Clay Times Magazine Volume 21 • Issue 99 by claytimes

CERAMIC

ART

TRENDS,

TOOLS,

AND

TIMES

Clay

TECHNIQUES

22ND ANNUAL

Strictly Functional Pottery National

Volume 21 • Issue 99 WINTER / SPRING 2015

APRIL 11-19 IN MACON, GA

FIRED WORKS 10th Anniversary Celebration Show & SalePreview Preview All About Wax: What You’ll Need to Resist HOW-TO PHOTO SERIES, PART 2

Large-Scale Clay with Peter King & Xinia Marin What Makes Pottery So Special? Marc Ward’s Wise Words on Relocating Your Gas Kiln

PLUS: It’s here! The glaze book you’ve been waiting for ...

$8.95 U.S./$10.95 CAN

Leanna Carlson Digs Her Canadian ‘Angel Clay’

“Some days I’m standing up, some days I’m sitting down when I throw. So being able to adjust the height of the legs in nuanced ways is a real advantage... I also love the large aluminum builtin splash pan. It gives me something very stable to lean my body into as I’m throwing. It gives me extra stability and a little extra strength.”

Steven Hill

powerful tough innovative

ergonomic smooth value Visit skutt.com/video/hill CLAYTIMES·COM n AUTUMN/WINTER 2013

to see video of Steven discussing the ergonomics of throwing.

calls for entry at

December 2014

2014-2015 Virtual Clay (TM)

Online Talks at the

vanguard of the field in partnership with the 92nd Street Y

February 3 Deadlines

CLAYTIMESÂ·COM n WINTER / SPRING 2015

Multicultural Fellowships International Residencies Undergraduate Fellowships Graduate Fellowships

1-21-2015 2-11-2015 3-4-2015 4-8-2015

Namita Gupta Wiggers Tom Sachs Michael Strand Bill Strickland

Learn more at 92Y.org/virtualclay

49th ANNUAL CONFERENCE OT THE NATIONAL COUNCIL ON EDUC ATION FOR THE CER AMIC ARTS

MARCH 25th-28th, 2015 REGISTER TODAY AT WWW.NCEC A.NET!

contents

TIMES

Clay

WINTER / SPRING 2015 Volume 21 • Issue 99 Cover photo: Earthenware Watering Can by Nick Moen of Asheville, North Carolina. 9" x 10" x 3½". Cover inset photo: Red and Black Lidded Jar by Colby Sweetser of Huntington, West Virginia. Cone 6 stoneware; 9½" x 6" x 6". Both works were recently on display in the 22nd Strictly Functional Pottery National exhibition. Story begins on page 14.

features ➤ 24 Building the Gulf Breeze Arch, Part 2 of 2 Peter King concludes this series on basic techniques for handbuilding large-scale architectural art with clay slabs and additions. [Note: Peter’s wife and ceramics partner, Xinia Marín, is pictured in many of the photos in this article and in Part One (CT Vol. 20, issue 98). Part One failed to properly credit Xinia as Peter’s ceramics partner; nor did it note her experience as a former ceramics professor at the University of Costa Rica. Peter King holds a phD in Fine Arts.] ➤ 31 Fired Works 10th Anniversary Show & Sale

Echoes Centuries of Georgia Folk Pottery 2015 marks the 10th Anniversary of Fired Works, the Macon Arts Alliance’s annual festival promoting the rich history of claywork in Georgia and the Southeast. Take a sneak peek into this year’s special 10-day event, thanks to the Macon Arts Alliance (who arranged CT’s advance tour of the venue and nearby folk potteries).

Detail, completed Gulf Breeze Arch installation.

➤ 40 Leanna Carlson’s “Angel Clay” Born and raised in a part of Canada with a solid tradition of pottery making, Leanna Carlson has staked her claim to a local vein of clay she now digs, throws, and wood-fires on a regular basis.

exhibit ➤ 14 Strictly Functional Pottery National No matter how you slice it, a hunk of clay yields so many possibilities when placed in the hands of different people! Check out the inspiring variety of functional works selected by juror Christa Assad for SFPN’s recent annual showing of utilitarian clayworks. Mug by Dawn Dishaw, featured in the 22nd Annual SFPN Show.

contents

TIMES

Clay WINTER / SPRING 2015 • Volume 21 • Issue 99

Triple Blossom Vase by Debra Oliva, Okemos, MI. Cone 8 stoneware; 6" x 12" x 1".

departments

columns 18 AS FAR AS I KNOW

9 EDITOR’S DESK “Pardon the Interruption ...”

“What’s So Special About Pottery?” by Pete Pinnell

11 WHAT’S HOT Clay world news, events, and calls for entries

28 GREAT GLAZES Recipes from the fine new book, GLAZE: The Ultimate Ceramic Artist’s Guide to Glaze and Color

21 BENEATH THE SURFACE Trophy Server by Chris Pickett of Helena, MT. Cone 6 white stoneware; 8" x 14" x 8".

29 STUDIO HEALTH AND SAFETY

34 THE GALLERY

“All About Wax” by Monona Rossol

A selection of unique works by CT readers

37 TOOL TIMES

42 CLASSIFIED MARKETPLACE

“The Most Popular Tools” by Vince Pitelka

Goods and services offered especially by and for clay artists

43 BOOKS & VIDEOS “Pottery Making 101” three reviews by Steve Branfman

46 THE SLURRY BUCKET Reduce, Reuse, Save $

45 KILNS & FIRING

47 POTTERY CLASSES Where you can learn clay- Large Wire-Cut Bowl by Ben Culbertson of Shippensburg, work in your community PA. Cone 10 porcelain; 14" x 15½" x 15½".

50 ADVERTISER INDEX Welcome to the new advertisers in this issue! (As always, please let them know you found them in Clay Times!) 6

“Dealing with Procrastination” Part 2 by Lana Wilson

All works pictured on this page were featured in the 22nd Strictly Functional Pottery National (SFPN). Turn to page 14 to view more images from the show and find out how to enter your work to be considered for this year’s exhibition.

“Relocating Your Gas Kiln” by Marc Ward

49 AROUND THE FIREBOX “No Regrets” by David Hendley

Earline Green’s clay spirit quilts on display in the Dunbar Lancaster-Kiest Branch Library in Dallas, Texas.

A Texas potter makes 1,300 pound quilts with her Paragon Dragon As a child, Earline Green made hand-stitched quilts with her grandmother Mama Freddie. Earline spent more time quilting with the older ladies than she did playing with children her own age. Her early experiences with the lively quilters taught her a life-long love of artwork. Earline’s other grandmother, Mama Ginger, taught her advanced quilting patterns. Later this influenced the design of Earline’s stoneware quilt tile mosaics displayed in the entrance of the Paul Laurence Dunbar Lancaster-Kiest Library in Dallas, Texas. For that project, Earline fired 284 white stoneware tiles—all in her faithful Paragon Dragon. “The Dragon's design and controls are perfect for firing large flat pieces,” said Earline. “The digital programming controls provide a consistent firing environment that eliminated cracks and warpage in this project. “During tile production, I fired my Dragon two or three times a week for four to six weeks at a time. I expected and received excellent results with each firing.” Contact us today for more information on the exciting Dragon kiln. Ask about the easy-open switch box hinged at the bottom. Call us for the name of your local Paragon distributor.

Earline Green with her Paragon Dragon front-loading kiln. This kiln is becoming a favorite with potters. It is easy to load, heavily insulated, and designed to reach cone 10 with power to spare.

Join the Clayart pottery forum here: lists.clayartworld.com

Constantly looking for better ways to make kilns

2011 South Town East Blvd. Mesquite, Texas 75149-1122 800-876-4328 / 972-288-7557 www.paragonweb.com info@paragonweb.com

I remember when my siblings and I would argue over who got to use the dial-up telephone — you know, the one device that used to served the entire family. (At one point we had just the economy ‘party line’ service, meaning we had to share our phone time with other entire families, too.) It seems like just yesterday there was no fax, no online, no home computer. Sure, there were computers ... but they were gigantic, room-sized monsters found only in the most hi-tech of buildings.

