Nature feeds the process. This is a marking technique that I have mused on for years now. I look forward to placing the several hundred small tiles throughout both chambers inside Tony Moore's anagama/noriborigama Japanese style wood burning kiln in April.
Nature feeds the making. Working on a sculptural tile study using different clay bodies. I will fire several hundred tiles over a series of wood firing with Tony Moore.
Pushing the series to a new place.
PRESENTED BY BARRETT ART CENTER/DCAA
OPENING SEPTEMBER 26 THRU OCTOBER 21, 2015
This is one of the two plates that I made for the Tony Moore June 2015 Anagama/Noriborigama Wood Firing. I created all the surface texturing of the clay surface. I wanted the surface to look as if it had been buried int he ground for centuries. My plates were placed on a back shelf in the fire box: anagama. The patina is a very dark caramelized brown. I was surprised by the results. I am looking forward to further exploring texturing the clay for use in my sculptures.
I made this ceramic plate with the intention of breaking it into pieces for my "Invocation" mosaic sculpture. There is something precious about the whole of something. There's a part of me that wants to savor this plate. Still, there is that aspect of ruination in my work. I find myself reveling in the mystery of what is left behind...I will write more about this later.
In November, it will be a year that I've been working as part of a crew of potters that work the wood firings for Tony Moore's Japanese style anagama/noriborigama kiln. It's been an invaluable experience.
After the June unloading, Tony was very generous with his time, as he answered questions I had regarding clay bodies. We discussed what I'm striving for aestethically. Tony was able to show me the results of silica sand on a pot from the firing. The work was beautiful. I got the silica sand! The experience of working with Tony Moore and the opportunity to talk with other potters and to see the vast array of works that demonstrate varied approaches, clay bodies, and techniques has expedited my learning curve, as I am assimilating what I'm reading in my pottery books. I am so grateful for this incredible journey.
This creative process is confounding and exhilarating. I've spent the last several months making the sculptural tiles and building the piece in my mind. This sculpture takes me back in time. Still, I push forward...
Instagram post from April 2015.
I had made enough work for a kiln load.
Excited and honored to be among so many very talented artists. It's a beautiful exhibition.
Ceramic Sculptor, #tonymoorewoodfiredkiln graciously referred this kiln to me. From what I understand, a potter named, Beth has had this old electric kiln in her basement for years. The exterior is a bit rusted, however it's never been fired! It's 24" x 24" x 13.5"D. It's pretty much a baby kiln. I am so excited! I will now be able to bisque fire my sculptural bead forms and smaller sculptural forms in small batches. Over the last three years, I've observed that most pottery studios have a baby kiln along side the larger electric kilns. It's more efficient and convenient.
Beth and her potter friend, Lisa have been so kind and considerate regarding passing on knowledge on how to work this old kiln. They are bubbly and funny. They didn't want the kiln, still they were adamant about finding a home for it. Beth didn't want it to end up in a landfill.
Thank you, Tony, Beth and Lisa for your generosity and for passing the torch onto a newbie potter like me! I will keep the fire alive!
Richard and I are set to pick it up within the next couple of weeks.
Looking forward to sharing my first firing adventures.