and festivals

international after January 1, 2017, and not accepted into University, 331 College Ave., Ashland, regional exhibitions a previous Craft Forms exhibition. Fee: $45. OH 44805; [email protected]; exhibitions Juried from digital. Juror: Jane Milosch. 419-289-5652; www.ashland.edu/ June 30, 2019 entry deadline June 2, 2019 entry deadline Contact Wayne Art Center, 25 Meadowood coburngallery. Louisiana, New Orleans “Clay: A South- Spain, Manises (Valencia) “Biennal ern Census” (March 6–28, 2020) open to Rd., Wayne, PA 19087; patti@wayneart. August 26, 2019 entry deadline Internacional de Ceràmica Manises” org; 610-688-3553; www.craftforms.org. ceramic vessels, sculptures and wall pieces New York, Fabius “Almighty Cup (November 8–February 12, 2020) open by artists living in: AL, AR, DC, DE, FL, GA, Show” (October 18–January 12) open to ceramic artists 18 and older. Design united states KY, LA, MD, MS, NC, OK, SC, TN, TX, VA, to residents of the US. Sculptural and focused on utilitarian and/or decorative and WV. Submitted pieces must be at least exhibitions functional cups, must be made primar- character. Maximum of 3 photographs. No 50% ceramic material, original, and made June 1, 2019 entry deadline ily of clay. Fee: $30. Juried from digital. fee. Juried from digital. Juror: TBA. Contact in the last two years. Fee: $30. Juried from Pennsylvania, Lancaster “27th An- Juror: Garth Johnson. Contact Jen Gandee, Museum of Ceramics of Manises, Street digital. Juror: Mónica Ramírez-Montagut. nual Strictly Functional Pottery National” Gandee Gallery, 7846 Main St., Fabius, NY Sagrario, 22. 46940- Manises (Valencia) Contact Clay Center of New Orleans, 1001 (September 21–October 26) open to US 13063; [email protected]; 315-416- Spain; [email protected]; (+34) South Broad St. #116, New Orleans, LA residents. Work must have been produced 6339; www.gandeegallery.com. 70125; [email protected]; 504-517-3721; 961 52 56 09; www.museumanises.com. within the last 2 years. Size may not exceed September 1, 2019 entry deadline www.nolaclay.org. June 30, 2019 entry deadline 30 inches in any dimension or 20 pounds New York, Oneonta “The Art of the July 31, 2019 entry deadline Washington, Bellingham “Pitcher in weight. Fee: $40. Juried from digital. Cup” (November 1–December 27) open Indiana, Fort Wayne “State of Clay in Perfect” (September 1–30) open to Juror: Malcolm Mobutu Smith. Contact to ceramics and other three-dimensional Indiana” (August 26–October 11) open residents of the US and Canada. Original Kevin Lehman’s Pottery, 580 S. Prince St., media. Work may be functional, sculp- to potters who have lived and/or worked and functional ceramic pitchers. Juror’s Lancaster, PA 17603; questions@strictly tural, or experimental. Work must be in Indiana. This exhibition is associated Choice Award $300. Submit up to 3 functionalpottery.net; 717-509-7547; original. Enter up to 5 pieces in digital with the Indiana Potters Conference, but entries. Fee: $35. Juried from digital. www.strictlyfunctionalpottery.net. participation is not dependent on confer- Juror: Deborah Schwartzkopf. Contact format—under 1 MB. Fee: $35. Juried June 24, 2019 entry deadline ence participation. Fee: $25. Juried from Ann Marie Cooper, Good Earth Pottery, from digital. Juror: Teresa DeSantis and California, Stockton “Visions in Clay” digital. Juror: Ted Neal. Contact Purdue 1000 Harris Ave., Bellingham, WA 98225; Lauren Visokay. Contact Studio Boreas (September 5–27) open to US residents. University, Fort Wayne, 2101 E. Coliseum [email protected]; 360- Gallery, PO Box 113, 5 Center St., West Any thematic and stylistic presentation Blvd., VA 117, Fort Wayne, IN 46845; 671-3998; www.goodearthpots.com. Oneonta, NY 13861; studioboreas will be accepted. Clay must be the pri- [email protected]; 607-433-0442; [email protected]; 260-481-6876; July 1, 2019 entry