Now we’re all being invaded by the endless streams of texts, popups, chimes, ringtones, e-mails, snapchats, tweets, instagrams, junk mail, etc. ... It’s so incredibly

I check for new e-mail but am saddened to find a dozen new messages that don’t belong there [I don’t take Viagra!] When will it stop? I try spam filtering and then, after hours have passed, I realize I’ve made no progress on my main job: producing this magazine. Sure, some things have become easier for magazine publishers. We don’t have to scan photos or color correct the images that go with the stories, which actually used to take several days for each issue. We are glad we don’t have to typeset the stories anymore. “Paste-up” is an outdated term, yet I remember quite vividly doing what the apps now refer to as “cutting and pasting” in a much more literal fashion: with slick sheets of typeset paper pulled from a roll, scissors, a large board, and roller filled with hot wax. Speaking of wax, that reminds me: Monona tells us “All About Wax” this issue [and no, I do not want my eyebrows waxed. Do they really look that bad, or is the nail technician just trying to make an extra buck?] Focus. Breathe. Unplug. Throw a pot! Yes, Clay Times is online, too — but the choice is yours: You can read it in print, underneath a tree [or in a box, with a fox] or view it on your tablet or iPhone. Clay Times works everywhere, no matter what the distractions. BTW — please check out our NEW IMPROVED Website at claytimes.com ... then click on the link to tell us what u think! Thx ;)

— Polly Beach, Editor

[

Clay magazine Editor & Publisher: Polly Beach

Regular Columnists: Steve Branfman, Books & Videos David Hendley, Around the Firebox Pete Pinnell, As Far as I Know Vince Pitelka, Tool Times Monona Rossol, Health & Safety Kelly Savino, Around the Firebox Marc Ward, Kilns & Firing Lana Wilson, Beneath the Surface Proofreader: Jon Singer Contributing Writers: Peter King • Paul Leathers ✦ Printed on 100% FSC-certified and 75% post-consumer recycled paper ✦ Published by: CLAY TIMES, LLC P.O. Box 17139 • Amelia Island, FL 32035

Toll-free subscription line: 800.356.2529 Clay Times® (ISSN 1087-7614) is published quarterly, four issues per year. Periodicals Postage Paid at Burlington, VT. Annual subscriptions are available for $33 in the U.S.; $40 in Canada; $60 elsewhere (must be payable in US$). Digital subscriptions are just $20 worldwide. To subscribe, call toll-free 1-800.356.2529, or visit www.claytimes.com. Freelance editorial and photographic submissions are welcome: Please contact Clay Times or visit our Website for writer’s and photographer’s guidelines. POSTMASTER: Address service requested. Send address changes to: Clay Times, PO Box 17139, Fernandina Beach, FL 32035. Copyright ©2015 Clay Times, LLC. All rights reserved. The material contained herein is derived from various sources and does not necessarily reflect the views of the publisher. All technical material is offered as general information only and should not be acted upon without expert supervision. No part of this publication may be reproduced or transmitted by any means without the written permission of the publisher.

Questions? Comments? Please e-mail us! Editorial: claytimes@gmail.com Advertising: clayaccounts@gmail.com Circulation: ctcirculation@gmail.com Website: www.claytimes.com

CLAYTIMES·COM n WINTER / SPRING 2015

If you were a kid away from home and you needed to reach mom or dad, you used someone else’s land line. If you were at home doing your homework, and your friends tried to call, your parents would simply tell them you were unavailable.

It happens all day, every day, at any time of the day or night. There’s no getting away from that cell phone or laptop or tablet. Help! I don’t have time for this stuff!

Spouting Off I Editor’s Desk

Hold on, all you techno-geeks — I’m trying to work, here! Please stay out of my computer; leave the rest of my equipment alone, too! Can’t we have just a bit more time before we are all forced to upgrade, or download, or do whatever it is we need to do to be more efficient and compatible with the rest of the world?

distracting, I wonder how anyone gets anything done anymore?

echnology is advancing so rapidly these days, I can barely think straight. Whenever I learn a new computer program or download the latest app to my iPhone, I know it’s just a matter of time before a newer, faster, more efficient product will edge its way into the mainstream. Again, I will be prompted to stop whatever I’m doing, to recall a forgotten password, to download a new program, which commands me to quit all my open programs or apps.

TIMES

Pardon the Interruption...

CERAMIC ART TRENDS, TOOLS & TECHNIQUES

The besT in conTemporary american funcTional ceramics

2015 CALL FOR ARTISTS SANdrA TOrrES OJAi, CA

✷

2014 BEST OF SHOW

2015 JUROR

Matt LOng

ONLINE APPLICATION

Applications must be submitted online by June 1, 2015 or by midnight June 10 with a late fee. For more information and the 2015 SFPN application:

www.strictlyfunctionalpotterynational.net Call for further information: 717-509-7547 Exhibit is held at Kevin Lehman’s Pottery at 560 S. Prince Street in downtown Lancaster, PA.

2015 EXHIBIt DatES

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CLAYTIMES·COM n WINTER / SPRING 2015 CLAYTIMES·COM n WINTER / SPRING 2015

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• ceramic art world news • events • • calls for entries •

Conferences

‰ The 30th Alabama Clay Conference, sponsored by the Alabama Craft Council, takes place Feb. 26-28 in Birmingham, AL. Featured guest presenters will include Nick Joerling, Patti Warashina, and Peter Rose. For full details, log onto www.alclay conference.org or call 205.999.1698.

‰ The 2nd Bunting Ceramics Symposium also takes place Feb. 26-28, in conjunction with the above conference, at the Birmingham Museum of Art. This year’s event, “Clay @ Play,” will focus specifically on irony, humor, and whimsy in the ceramic arts. Featured speakers are Kathy Butterly and Glen Brown, along with several others. Free admission. For complete details, visit http://www. artsbma.org/event/the-secondbunting-ceramics-symposium/

‰ The 10th Annual Fired Works Regional Ceramics Exhibition and Sale takes place April 11-19 in Macon, GA. Sponsored by the Macon Arts Alliance, the weeklong event will be headquartered in Macon’s Central City Park, about 90 miles south of Atlanta. Fired Works will feature more than 6,000 pieces of pottery by 65 ceramic artists from Georgia and the Southeast. Interactive opportunities will include clay workshops for children & teens, “Cocktails and Clay” for adults, “Pottery Roadshow” appraisals,

artist talks, demonstrations, and more. Visit www.firedworks macon.com for complete details (and see the preview article on pages 31-33 of this CT issue). ‰ The 27th Annual California Conference for the Advancement for Ceramic Art (CCACA) takes place May 1-3 in Davis, California. The event will feature demonstrations, lectures, and 45 major shows of sculptural ceramic work including the annual 30 Ceramic Sculptors show and the California Clay Competition. For complete details of the event, sponsored by the John Natsoulas Center for the Arts, log onto www. natsoulas.com/ccaca-2015, or call 530.756.3938. ‰ The CLAY Festival 2015 takes place July 29-Aug. 2 in Silver City, New Mexico. Hands-on workshops, a juried exhibition, the CLAYfest Market, tours, and demonstrations are among the various scheduled activities. For complete details, log onto www. CLAYfestival.com

Calls for Entries ‰ Baltimore Clayworks is accepting online submissions through Feb. 13 for Putting the Pieces Together: An Exhibition to Address What is Broken, a show continued on next page

CLAYTIMES·COM n WINTER / SPRING 2015

‰ The Randolph Arts Guild will hold its 28th Annual North Carolina Potters Conference Mar. 6-8 in Asheboro, NC. Featured guest presenter is Sandy Simon; guest artists include Hasu Yoshitaka, Fuku Fukumoto, and Peter Hamann. For complete details and online registration, visit http:// www.randolphartsguild.com/ events/potters-conference-2015/ or call 336.629.0399.

‰ Lively Experiments, the 49th Annual Conference of the National Council on Education for the Ceramic Arts, (NCECA) takes place March 25-28 at the Rhode Island Convention Center in Providence, RI. Concurrent clay exhibitions, a resource hall of commercial vendors and educational institutions, plus expert discussions and demonstrations by accomplished clay artists highlight the agenda for this annual blockbuster convention of clay people. This year’s keynote speaker is Dr. Frederick Douglass Opie; closing lecturer is Jack Troy; and demonstrating artists are Linda Christianson, Gustavo Pérez, Kristen Morgin, and Matt Wedel. Visit www. nceca.net for advance program details and registration information.

Hot Stuff I News & Events

✷

What’s Hot

Hot Stuff I News & Events

What’s Hot (continued from previous page) of mosaic works, to take place May 16 through July 4. Entry fee is $30 for up to five digital images. Sarah McCann will curate. To apply, visit www.baltimoreclayworks.org/ exhibition and click on the “future exhibitions” link.

The Fulwood

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CLAYTIMES·COM n WINTER / SPRING 2015

Kissimmee River Pottery

Stangl Factory 12 Mine Street Flemington, NJ 08822 908.237.0671 riverpots @ earthlink.net www.riverpots.com

‰ MUG Shots VII: The National Juried Cup Exhibition 2015 is accepting entries through Feb. 17 of functional and nonfunctional ceramic cups completed within the past two years. $30 entry fee for first work; $5 for additional applications. Juror is Brian Harper. To apply, visit luxcenter.org or juriedartservices.com, or call 402.466.8692 for additional information. ‰ The Art League of Lincoln, in partnership with Blue Line Arts, will be holding their annual America’s ClayFest III Art Show and Competition at Blue Line Arts Gallery in Roseville, CA. Formerly known as the Feats of Clay show held at Gladding McBean Clay Manufacturing Co. in Lincoln, the show carries forward a rich history of more than 25 years. Entries for two concurrent exhibitions are being accepted through Feb. 27. Casey O’Connor will jury the “Student Division” show, to be hosted by the Art League of Lincoln at their Art Center Gallery. Entry fee: $25 for up to three works. Tip Toland and Peter Held will jury the “Open Division” show, to be held at Blue Line Arts Gallery in Roseville, CA. Fee: $40 for up to three entries. Complete submission details for both shows, to take

place Apr. 17-May 30, are posted at www.americasclayfest.org. To learn more, call Mike Daley at 916.209.3499, or e-mail: mdaley@americasclayfest.org ‰ The Guilford, Connecticut Art Center is accepting 3D submissions from U.S. artists through March 16 for Teapots, Vessels, Flagons & Flasks, to take place May 15-June 14. Hayne Bayless will jury the show, which will focus on pourable containers. Entry fee is $25 for three digital images submitted via e-mail to gallery@guilfordartcenter.org. For complete details, visit www. guilfordartcenter.org, or telephone 203.453.5947. ‰ The Workhouse Arts Center of Lorton, Virginia is accepting submissions through May 6 for its 2015 Clay National, to take place Aug. 1-Sept. 13. Juror: Anne Currier. Entry fee: $30 for three digital images of work made primarily with clay by U.S. artists. For more information, call 703.584.2982 or log onto www. workhouseceramics.org and click on the “Clay National 2015” link. ‰ The Kansas City Clay Guild Tea Bowl National 2015 is accepting U.S. artist entries through May 8 for its juried exhibition of teabowls, both traditional and non-traditional. Entry fee: $30 for up to three 9" or smaller works reflecting the theme of the show (tea bowls, not just bowls) and completed within the past two years. Each piece will be for sale at $200 or less at the show, to open August 28 in Kansas City, Missouri. Further details can

‰ Artists living within a 150mile radius of Las Cruces, New Mexico are eligible to apply by Feb. 27 for participation in Here and Now Regional Exhibition, to be held at the Las Cruces Museum of Art. Joy Miller will curate the show via review up to six digital images from each artist. Entry is free! For more information, log onto http://www.las-cruces.org/ departments/community-andc u l t u ra l - s e r v i c e s / m u s e u m system/museum-of-art/ submissions or call 575.541.2221. ‰ The Arvada Ceramic Arts Guild is accepting submissions through May 22 for Out of Round, its ceramic

exhibition that will open June 26 in Arvada, Colorado. Entry fee: $30 for three digital images. Jurors are Marie Gibbons and Bob Smith. To learn more, call 303.423.0448, visit www.arvadaceramicarts org, or e-mail info@arvada ceramicarts.org. ‰ The Silver City, New Mexico CLAY Festival is accepting ceramic entries through June 17 for its CLAY in the Garden exhibition, to take place concurrently with its July 30Aug. 2 festival. Sheila Menzies will jury the show, to feature garden-themed ceramic works made on or after Jan. 1, 2014. Entry fee: $40 for three images. For more information, visit www.clayfestival.com.

‰ The Academy of Fine Arts in Lynchburg, Virginia is now accepting entries through July 15 for The National Juried Bowl Show: The Battle of the Bowls, to take place Oct. 2-27. Ellen Shankin will jury this year’s event, open to all interpretations of the ceramic bowl. For more information, call 434.846.8499 or log onto www.the battleofthebowls.com. To register, click the “application” link. [

Hot Stuff I News & Events

be found at www.teabowl national.weebly.com.

To list your events, clay conferences, calls for entries, exhibitions, or ceramic news items in Clay Times®, please e-mail complete details to: claytimes@gmail.com, or click the submission link at www.clay times.com/contribute.html to fill out an online entry form.

CLAYTIMES·COM n WINTER / SPRING 2015

22nd Annual

Strictly Functional Pottery National

Cruets and Vase Set by Shana Salaff, Ft. Collins, CO. Porcelain; cone 6 oxidation. 6" x 20" x 4".

F CLAYTIMES·COM n WINTER/SPRING 2015

rom more than 1,200 entries of ceramic works made by hundreds of U.S. potters, juror Christa Assad selected 116 pieces to represent the best in contemporary American functional ceramics for the 2014 Strictly Functional Pottery National (SFPN).

The event opened with a gala reception hosted by Kevin Lehman’s Pottery in Lancaster, Pennsylvania to allow paying guests the first opportunity to view the exhibition and purchase works featured in the show. Music, food, and a gallery “walk and talk” were included in the admission price of $15. The exhibition alone, which was free to the public, ran from Sept. 20 through November 1, 2014.

Now approaching its 23rd year, the Strictly Functional Pottery National originated at, and is presented by, the Market House Craft Center, affiliated with the Pennsylvania Guild of Craftsmen. It is a nonprofit, educational, volunteer organization dedicated to quality crafts and craftsmanship. SFPN is co-chaired by Amy Burk and Kevin Lehman of Lancaster, PA.

in Lancaster, PA, from Sept. 26Oct. 31, 2015.

Plans for the 23rd annual show are now underway. Entries are being accepted until midnight on June 1. Entries received between June 2-10 will be also be considered, but will be assessed a late fee. Porcelain artist Matt Long will serve as the juror for this year’s show, scheduled to take place again

Questions? E-mail Kevin Lehman at Kevin@klpottery.com, or call him at 717.509.7547. [

For complete details on the application process for the 2015 exhibition, please visit www.strictly functionalpottery.net. There you may also view photos of all works from the complete 2014 exhibition, as well as featured works from recent years’ shows.

Turn to pages 16-17 to view more images from the 2014 SFPN Exhibition...

Wood-fired Serving Platter by Jeremy Wallace, Baltimore, MD. 3" x 15" x 15".

Sake Set with Tray by Yoshi Fuji, Baltimore, MD. 6" x 9" x 5".

CLAYTIMESÂ·COM n WINTER/SPRING 2015

Post-industrial Urn by Mark Rigsby. 12" x 7" x 7".

Vase with Jelly by Colleen Gallagher, Shelton, WA. 12" x 6" x 4".

22nd Strictly Functional Pottery National (continued from pages 14-15)

Shino Lidded Vessel by Gregory Jahn & Nancy Halter. 7½" x 7" x 7".

CLAYTIMES·COM n WINTER / SPRING 2015

Cookie Jar by Bill Wilkey, Columbia, MO. 16" x 7" x 6".

1616

Serving Bowl by Veronica Watkins, Maryville, MO. 5" x 14" x 12".

Vase by Zachary Shaw, Somerville, MA. 8" x 3" x 3".

Sunflower by Lee Middleman, Portola Valley, CA. 6" x 10" x 10".

Square Tea Bowl by Jonathan Glabus, Lombard, IL. 3" x 3" x 4".

CLAYTIMES·COM n WINTER / SPRING 2015

Mug by Shawn O’Connor, Minot, ME. 4" x 4" x 3".

Cups and Caddy by Sarah German, Austin, TX. 8" x 7" x 7".

Perspectives I As Far As I Know

What’s So Special About Pottery? BY PETE PINNELL

very art form has its own distinct, salient characteristics. From photography to dance, teachers and practitioners alike need to understand what these characteristics are to better understand their field, evaluate quality, and to know when “new” work is truly new. If you look back at the critical writing in ceramics that appeared just a few decades ago (1970s and ’80s), you might think that pottery was a junior form of sculpture, sharing the same goals and characteristics, but in a sort of light, watered-down way. It’s only with time that our field has gradually begun to understand other things about pottery that are important and, to some degree, unique.

CLAYTIMES·COM n WINTER / SPRING 2015

Ceramics is just one of seven studio art disciplines that we teach at my university, so most students will only take one ceramics course while earning an art degree. For this reason I think it’s important in that class for me to teach about things that are important to pottery. Otherwise, one could easily assume that the only thing that’s unique to ceramics is that we use clay. Here are a few points that merit discussion.