deadline mary medium. Functional or sculptural. www.studioboreas.com. http://bit.ly/StateofClayIN. Nevada, Las Vegas “Luscious Lus- Assembled works may not exceed 4 feet ters” (August 1–September 30) open to in any direction. Fee: $35 for three entries. September 1, 2019 entry deadline fairs and festivals New York, Oneonta “Home for the ceramic artists 18 and older. Functional Juried from digital. Juror: Sarah Millfelt. June 1, 2019 entry deadline Holidays” (November 1–December 27) and sculptural works that feature luster Contact Jan Marlese, LH Horton Jr Gallery, New Jersey, Montclair “Spring open to ceramics and other three-dimen- and waterslide decals. Fee: $35. Juried 5151 Pacific Ave., Stockton, CA 95207; Fine Art and Crafts at Brookdale Park” sional media. Work may be functional, from digital. Jurors: Peter Jakubowski and [email protected]; 209-954-5507; (June 15–16) open to artists 18 years sculptural, or experimental. Work must Nathan Bray. Contact Clay Arts Vegas, http://gallery.deltacollege.edu. or older. Juried fine art and craft show. be original. Enter up to 5 pieces in digital 1511 S. Main St., Las Vegas, NV 89104; July 19, 2019 entry deadline Submission of 4 images of work and one format—under 1 MB. Fee: $35. Juried [email protected]; 702- Missouri, Kansas City “KC Clay Guild of booth display. Booth fees start at $430. from digital. Juror: Teresa DeSantis. Con- 375-4147; www.clayartsvegas.com. Teabowl National 2019” (October 5–16) Entry/application fee: $30. Juried from tact Studio Boreas Gallery, PO Box 113, August 3, 2019 entry deadline open to ceramic artists 18 and older. digital. Jurors: Janet Rose, Howard Rose. 5 Center St., West Oneonta, NY 13861; Pennsylvania, Butler “The Art of the Works must be made of 98% clay and Contact Rose Squared Productions, Inc., 607-433-0442; studioboreasgallery@ Drink” (November 13–29) open to ceramic completed within the last 2 years. Teabowl 101 West End Ave., New York, NY 10023; outlook.com; www.studioboreas.com. artists 18 and older. Vessels used to serve, may not exceed 7×7×7 inches. Artists [email protected]; 908-930- pour, and store beverages. Entries must be may submit one view each of 3 teabowls. September 23, 2019 entry deadline 4363; www.rosesquared.com. constructed of clay, food safe, and func- Digital images must be 300 dpi and New York, Clifton Springs “The Cup, The July 7, 2019 entry deadline tional, as well as weigh less than 10 pounds, 1920×1920 pixels. Fee: $30. Juried from Mug 2019” (November 16–December 14) Ohio, Columbus “Winterfair” (Decem- and be under 24 inches tall. Fee: $25 for digital. Juror: Pete Pinnell. Contact Susan open to US artists 18 years and older ber 6–8) open to artists creating fine art or three entries. Juried from digital. Juror: Speck, Bredin-Lee Gallery, 1729 McGee working in ceramics, glass, wood, or fine craft. Fee: $27. Juried from digital. Con- Yoko Sekino-Bové. Contact Butler Art Cen- St., Kansas City, MO 64108; Gallery@ metal. Submissions must be cups, mugs, tact Ohio Designer Craftsmen, 1665 W. Fifth ter, 344 S. Main St., Butler, PA 16002; 724- kcclayguild.com; 913-384-1718; http:// or other drinking vessels. All work submit- Ave., Columbus, OH 43212; info@ohiocraft. 422-0851; Exhibitions@butlerartcenter. kcclayguild.org/Apply. ted must be for sale. Fee: $30. Juried from org; 614-486-4402; www.ohiocraft.org. org; www.butlerartcenter.org. August 1, 2019 entry deadline digital. Juror: Kelly Justice. Contact Main July 7, 2019 entry deadline September 1, 2019 entry deadline Illinois, Lisle “Clay3 (cubed)” Street Arts, 20 W. Main St., Clifton Springs, Ohio, Cincinatti “Greater Cincinnati Nevada, Las Vegas “What Goes Bump (October 4–25) open to artists working NY 14432; 315-462-0210; mstreetarts@ Winterfair” (November 28–1) open to art- In The Night” (October 3–November 12) in the US. Functional and sculptural