Like other visual artists, potters enjoy working with composition and content. Potters are very concerned with the formal, visual, compositional aspects of our art. We actively engage with form, texture, color, pattern, balance, and all of the other compositional elements and principles of art.

Likewise we are now thinking about content: what pottery can mean, suggest, or imply. The work of potters like Richard Notkin and Grayson Perry has certainly raised everyone’s awareness of the ability of pottery to carry overt meaning. At the same time, many of us are also interested in the implicit, embedded content that pottery can carry, especially when you think about pottery as having both an artistic and a social aspect.

Pottery is visual and intellectual, but can also be tactile. Content and Composition are important aspects of our work, but we probably approach them in a slightly different manner than other visual artists do. For one thing, pottery is inherently tactile: we assume that the viewer will touch the object. Certainly our eye can see things that our skin cannot (I don’t know what the color purple feels like), but touch can reveal information that is invisible to the eye. Ultra-fine sandpaper has a velvety look, but not a velvety feel. Besides that, touch communicates at a much more basic level than vision: this is why we describe the things that impact us the most as having touched us. The ability of the viewer to touch the artwork allows the potter to explore this form of communication in a way that purely visual artists cannot.

We don’t just look at pottery, we experience it.

Pottery is experiential. Much of the time we assume that the viewer will interact with the object and will incorporate it into one of life’s events or processes. This both allows and encourages the viewer to spend more time with the object and to give it different consideration. It also means that the viewer may sometimes interact with the object while not consciously paying attention to it. This is actually a good thing, as a lot of the quieter, subtler messages (in both art and life) are only audible during quiet moments. Spending a lot of time with an object makes that possible. According to one study, the average museum attendee spends less than 30 seconds in front of each work of art. One of the great things about pottery is that the viewer might potentially spend hours with the object in a single day.

With pottery, the viewer can collaborate with the artist. Of course, interaction can occur on many levels with pottery. It may simply mean using a pot in an ordinary way, such as drinking coffee from a cup. This act doesn’t require much esthetic decisionmaking from the user. On the other hand, pottery forms with which the viewer can serve, display, or present are an inherent invitation for artistic collaboration between the potter and the viewer. A vase, for instance, can be a complete artistic statement that stands on its own, or it can encourage the viewer take to part in a collaborative artistic venture. Pottery is one of the few art forms today

Utility can be both practical and aesthetic. Throughout much of the 20th century, the self-described fine arts world consciously kept its distance from the events and process of life. To take part in a life event was to risk becoming craft (that most lowly and despised class of objects). Art wanted to talk about life (often politics and other social issues), but not to actually take part in it. Throughout this time, utility (the ability of objects to play an active role in life) was seen as simply a limitation: an impediment to creativity. Ceramic artists who chose to make non-functional objects were lauded as transcending function. The implication was that utility was like a bad habit that one had to learn to overcome before one could make real art.

Pottery is at home everywhere, but especially at home.

Scale is relative, with pottery and everything else. Artwork is generally viewed at different distances, and complex artwork may require the viewer to view it at a variety of distances in order to completely understand and appreciate the object. Generally speaking, artwork can be viewed at five distances: intimate (arm’s length), personal (within a few feet), social (within about 12 feet), public interior (large rooms) and public exterior (outdoors). Largescale artwork was all the rage in the second half of the 20th century and much of contemporary artwork is still intended (by the artist) to be viewed in larger spaces and at a greater distance. By contrast, we are comfortable bringing pottery into our personal and intimate spaces. One distance isn’t better than another; each offers opportunities for an artist. It’s good to be mindful of this and consider how we can turn scale to our advantage. Otherwise potters can fall into the trap of thinking that bigger is

better, and that their work needs to be large, imposing, and impressive in order to have impact. Scale is relative, of course: a jumbo shrimp can fit comfortably in the palm of your hand and a massive diamond is still almost invisible. A large pot is usually only large in the context of other pots and the domestic setting: a big pot may be smaller than a tiny human. When thinking about scale, it’s useful to consider what ideas or qualities you want to communicate and how you can best accomplish that.

With pottery, then is also now. Human beings evolved into their modern form while making pots, and pots evolved along with us. Pottery has always played a role in human existence because the storage, preparation, and serving of food and drink are so central to life — not just for human survival, but for the full enjoyment of life, especially the social life of people. It’s not surprising, then, that pottery has been an artistic focus for most cultures and has always enjoyed the creative attentions of countless people. Combine this with the essentially permanent nature of ceramic materials and you can see why potters have such a rich and fascinating history to draw from. Pottery connects us to the basic humanity of other people, past and present. Not surprisingly, potters today are comfortable drawing from and learning from the past, both as a source of visual inspiration as well as for the insights into basic human nature that we can draw by viewing the practices of other cultures.

Potters love process and materiality. I probably don’t have to mention that most potters develop a lifelong

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What this viewpoint failed to note is that utility provides a potentially powerful vehicle for both expression and communication. That’s why the Japanese tea ceremony isn’t simply a slow and inefficient way to get a hot drink. The general term “utility” encompasses an astoundingly wide range of actions and activities, so to even lump all of these into one category seems like a stretch. It’s good to remember that even activities as mundane as the making and serving of tea can be the basis for a beautiful and sophisticated art form.

Because of this connection to life, pottery is inherently domestic. Yes, pottery has always found its way into museums, palaces, board rooms, and gardens, often in the form of heroically-sized versions of ordinary pots (there will probably always be a market for giant vases as long as there are grand hotel lobbies). Still, most pottery has both a scale and a utilitarian reference that places it comfortably in a domestic setting. This is true of pottery intended for contemporary homes as much as the historic pottery that was intended for the homes of emperors and kings. As such, pottery is usually intended to communicate with the viewer in a closer, more intimate setting than most other contemporary art.

Perspectives I As Far As I Know

that is openly welcoming of such collaboration between the artist and the viewer. The best potters are mindful of this and thoughtfully approach their decision-making with this collaboration in mind.

Perspectives I As Far As I Know

What’s So Special About Pottery? (continued from previous page)

fascination with clay and with the processes that we use to form it. The materiality of fired ceramic is also of great interest to most potters. Together, these twin fascinations play an important role in what we make, and the qualities that we enjoy seeing in fired work. While a strong interest in the richness of process and materials is undergoing a resurgence in a number of disciplines (especially painting and photography), it has always played a part in the life of pottery. It’s ok for potters to love clay and want to explore the potential of the material. However, we should also be willing to step back at times to discuss what we’re achieving with our explorations, and not be blinded by the sheer beauty of the materials we can create.

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This list could go on for a lot longer, and each of the items I’ve mentioned deserves to be discussed in much more detail. My goal here is simply to provide a brief and incomplete list of things that potters should be aware of when thinking about (and evaluating) their pots. Besides that, I would be failing as a teacher of ceramics if a student could leave my beginning course believing that the most important thing they learned is that you can make things by coiling, pinching, and building with slabs. Sometimes we get so tied into the practical aspects of our field, we forget to mention the really important things ... and we won’t know what the important things are unless we periodically step back and think about it.

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Footnote:

1. “Spending Time on Art” by Jeffrey K. Smith and Lisa F. Smith, Empirical Studies of the Arts, Volume 19, Number 2 / 2001. Pages 229-236

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Peter Pinnell is Hixson-Lied Professor of Art at the University of Nebraska at Lincoln. E-mail him at ppinnell1@unl.edu or contact him via his Facebook page at www.facebook.com.

PART 2 OF 2

I interviewed clay people about their procrastination issues for these two columns, then proceeded to procrastinate heavily before completing the first column (!) This second column includes three more interviews, summarizes some interesting Website info on procrastination, and offers links to some of the most helpful Websites, featuring Jerry Seinfeld’s system to avoid procrastination ... Bill Griffith, Assistant Director of Programs at Arrowmont, Tennessee “I can say I am never going to procrastinate again, and then I do. In my early years at Arrowmont I procrastinated because of a lack of confidence. Now in later years I finally really know the mechanics of things, so I can slide a little and make it all work. I used to procrastinate from fear and now I procrastinate some from confidence that I know what needs to be done. Early on it was daunting to plan a conference but now I don’t worry as much. I do put off doing my taxes because it is boring.

Alex Irvine, Sculptor and Tile Muralist “I have made strides in not procrastinating since art school. It was just ridiculous in art school. I put so much off and I have gotten a lot better. I do still procrastinate working on my Website. Things I like to do like pressing tiles and making molds I can do endlessly and not procrastinate. But the thing I put off most of all are bills and taxes. I generally do things at the last minute. I have been really good and bad about that. I am especially organized and get all my ducks in a row when I am excited about something. One thing I avoided too much was testing glazes for acid rain resistance

One thing I have learned is I can’t procrastinate on applying for new public art projects because I need to have the next project lined up when the one I am working on ends. I have learned that the hard way.” Anthony Schaller, Owner Schallergallery.com “I don’t go nuts anymore when artists are late. I figure it is part of the beast. I have dropped artists who drove me so nuts with not sending work so I had to stop working with them. What drives me to procrastinate is bookwork and taxes. I plan shows in spurts and get things ready. I think I procrastinate on communications with the artists. Then some things just sort

“What drives me to procrastinate is bookwork and taxes.” — Anthony Schaller

for an outdoor mural in Asheville that I did with Kathi Triplett. I was about to glaze and install and I still hadn’t tested for acid rain. Someone said to definitely test the glaze I was planning to use. The glaze substantially changed overnight from the acid in the lemon slice placed on top of the fired glaze.

[ & the rest of us! ]

of happen. There was the artist who forgot a show. I had the postcards made and he was one of the people in the show and he totally forgot so that ended our relationship. It is frustrating when you ask an artist for a bio or a résumé and you never get it. continued on next page

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I think the reason I procrastinate in my artistic life is because I can’t procrastinate in my administrative job at Arrowmont. I simply have to get all the teachers hired. Sometimes I put off having a social life because in some ways I am creating the whole programming for the school and it feels like a lot of pressure.”

BY LANA WILSON

Perspectives I Beneath the Surface

Dealing with Procrastination

Perspectives I Beneath the Surface

Procrastination, cont. Now I am solving some of my procrastination issues by hiring the right people. If they are good employees I have to get things done so they can do their part to help me out. So I hire people who excel in abilities that I don’t have. We all sort of know what we aren’t good at ... if you are an introvert, then hire an extrovert who can handle sales and talking. The tasks now are getting physical space to look better and retooling the Website and stationery in font and colors. I am not good at doing all of that so I am going to talk to my Website company and they will review it and come back to me with solutions. What happens to me with procrastination is that I am so interested in what is next with my gallery that I procrastinate at collecting on old bills.

Procrastination is not my worst disease. There are galleries that have closed because owners were procrastinators or poor business people, or because it is a hard business to be a clay gallery. I don’t waver and I chose a path and I have stayed on it. I stick with artists I like. Here is where I really procrastinate: my own life. I have talked about it with older successful people, and they all say they wished they had lived more and had more fun.” Now here is the Website where you can learn about Jerry Seinfeld’s technique to solve procrastination: http://lifehacker.com/281626/jerryseinfelds-productivity-secret It’s fun and worth reading. If you want more details, see http://lifehacker.com/5886128/howseinfelds-productivity-secret-fixed-myprocrastination-problem

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Olympic FL12E Inside dimensions 24” x 24” x 36”, 12 cu. ft., fires to 2350°F – Cone 10, 12 key controller with cone fire & ramp hold programming, 240-208 volt, single phase. $5710

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Following is a summary of solutions I’ve compiled from many different Websites, with my own comments (in parentheses). Much of this information is derived from: fluentbrain.com/blog/13-effectivesolutions-to-procrastination/

✔ 1. Start with the “Small Edible Chunks” theory. Strong and repeated advice says to not look at the huge job and tackle it; instead, break it down into edible, doable, small steps. If you do one small step, it helps you to do another. Tim Pychyl of Carleton University in Ottawa, Canada, who wrote The Procrastinator’s Digest, says,

For less than $6,000, you could be firing a 12 cubic foot, cone 10 gas or electric kiln.

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Phone 800.241.4400 or 770.967.4009 Fax 770.967.1196

Do be realistic about how much you can get done in a defined amount of time. Don’t undermine yourself by expecting to get a huge amount done in a short time. Perfectionism, or no breaks, or no rewards, or extreme expectations, undermine your progress. Instead, reward your progress with short, fun, positive, or constructive “little celebration” rewards.

✔ 2. Review why you are doing the task. Why did you choose to do this? Does it help your personal or professional life? Coach yourself into being inspired to get on with it.

✔ 3. Do the most difficult job when your willpower and energy are high. (One artist I interviewed works best at night. I work best in the morning.)

✔ 4. Make a daily plan. (It helps me to have one to three of the day’s most important tasks uppermost in my mind. That prevents the wandering

✔ 5. Learn from other people’s successful strategies. The Website: http://www.lifehack. org/articles/productivity/overcomeprocrastination-once-and-for-all.html offers many suggestions.

sort of cringed and wondered if this was the beginning of an arrogant man talking, but he followed up with, “I have had a lot more failure than you!”) • Don’t work to a frazzled or exhausted version of yourself. Rest or take breaks when needed. • If you seem terribly stuck, get help. Have someone look at your pots, or even send images of your work to a clay friend and discuss your work with him/her on the phone or via e-mail. Maybe plan to take a one-

“Perfectionism, or no breaks, or no rewards, or extreme expectations, undermine your progress ...” Here are a few of my favorites: • The bigger motivation picture involves looking at your whole life. What do you want out of life? Take about half an hour to write down all your goals in the following areas: career, education, relationships, money, health, spiritual, and leisure. Next, choose only ten of the areas you have selected. Now squish it down to five and try to get down to three. • This next step seems harsh, but stick with me here: Delete from your to-do list anything that doesn’t relate to your top three to five goals. • Remember, failure is really just a learning experience. (I recall my favorite story about a famous fiber artist. He was speaking to a packed audience. At the opening of the presentation, he leaned into the microphone and asked, “Do you know the difference between you and me?” The audience

or two-week course at a great art camp for adults! Lo and behold—a Website for artists worth checking out: http://skinnyartist.com/5-strategiesartists-can-use-to-overcomeprocrastination/ Now for the “game” part of this column: First, choose the procrastination solutions that would make the most sense for each person’s interview. Next, choose the solutions that would help you the most. Select just one or two for starters. [ In the spirit of full disclosure, Lana serves on the board of Penland School and shows her work at Schaller Gallery. Lana Wilson may be reached at lana@lanawilson.com. Her Website for workshop info. and images is www. lanawilson.com.

CLAYTIMES·COM n WINTER / SPRING 2015

Figure out when you work best, and do the hard tasks at your peak time. Help yourself out here by getting enough sleep (I improved dramatically one time by going to bed extra early. I was much better at tackling the writing the next day.) Eat healthy food, exercise, and take breaks.

procrastination of doing one more tertiary job, or reading another e-mail. In a typical day, I would hope to start with the most difficult thing, and by the afternoon, do the easier things.)

Perspectives I Beneath the Surface

“Progress fuels motivation, so it’s priming the pump.”

Building the Gulf Breeze Arch Conclusion of a two-part step-by-step series on Architectural Ceramics BY PETER KING

Draw Tool

Box Building

To frame and refine the opening of the arch, we used our draw tool technique. I borrowed this from the plaster forming methods of the now almost extinct craft of formed-inplace plaster molding. I later found that a profiled draw tool was also used in industrial architectural ceramics long ago. To make a profile, we cut ¼" luan to the desired shape, and build up the area to be profiled with strips of slab. By making the built up areas only slightly thicker than the shape to be profiled, we can easily “draw” this down to the desired finished contours (Figs. 2021, opposite page).

To create larger rectangular or irregular relief areas (in this case, a nesting turtle, waves, shells, and a sailing ship), we stand up walls on the base slab following the previously drawn lines. These slabs are also 1" thick and are precut to the width necessary to achieve the desired relief. When calculating this relief, we deduct the thickness of the 1" slab to be used to cap these walls and create the finished surface. When spanning areas larger than 3 or 4 inches, we install interior walls to support the top slab. All of these walls are thoroughly sewn together. The seams are filled using coils or strips of slab. The entire built-up surface is then scraped and smoothed (Figs. 26-32).