gmail.com; www.mainstreetartsgallery. ists creating fine art or fine craft. Fee: $27. open to ceramic artists 18 and older. Func- ceramic art must fit within one cubic com/submissions. Juried from digital. Contact Ohio Designer tional and sculptural works that explore foot, 12×12×12 inches and use 75% clay October 1, 2019 entry deadline Craftsmen, 1665 W. Fifth Ave., Columbus, the sublime. Images: jpeg file, 800 pixels as the medium. Fee: $30. Juried from Florida, Tequesta “LUSH: A Con- OH 43212; [email protected]; 614-486- in either direction, maximum file size of digital. Jurors: Jon Pacheco, Joey Knox, temporary Ceramics Exhibition” 4402; www.ohiocraft.org. 1 MB. Fee: $35. Juried from digital. Jurors: Debbie Venezia. Judge: Ben Carter. Contact (November 11–January 4) open to ceram- August 1, 2019 entry deadline Peter Jakubowski and Rob Kolhouse. ClaySpace, 740 Front St., Lisle, IL 60532; ics and other three-dimensional media. New Jersey, Montclair “Fine Art and Contact Clay Arts Vegas, 1511 S. Main [email protected]; 630-393-2529; Work not previously displayed at the Crafts at Anderson Park” (September 21–22) St., Las Vegas, NV 89104; 4information@ www.clayspace.net. Lighthouse Art Center, created in the last open to artists 18 years or older. Juried fine clayartsvegas.com; 702-375-4147; www. August 2, 2019 entry deadline two years, no more than 5 feet tall, and no art and craft show. Submission of 4 images clayartsvegas.com. Ohio, Ashland “Compassion–The Art more than 50 pounds. Up to 3 entries in of work and one of booth display. Booth September 15, 2019 entry deadline of Healing” (October 22–November 13) digital format. Fee: $40. Juried from digital. fees start at $430. Entry/application fee: $30. Pennsylvania, Wayne “Craft Forms open to artists working in the US, 18 Juror: Alex Zablocki. Contact Lighthouse Juried from digital. Jurors: Janet Rose, Howard 2019, 25th International Juried Exhibition and older. Works must be original, and ArtCenter, 373 Tequesta Dr., Tequesta, Rose. Contact Rose Squared Productions, Inc., of Contemporary Fine Art” (December 7– created in the last two years. Fee: $25. FL 33469; [email protected]; 101 West End Ave., New York, NY 10023; February 1) open to artists 18 years of age Juried from digital. Juror: Mary Urbas. 561-746-3101; www.lighthousearts.org/ [email protected]; 908-930-4363; or older. Works must have been completed Contact The Coburn Gallery Ashland lush---ceramics-exhibition.html. www.rosesquared.com.

www.ceramicsmonthly.org june/july/august 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 as part of a team. Teaching experience, knowledge of Jackie Sedlock Pottery Southern Vermont. Small groups, wheel throwing and handbuilding techniques preferred. classes, retreats, and residency opportunities. Workshops 12×24-Inch Kiln Shelves. 58 Advancers, 42 Nitride Bonded, Responsibilities include but are not limited to: programming 2019: Adam Field June 9–13. Wood firing workshops 9 Silicone Carbide, 28 Corderite. These shelves were fired to development, clay and glaze preparation, kiln firing and 2019: Bede Clarke Sept. 28–Oct. 3; George McCauley/Linda cone 10 in reduction, and are in very good shape. To purchase maintaining a safe studio environment. Compensation for Christianson Nov. 16–21. Full retreat accommodations in- new would be about $15,000. I would like to sell the whole lot teaching courses paid separately from base salary. Send cluded in workshop fees. www.jackiesedlock.com. of them together for $7000. [email protected]. cover letter, resume, three references, and five images of John Britt Cone 6 Workshop in Denver. Plinth Gallery, Friday, Cedar Key Pottery. For Sale: Pug mill, hydraulic extruder, your ceramic work to Cooperstown Art Association, 22 Saturday, Sunday, September 27–29 2019, 9am–5pm. $300 clay mixer which will process 500 lbs of clay. Fire brick and Main Street, Cooperstown NY 13326 or email to gallery@ includes all materials and daily lunch. plinthgallery.com/work gas kilns, shelving and supports included. Large selection cooperstownart.com Application Deadline: June 1, 2019. shops Contact: [email protected] 303-295-0717. of frits. Call 352-543-9165. www.smithyarts.org/clay-studio. Join us at Saratoga Clay Arts Center for 2 summer work- For Sale “The Magic Extruder” a wall mounted Bluebird Events shops! 