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Tube Form

Handbuilding a piece of pottery by wrapping a slab around a cardboard tube is something we all learn as beginners. We have created a system refining this technique to create all kinds of relief, but we use it primarily for building columns both freestanding and attached to a base slab. For the Gulf Breeze Arch we used it to create a live oak and a sabal palm (the state tree of Florida). Instead of cardboard tubes we use scraps or PVC pipe. Unlike cardboard, they can be reused indefinitely. We have numerous diameters, and we use the size we need for any given project. To make attached column shapes, in this case tree trunks, we drape a cut-to-width slab over a section of PVC pipe, elevate this by resting it on two strips of wood (2x4s work fine; Figs. 22-23), drop and remove

Holes

Pictured above: front and back views of the completed Gulf Breeze Arch

this pipe (Fig. 24), and replace it with a pipe of slightly smaller diameter. We carry this now semi-circular slab to our base slab, position it (Fig. 25), and remove the pipe. We affix these clay tubes to the base slab by thoroughly sewing and filling the seam. We then decorate this tube relief accordingly. In this case, we added pieces of slab to create the oak and palm tree surfaces.

Such relief building creates hollow, enclosed spaces, so it’s important to make holes for the expanding steam to escape during the early heating phase of firing. This is when the clay is in its weakest state, and the heated steam is powerful. A needle tool hole will do, but we usually punch 1½" holes in the base slab using a scrap of sink drain pipe. These holes serve to create cement pegs when a piece is cemented to a wall (Fig. 33). Sprigging Press-Molded Relief For a number of years we only hand-worked the surfaces of our architectural projects, creating textures with lace, burlap, and pieces of clay stamps with scrapers. text continued on page 26

Fig. 20

Fig. 23

Fig. 21

Fig. 24

Fig. 22

Fig. 25

Fig. 28

Fig. 29

Fig. 26

Fig. 30

Fig. 27

Fig. 33

Fig. 31

Fig. 34

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Fig. 32

Building the Gulf Breeze Arch (continued from previous page)

Fig. 35

Fig. 36

Fig. 37

Fig. 38

Fig. 39

Fig. 40

Fig. 41

Fig. 42

Fig. 43

Fig. 44

Fig. 45

Fig. 46

of the “Naval” live oak. To make this border surface, we built walls as previously described and, instead of making a capping slab, pressed out tiles from the “Weedon Island” molds and sprigged them onto our base walls (Fig. 34, previous page). These were then sewn and filled. This continuously repeating design gives verticality to one side of the arch (Figs. 35-38).

is great for architectural ceramic relief. I first used drape molds in the early ’70s to produce one of my basic items, bathroom sinks, but have since used them in many different ways to create relief for architectural projects.

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Then, I resorted to the ancient technique of sprigging press-molded relief designs onto my basic architectural structure. In the years since, this has served me well for a great number of commissions with a wide array of ornamental styles.

We wanted the Gulf Breeze Arch to reference the area’s prehistory. We already had tile molds with PreColumbian pottery border designs we had made for a previous commission. (We keep copies of all of our original molds.) We employed one of these “Weedon Island” designs to create a border for one side of the arch and a piece of pottery buried in the roots

Drapes and Slumps To create the sun and moon along with some of the wave forms for the arch, we used both drape and slump molds. This tried-and-true technique

For the larger domes (sun and moon), we used my hemispheric plaster sink molds. I have slowly gathered a collection of hemispheric master molds with sizes from ½" to 36" in diameter. [Note: If you start looking for true hemispheres you will find them everywhere: from lamp shades to terrariums, they all make great masters. Yard sales and flea markets are great for finding exceptional mas-

Fig. 47

Fig. 48

Fig. 50

Fig. 51

ter molds.] Once the plaster mold is draped, smoothed, and trimmed level at the bottom edge, I let it firm up overnight and remove the nowstiffened clay from the mold. I then position it on the base slab and sew and fill all the seams (Figs. 39-43).

identical profile, our maps were lettered and numbered to prevent any confusion. These 4 to 6 mil plastic and permanent marker maps are useful throughout the rest of the process. With each section lettered and numbered on the back using a loop tool, it is easy to use the correspondingly numbered map to reassemble the work for glazing and installation. We took our arch maps to the park, spread them out on the ground, and reassembled the two sides right on top of the maps (Figs. 47-Fig. 51).

To make smaller domes, I often use one of my metal or plastic master molds, line it with plastic, jam clay into the mold using pieces of 1" slab, then use the plastic to pull it out immediately and position it on the base slab. This is a very fast way to create high relief. Because these domes are still soft, they can be collapsed in areas and added onto with soft clay in others to rapidly create hollow sculptural forms (Fig. 44). Because they are hollow, the base slab under the dome must also have holes. Sectioning the Arch

Although the installation of a largescale, high-relief work of handmade ceramics is never a simple chore, mapping a project does make it easier. These brief descriptions constitute the entirety of our techniques for the vast majority of scores of architectural projects we have built. With these basics mastered, you can create architectural ceramics in a small studio using your own personal aesthetic. I don’t have a recipe book, just a few simple ingredients. It’s up to you to cook up your own visual feast. [ To learn more about Peter King and his wife/ceramic partner Xinia Marín, visit peterkingceramics.com

CLAYTIMES·COM n WINTER / SPRING 2015

Because we created the largest arch possible in our small studio, and because the radiused table set-up was specific to this piece, we had to create the work one side at a time (Fig. 45).Once the first side had stiffened, it was sectioned, mapped, and numbered (Fig. 46). We removed it from the tables and began laying out side two. As the two sides are of

Fig. 49

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BY MONONA ROSSOL

ax is a material often used in ceramics as a glaze resist. It can be used to create glaze effects or to keep glaze from getting on the bottom of the piece where it is not wanted. But this material, which is so safe when it is cold, becomes hazardous when melted or burned out in a kiln. A new technical data sheet entitled “All About Wax” will soon be released by Arts, Crafts and Theater Safety. It is a good reference, and even better, it is free. The title of “All About Wax” is not an exaggeration. The document is 17 pages and covers numerous facts about many types of waxes such as paraffin, soy waxes, candle wax, and beeswax. The data sheet illustrates the chemical structures of various waxes, the many ways wax is used in art, and how to use it safely in the studio. Drawings of basic ventilation systems are also included.

Wax Fume Wax fume, or tiny, invisible, combustible wax particles, can collect above the melted surface of any wax. If the concentration of particles is sufficient, they can burst into flame or explode at the slightest exposure to heat, static electricity, or other ignition sources. When I was a pottery student at the University of Wisconsin in the 1960s, I witnessed this phenomenon. An electric fry pan was turned to a low temperature to melt paraffin for dipping the bottoms of pots as a glaze resist. One day, with no warning, an explosion and fire ball above the pan turned the glaze room into a shambles. Luckily, I was outside the glaze room looking in at the time. Wax fume also can irritate the upper respiratory tract and cause nausea. Gas and Vapor Wax Emissions

Heating and Burning Wax

However, unlike water molecules that simply disperse as a vapor (moisture) in the air, airborne wax molecules condense into tiny particles called “wax fume.”

As the temperature rises above the melting point, some of the wax molecules will begin to change. The heat will enable oxygen to more easily react with the wax and the vapor molecules will begin to break down into smaller chemicals. Some of these breakdown products will be gases. Some will be liquids in the vapor (molecular) form. They can be detected by the “hot wax smell” that becomes more and more noticeable as the temperature rises. One of the most common groups of these chemicals are the

Other gas and vapor emissions include straight and branched chain and benzene ring-containing solvents, alcohols, ketones, acids, and more. Hundreds of different chemicals can be expected. These are all toxic in various ways and to varying degrees. Emissions from Burning Once a wisp of smoke or a flame appears, the wax is now burning and the number of emissions increases. At this point, the amount of oxygen incorporated in the process also increases, while the size of the molecules produced decreases. The smallest molecules will be carbon dioxide, carbon monoxide, and water. Hundreds of other molecules and some carbon soot particles will be created. The total of individual chemicals may number in the thousands. None of these is good for you—some will be toxic, and some will cause cancer. In this respect, wax is no different from any other carbon-containing substance. All burning hydrocarbons release toxic and cancer-causing substances. Whether it is wax, oil, continued on next page

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The data sheet explains that when heated to complete melting, pure waxes are as clear as water. Just as water evaporates, so too, do small amounts of wax get airborne from melted wax. And like water, the hotter the wax, the faster it evaporates, and the more the wax gets airborne.

aldehydes. The simplest of these is formaldehyde. This chemical is an irritant and carcinogen, and causes allergies. But many other more complex aldehydes are also created. The ones in the EPA study cited above included acetaldehyde and acrolein, which also cause irritation and allergies. Some of these other aldehydes may also be able to cause cancer.

Studio I Health & Safety

ALL ABOUT WAX — What You’ll Need to Resist!

Studio I Health & Safety

All About Wax, cont. gasoline, coal, wood, or cigarettes, the issues are basically the same. For example, cigarette smoke is not toxic due to nicotine, which is a mild yet highly addictive drug. It is the emissions from the burning [tobacco] leaf that kill. While there are hundreds or thousands of toxic chemicals emitted by hot or burning wax, they have not been well studied except in wax candle emissions. Candle Studies Many candle sellers’ Websites state clearly that no studies have shown candles to be an indoor air quality hazard. Since this statement has been used by candle sellers for over 10 years, I looked for a source they must be using to support this. I found that it is likely to be from an EPA Report called “Candles and Incense as Potential Sources of Indoor Air Pollution: Market Analysis and Literature Review,” dated January, 2001.

CLAYTIMES·COM n WINTER / SPRING 2015

This is a review of all of the studies that were available in 2001. The EPA summarizes data from air tests from all the studies and compared the amounts of various chemicals emitted by burning candles: acetaldehyde, formaldehyde, acrolein, polyaromatic hydrocarbons (PAHs), benzo[a]pyrene, and naphthalene. These are all toxic chemicals commonly found in the burning of almost any hydrocarbon from wax, to gasoline, to coal, wood, and cigarettes.

The sentence that the candlemakers seem to quote comes from the first sentence in a paragraph in their Conclusion. This sentence reads: “The European Candle Association (1997) and Schwind and Hosseinpour (1994) conclude that there is no health hazard associated with candle burning, even when a worst-

case scenario of 30 candles burning for 4 hours in a 50 m3 [cubic meter] room is assumed.”

wax when the use of cold wax, readily available from most ceramic suppliers, avoids the problem.

So EPA is saying that an alliance of the biggest candle manufacturers in the EU, called the European Candle Association, and the authors of a study done at their behest, say there is no hazard. But in the very next sentence EPA says that they interpret this data differently:

2. Vent the kiln and the kiln room. The best ventilation systems for electric kilns are the negative pressure systems that draw a small amount of air from the bottom of the kiln. However, these systems will not work well if you use a lot of wax resist. The burning wax creates a large volume of gases and vapors whose pressure can overpower the small amount of negative pressure in the kiln system. So it is important to also have an exhaust fan and air supply system in your kiln room to exchange the air during the low temperature part of the firing in which organic matter like wax is burned off.

“... However, burning several candles exceeded the EPA’s 106 increased risk for cancer for acetaldehyde and formaldehyde, and exceeded the RfC* for acrolein.” * The 106 (1 cancer in a million people) is the level at which the cancer risk is not acceptable for air quality. The RfC is the constant exposure level that is harmful for people in ways other than cancer. In other words, there is a measurable cancer and respiratory risk from the level of the acetaldehyde, formaldehyde, and acrolein found in these studies. Further in the conclusion, EPA notes that there is no data on candle soot, which is a known hazard, and a number of other cancer-causing chemicals also known to exist in candle emissions. These substances add to the toxicity of candle emissions. While the actual risk from burning candles cannot be assessed without a lot more data, the studies do make one thing clear: burning candles or any other substance indoors will not do your air quality, or you, any good. It is the same with wax in the studio or the kiln room.

3. Gas kilns need both a stack for exhausting the combustion gases, AND a secondary exhaust for any escaping emissions or reduction. The Bailey gas kiln ventilation system with combustion, spy, burner port and residual collection hoods (on the Deluxe and Production series kilns) is a fine example of this kind of ventilation. How to Get the Data Sheet If you want a copy of this data sheet, send an e-mail with your postal address to actsnyc@cs.com and I’ll put one in the mail. [ Footnotes: 1. Two Federal Register documents: 78 FR 65242-654244, October 31, 2013 and 78 FR 56274-56504, September 12, 2013.

How to Protect Yourself

2. Clay Times, July/Aug 2005 and Nov/Dec 2005.

1. Use cold wax emulsions instead of hot wax. These really should be the only glaze resists you use. There is no reason to set up expensive ventilation for melting

Monona Rossol is an industrial hygienist/chemist with an M.F.A. in ceramics/glass. E-mail her at: ACTSNYC@cs.com

10 T H A N N I V E R S A R Y E V E N T A P R I L 11- 19 , 2 015

Macon, Georgia: Still Makin’ it with Clay Flashback 2005: Macon, Georgia — Who would have thought that a homespun pottery sale organized by a small group of clay-focused friends would evolve into the largest pottery show in the state, just a decade later? With more than 6,000 pieces of pottery for sale by 65 ceramic artists from Georgia and the Southeast region this year, “Fired Works” is now Georgia’s largest annual show and sale of functional and sculptural pottery.

What has been a week-long event in recent years kicks

Pictured, clockwise from above: Entrance to the historic Native American mound at Ocmulgee National Monument; the Round Building at Macon’s City Central Park; downtown gallery of the Macon Arts Alliance.

off with an additional three-day opening weekend experience this year, to celebrate the show’s successful journey to the 10-year landmark. First and foremost will be the Fired Works Preview Party, from 6 to 9 p.m. on Friday, April 10 at Macon’s beautiful Round Building in historic Central City Park.

The show and sale officially opens to the public on Saturday, April 11. Visitors of all ages will have the opportunity to get their hands dirty with various interactive opportunities. Fired Works includes special events like clay workshops for children ages 5-12, workshops for teens, and continued on next page

CLAYTIMES·COM n WINTER / SPRING 2015

The 10th Annual Fired Works Regional Exhibition and Sale takes place April 11-19, 2015 at the Round Building of Central City Park in Macon, Georgia, just 90 miles south of Atlanta. Sponsored by the Macon Arts Alliance, this unique production has gained popularity and momentum ever since its 2005 inception. As a result, the show just keeps getting bigger and expanding its offerings to meet the demand.

MACON MUST-SEES The Round Building — The principal site of Fired Works at historic Central City Park. Originally built in 1871, then reconstructed after a 1904 fire, it has been painstakingly restored to its original beauty, serving as the perfect backdrop for the annual show and sale of more than 6,000 pieces of pottery. Lights on Macon Illumination Tour — Take a stroll down the block with a local host to see a few of the neighborhood’s antebellum mansions in a different light. www.lightsonmacon.com The 1842 Inn — Soak up the ambience of Macon’s only fourstar, four-diamond luxury inn with hors d’oeuvres and a glass of wine or cocktail, and lively conversation with other guests. http://www.1842inn.com

CLAYTIMES·COM n WINTER / SPRING 2015

Downtown Grill — Tucked into one of downtown Macon’s historic alleys and best known for its delectable selection of steak, fresh fish, and lamb entrees, Downtown Grill is a favorite among locals and visitors to Macon. http://www.macondown towngrill.com

Georgia Bob’s Barbecue — A local favorite that happens to be near I-75, garnering “favorite” status by travelers from near and far. “Georgia Bob’s prepares barbeque and food products today as it has been done in the South for over 150 years.” http://georgiabobs.com Tic Toc Room — Enjoy dinner and conversation at the downtown hip, historic Tic Toc Room, where Little Richard performed in his early years. http://hot platesrestaurantgroup.com

Fired Works, continued from previous page the very popular “Cocktails and Clay” workshops for adults. Artist talks, pottery demonstrations, plus “Pottery Roadshow” appraisals are also planned. Live music and food at Central City Park are also in store with “Pickin’ & Pottery” (dates to be determined). Tickets are just $5 each. As in the past, Fired Works continues its successful partnership with nearby Ocmulgee National Monument by arranging special tours and activities there during the ten-day 2015 celebration. The goal: to expand awareness of the Ocmulgee River region’s connection to pottery making. Archaeological ceramic evidence has revealed more than 15,000 years of continuous human habitation there. Featured exhibits at the monument will focus on folk pottery and its place in the history and culture of the Southeast.

Featured Folk Potters for 2015 Event Clint Alderman began making pottery coil building and pit-firing in 1995. By 1999 he had built a woodfiring kiln and was making traditional folk pottery under the guidance of Edwin Meaders and Michael Crocker. He established a new shop and kiln in Habersham County in 2009, where he currently resides. His works are among the collections of the Folk Pottery Museum of Northeast Georgia and the Atlanta History Center. Bruce Bley has had a lifelong interest in pottery. His work is inspired by the sights and scenery near his home in the North Georgia mountains. He loves crafting pottery because it recalibrates that focus in his life. Each piece is more than just a mug or bowl, he says; each piece embodies a time, a place, and an emotion. Roger Corn, of Lula, GA, is known for his amazing skills in the technique of pulling up his clay. He can create a piece of pottery by using a very

small amount of clay, making the piece seem light as a feather. He is also known to fire his pieces several times to achieve the beautiful colored glazes that adorn his pieces. Wayne Hewell is a 5th generation potter. His father, Carl, and grandfather, Maryland (Bud) Hewell were traditional folk potters. A wood-fire potter also living in Lula, Wayne has been potting for more than 31 years. His work is enhanced by surface treatments including Albany slip, red and blue glazes, and good ole’ Southern tobacco spit! Steve Turpin has been a potter for more than 30 years. For Steve, every piece of pottery he creates includes some aspect of his personality; so when someone appreciates that enough to want to buy his pots, he feels a personal connection is made. “To me, that’s what it’s all about,” says Steve.