5-Day Salt Glaze Firing Workshop with Jack Troy, pugmil/extruder with expansion box with dies. And the June 5–12 and 2-Day Hands-on Wheel Throwing Workshop book “Ceramic Extruding” showing exactly how to use it. 64 ARTS National Juried Exhibition. Buchanan Center with Gwendolyn Yoppolo, August 17–18. Get details and $2000. Not including shipping/handling. While supply lasts. for the Arts, 64 Public Square, Monmouth, IL 61462. 309- register online at www.saratogaclayarts.org. [email protected] or 719-543-0720 www.ceramicsite.com. 734-3033 [email protected]. Info/prospectus: callforentry.org or http://bcaarts.org. October 22–December PERSPECTIVES: Georgia Pottery Invitational 2019 will take 13, 2019. Juror: Ben Owen, Director of Arts@MSP. Open to Employment place August 31–September 15 in Watkinsville, Georgia at the artists in all mediums. $4100 in awards. $30 fee per 3 works. Oconee Cultural Arts Foundation campus. This year is the Claymakers (Durham, NC)—General Manager and Execu- Entry deadline: July 15, 2019. tive Director. Claymakers seeks a General Manager and 19th annual award-winning event that showcases the works an Executive Director, both full time, for our growing studio, BRIAN SOMERVILLE—Sculpture—Building Solid—Hol- of the 50 Georgia potters selected this year. The largest juried retail store, and gallery. For details, see www.claymakers.org. lowing, Carving & Mixed Media. August 9–11, Black- show of its kind in the Southeast, PERSPECTIVES features berry Hill Art Center, Orford, NH—Hands on Workshop. 6000 pieces of contemporary functional pottery for sale. In Director of Ceramics Programming wanted. Sawtooth Three-day workshop: Students will build sculptures and addition, the event this year will host a “Meet and Greet” School for Visual Art seeks a Director of Ceramics to as- discuss sculpture techniques including additive, subtrac- with select potters at the Opening Gala on Friday, August 30 sume leadership. A unique opportunity for ceramics artists tive, constructive, mold making, casting, and assemblage. from 6 to 9. A $20 entrance donation allows first option to to share, explore and develop their own art practice within For Information: www.BlackberryHillArtCenter.com, purchase pots prior to the public opening the following day and our community of artists, students, and patrons. Full-time, [email protected], or 603-353-4312. admits attendees to a catered buffet. There are three pottery salaried position that includes all aspect of studio manage- exhibits, weekend gallery talks, pottery demonstrations, and ment, program administration and instructor scheduling, and Call for submissions for the 15th Annual It’s Only Clay a two-day demonstration/workshop with well known potter, some teaching. MFA preferred, or equal experience. Please National Juried Competition and Exhibit featuring 2019 Glenn Dair. Schedule of events and details can be found at email [email protected]: Letter of interest; juror, Marion Angelica. Dedicated to functional ceramics, http://bit.ly/2oCZfB0 or www.ocaf.com. Current CV; Support material in the form of a PDF document this annual event is a collaboration between the Watermark San Miguel de Allende Sculpture Workshops. 2019: with 8–10 images and captions; a link to your digital portfolio and Bemidji State University. Awards for 1st, 2nd, 3rd place Kelly Rathbone, Natasha Dikareva, Tip Toland, Magda or website, if applicable; contact information for 3 professional prizes equaling $2000 and purchase awards for BSU Mar- Gluszek, Kirsten Stingle/Christine Kosiba, Claudia Olds references. Salary commensurate with experience. garet Harlow Collection. Fee is $30 for 3 entries. Postmark Goldie, Esther Shimazu, Michelle Gregor/Francoise LeClerq, deadline August 10th, 2019. More information and applica- Full Time Production Potter. We are a high volume production Debra Fritts/Lisa Clague. www.sanmigueldeallende tion at www.watermarkartcenter.org or call 218-444-7570. studio creating beautiful and functional high-fired porcelain ceramicworkshops.com. pottery. Duties will include management of the mold room by CHANDRA DEBUSE—Ceramics—Sketch & Stretch: South of France Ceramic Residency and Workshops! casting clay, creating and pouring molds, jiggering, trimming Hand Building and Surface Intensive. July 19–21, Upcoming workshops at International Artists Residency and loading kilns. Must be able to lift and carry 50 pounds Blackberry Hill Art Center, Orford, NH—Hands on Exchange studio in Saint-Raphaël France on the Cote d’Azur! and stand for long periods. [email protected]. Workshop. Three-day workshop: students will learn new Natasha Dikareva, 9–20 Sept., Andrew Martin 14–25 Oct., ways of designing, building and illustrating functional pot- Production Potter Wanted. Whitefish Pottery, a small pro- Lorna Meaden 9–18 April 2020! Or just come and create at tery. For Information: www.BlackberryHillArtCenter.com, duction pottery in northwest Montana, is seeking a second your leisure! [email protected]. full-time individual for throwing and various other tasks. [email protected], or 603-353-4312. Experience preferred, i.e., having worked for piece-work Summer Workshop Opportunities: Sunshine Cobb—Explor- DEBRA FRITTS—Sculpture—The Human Animal Con- previously but will train. Hiking, fishing, skiing, rafting, Glacier ing Functional Hand Building, 7/8/19–7/19/19. Bradley Klem— nection. August 26–30, Blackberry Hill Art Center, National Park! Call Tom @ 406-862-8211. China Painting, 7/16/19–7/19/19. Jessica Rocca—Bilingual Orford, NH—Hands on Workshop. Five-day workshop: Adobe Workshop, 7/15/19–7/19/19. CLAY Festival 2019—Silver students will explore ways of developing personal sym- Production Potters wanted. Salmon Falls Stoneware, City, New Mexico. Visit www.ClayFestival.com for more info. located at 75 Oak Street, Dover, New Hampshire. Potters bols to allow the piece to have meaning and metaphor. may have time to develop their own work. Work 7am-3:30pm For Information: www.BlackberryHillArtCenter.com, Summer Workshops in Tahoe! Jeff Downing, Randy daily. Also have surplus equipment for sale: 3 PR9 pug mills, [email protected], or 603-353-4312. Brodnax, Don Ellis, Matt Long, Helen Otterson, T Roberts Lancaster Stainless Steel clay mixer, 90-ton Ram press. Call Pacini, and Nick Schwartz. Throwing and Handbuilding. On HELEN OTTERSON—Glass Casting Techniques—In- for further details. Andy Cochran 603-312-3808. campus housing available. www.sierranevada.edu/workshops tegrating Glass & Ceramic Sculpture. July 26–28, 775-881-7588. Seeking Clay Studio Manager—Full Time—Cooper- Blackberry Hill Art Center, Orford, NH—Hands on stown, NY. The Smithy Clay Studio is seeking a studio Workshop. Three-day workshop: Students will learn and VISIT fabulous Silver City, New Mexico—8th annual CLAY manager. BFA in ceramics or equivalent experience. Must use techniques to create glass features to enhance sculp- Festival, July 15–21 2019: Lectures, Workshops, Maker’s have excellent communication and organizational skills, tures. For Information: www.BlackberryHillArtCenter.com, Market, Demonstrations, Exhibitions, Youth Activities, and show initiative, and be able to work independently and [email protected], or 603-353-4312. more! Visit www.ClayFestival.com.

78 june/july/august 2019 www.ceramicsmonthly.org Opportunities and lively Millbrook, New York. 90 min NYC w/easy ac- Wood Firing Services—Connecticut. Two wood kilns, 60 cess . May to October Farmers Market. $450,000. contact: cubic foot Naborigama (one chamber soda) and 100 cubic Artist-in-Residence Opportunity at NC Pottery Center, [email protected]. foot Climbing Train Kiln. Terrific results. CCW crew has fired Seagrove, NC. Qualified studio potter/ceramic artists. Fully- our wood kilns >300 times. All ceramic artists welcome. More equipped studio space, two wood-burning kilns, housing and 3-story Ceramics/Sculpture Studio and home. Concrete details visit cantonclayworks.com. utilities, 250 lbs. clay per month, and $500 a month stipend. and steel ceramics/sculpture studio with large kiln and Applications are currently being accepted. Details and online adjoining attractive 3 bedroom/2 bath home. One block Travel application available at tinyurl.com/ncpotterycenter-air. from Pittsburg (Kansas) State University (enrollment 7000 with new $33M fine arts building). Three story studio/living GREECE, THESSALONIKI—The Almond Grove: Work- Internships Available—CT. Non-paid internships available. area (with moving hoist on top) plus basement plus carport, shops in Ceramics. Winter–Spring–Summer–Autumn 2019. Proven individuals will have paid employment opportunities. with adjoining two story older home in excellent condition. Residential courses in ceramics. Details: +30-2310-450451. Weekly 12–15 studio hours expected, free studio usage, free [email protected]; www.hectormavridis.com. Two fireplaces. Solar heating (needs work). $80,000. Also clay, free firings. Kilns include two wood kilns, gas reduction, available, adjacent two residential lots with 2 bedroom/1bath raku, saggar, and sawdust. Visit cantonclayworks.com or “Hot Chile” Tour! November 2–14, 2019. An exciting adven- contact [email protected]. cottage, $45,000. (Perfect university rental). See pictures at ture from the Atacama Desert to historical Santiago to the https://evianneelise.wixsite.com/1919-south-locust. incredible Patagonia region; craft village visits, museums, RESIDENCY FOR EMERGING CLAY ARTISTS—Starting night sky observatory, glaciers, primal forests, penguins, and Home with Studio Rental. Bozeman Montana Home Rental June 1 or September 1. Large studio spaces. Wood, electric, a cruise into the Magellan Straits! Now enrolling through mid- with Studio. Beautiful newly built, fully furnished, 2-bedroom, salt and gas kilns. Housing on site. Contact jessiman@ July. Non-stop air from LAX. Host: Patrick Crabb. Itinerary: 2-bath home in a 55+ quiet community with walking trails cubcreek.org or 434-248-5074. [email protected]. and beautiful mountain scenery all around. 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www.ceramicsmonthly.org june/july/august 2019 79 SPOTLIGHT changes over time

Ceramics Monthly: How has your work and practice changed since you were featured as a Working Potter in Ceramics Monthly? Adam Frew: My work has changed so much since 2014, perhaps most notably in my decoration. My work has moved into a more painterly style; I don’t do any inlaid lines anymore. Instead, much of the surface is applied with brushes, or I like to work into a painted slip surface with a sponge. For the last few years, I have been developing my plates. This grew from a desire to have a more direct relationship between my pots and food. I started to take my plates out with me to restaurants and would ask the chef to serve my meal on my plate. The response was fantastic. Chefs were really intrigued and excited by having a different plate to work with. I posted it on Instagram and Facebook under #pottersplatedate. This then led to opportunities to work with chefs, supplying their restaurants with pottery. Sleepy Hollow, a local restaurant that uses my plates, put on a special evening called Plate Date. It consisted of 5 courses served on my specially designed plates. It was such a pleasure to have a room full of diners eating fantastic food, all from my plates. There is something very satisfying about working with restaurants and cafés. I suppose because my pottery is made to be used, it’s great to see it in action on a large scale and also to collaborate with creative and passionate chefs. A current project came from a chef seeing my work on Instagram. That’s another change in my practice, using Instagram. I joined it 3 years ago and it has opened up so many opportunities, including a chef opening a restaurant in Dublin, Ireland, who wants to commission some tableware. He also saw a sink I made for my own bathroom at home and he wants to order 4 of those as well.

CM: You recently built a studio at your home. What has this meant for the development of your work and life outside your studio practice? AF: I now work from my own studio space at my home in a converted old barn. It gives me so much more room and it is a wonderful, bright space. I moved in last August. I have a really good display area for my pots, which is fantastic as I have an increase in customers coming directly to me. I plan to run workshops from my studio, which will make a huge difference to my business and take some financial pressure off production. It also makes for a healthy work/life balance. I don’t have the 25-minute drive into work anymore and, since my wife is home looking after our 2 year old and 6 month old, I get to have lunch with my family nearly every day.

CM: Was there anything surprising about crowdsourcing via Kickstarter to raise funds for constructing the studio? AF: I was blown away at how quickly I met my Kickstarter target. I was also surprised at how many international backers participated. Being promoted as Project of the Day brought me an amazing number of backers in just a few hours! I reached well over my target and it made constructing my studio possible.

Photo: Ben Boswell.

80 june/july/august 2019 www.ceramicsmonthly.org “What I really love about my SHIMPO RK-WHISPER is that it will probably outlive me - it is so well built and a joy to work with every day!” Follow Markus Flach @markusflach KilnMaster Touchscreen Programming just got really cool!

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