Informative Web Links A wealth of additional information about Fired Works and participating artists, the Macon Arts Alliance, and what to see and do while you’re visiting Macon can be found at the following Websites: Macon Arts Alliance — www.maconarts.org Fired Works — www.firedworksmacon.com Fired Works Preview Party — http://firedworksmacon.com/preview-party.cms Fired Works YouTube Link — www.youtube.com/watch?v=A2_nCrweJmk Macon Convention & Visitors Bureau Link — www.maconga.org Editor’s Note: This article was made possible by the contributions of Ruth Sykes, Director of Media Relations at Laurie Rowe Communications; Jan Beeland, Director of the Macon Arts Alliance (MAA); Heatherly Wakefield, Fired Works Curator and MAA Director of Fine Art; Jonathan Dye, MAA Director of Communications; Jim David, Superintendant of Ocmulgee National Monument; and Kathy Hoskins, founding Fired Works board member. Thanks to all for their input and hospitality!

Fired Works Attractions and Excursions • Ocmulgee National Monument — Step back thousands of years to discover the earliest use of Georgia’s rich clay by the inhabitants who first settled along the Ocmulgee River. See pottery artifacts and expert reproductions at “the place where Man first sat down,” according to Native American lore. Enjoy a scrumptious farm-to-table lunch during Fired Works’ expanded opening weekend event at Ocmulgee (photos above) and explore the ancient grounds. http://www.nps.gov/ocmu/index.htm

• Roger Jamison’s Wood-Fired Studio Pottery — Roger has operated a wood firing pottery near Juliette, GA since 1990. He taught ceramics, design, and drawing at Mercer University’s College of Liberal Arts from 1974-2009. His work has been shown in national juried competitions in the U.S. since 1969, as well as in Italy and Japan.

Mark Merritt at his at Lizella clay mine/studio

In 1978, Roger was artist-inresidence with the University of Georgia’s Studies Abroad program in Cortona, Italy; as well as in 2004 in Japan, where he studied traditional wood firing techniques. Roger works with two related firing techniques using stoneware and porcelain clays in wood-fired salt glazing and in longer firings in an anagama (cave kiln), with wood alone creating natural ash-glazed surfaces. Roger and his wife Sherrie have a home and studio near Juliette, Georgia, where in 2000 he built a 250cu.-ft. Japanese-style anagama that holds 500 or more pieces. Roger fires it twice a year with the help of a team of Georgia potters and friends. [ http://www.rogerjamison.com/

Roger Jamison in his wood firing kiln shed

CLAYTIMES·COM n WINTER / SPRING 2015

• Lizella Clay & Merritt Pottery — See the wellspring of famous red Georgia clay used by potters worldwide. The Lizella Clay Company was founded by area potter Mark Merritt’s father many years ago. A sixth generation Georgia potter, Mark digs, dries, cleans, pugs, and packages the Lizella clay as a one-man operation! He also throws traditional Crawford County pottery and utilitarian pieces. Wife Coni does most of the glazing, and recently started decorating the face jugs and other pieces Mark throws. The Merritts host a popular annual November pottery show in central Georgia’s Crawford County, just outside of Macon. http://merrittpottery.tripod.com/

Pictured above: Various images of Ocmulgee National Monument museum, exhibits, & grounds

Readers Share I Art Works

The Gallery

Cat Jars. 9Â˝" tall. Wheel-thrown stoneware with handbuilt additions. Glazed with masking tape resist; fired to cone 6 in an electric kiln. Philip Hubbard, San Francisco, CA. E-mail: philiphubbardpottery@ gmail.com; Website: http://www.philiphubbardpottery.com

Siren. 25" x 16" x 14". Unglazed white earthenware, fired to cone 04. Holly Fischer, 1506 Woods Creek Dr., Garner, NC 27529. E-mail: contact@hollyfischer.com; Website: www.hollyfischer.com

CLAYTIMESÂˇCOM n WINTER / SPRING 2015

Submit images of your claywork to The Gallery!

Send your high-quality color print, slide, or 1050-x-1500pixel (minimum) digital image to: The Gallery, Clay Times, P.O. Box 17139, Amelia Island, FL 32035; or e-mail to claytimes@gmail.com. Be sure to include your name, address, telephone number, Website and/or e-mail address, type of clay and glaze, firing method, and dimensions of the work. (Please enclose a self-addressed, stamped envelope if you need photo or slide returned.)

Varmint Jars #2. Height is 21", 26", and 24"; 5" diameter at base. Wheel-thrown and handbuilt white earthenware assembled in stages. Decorated with stains and underglazes, and fired to cone 06 in an electric kiln. Susan Thomas, 911 Capri St., Coral Gables, FL 33134. E-mail: sustho@bellsouth.net

Readers Share I Art Works

The Gallery

Spring. 9" x 7" x 5". Wheel-thrown porcelain, soda fired to cone 8. Debra Oliva, Okemos, MI. Website: www.debraolivaceramics.com

Top Soil. 6½" x 6½" x 4". Unglazed white earthenware, fired to cone 04. Jerry Sirk, 1219 Summer Street, Benton Harbor, MI 49022. E-mail: jerrythepotter1@yahoo.com

CLAYTIMES··COM COM n n WINTER WINTER // SPRING SPRING 2015 2015 CLAYTIMES

Enchanted. 18" x 14" x 9". Multi-fired red clay, beeswax, and graphite. Melinda Crider, 122 Washington Oak Court, Waleska, Georgia 30183. E-mail: mgcART@comcast.net; Website: www.melindacrider.com

CLAYTIMESÂ·COM n WINTER / SPRING 2015

BY VINCE PITELKA

hile teaching workshops, I often hear participants talking about their favorite tools. This has inspired me to contact a variety of toolmakers to find out which of their products have proved to be the most popular. Bamboo Tools is a Canadian tool maker I have not covered before. Two of their products have been especially popular recently. Many of us do slab work, and of course we cut our slabs on canvas sheets or canvas-covered boards or tables. Bamboo Tools offers different size sheets of high-quality canvas permanently printed with a grid-pattern marked off in inches and feet. This is especially useful to anyone working with geometric slab forms, because it allows you to cut shapes quickly without templates. Another product in demand is their adjustable slump-mold set. The set I tested includes four sections with built-in clamps, marked off in inches and beveled at 120 degrees for slumping plates, bowls, or trays in any square or rectangular shape up to 17" including flange. Two other sets are available for hexagonal and octagonal shapes. Go to bambootools.com and click on “moulds” or “canvas” to see these items.

Dirty Girls Ergo-Thin Wires

Dirty Girls Slab Bevel-Cutter

MKM HandRoller

their slab bevel-cutter has been in demand, with the advantage of cutting bevels at 30, 45, and 60 degrees, and the wire is adjustable and replaceable. Mudworks’ popular “Foot Fetish Rib” is very useful for defining a beaded edge at the foot, but I can’t help but think its popularity is partially due to the name. Mudworks does have a knack for clever names.

most popular product currently. I have pictured these rollers in recent columns, but you can see all of the hand rollers at mkmpotterytools.com.

In the broad range of MKM Pottery Tools, the HandRollers4Clay are the

Another tool that has stood the test of time since first developed in 2003 is the MKM Decorating Disk, available in large and small sets. Each set includes a disk for shapes with even numbers of sides, plus one for odd numbers. These simple space divider disks have pencil holes continued on next page

CLAYTIMES·COM n WINTER / SPRING 2015

Kentucky Mudworks tells me that in their Dirty Girls line of pottery tools, among the most popular are the Ergo-Thin cutoff wires, and I can testify to their quality and ergonomic advantages. I’ve tried all kinds from every maker, and these are my favorites. They come in 3½", 7", and 13" lengths. Dirty Girls reports that

Shop Talk I Tool Times

The Most Popular Tools

Shop Talk I Tool Times

Popular Tools (continued from previous page)

PSH Williams Trimming Tool

with a lighter feel than expected, which translates to greater control in your hand.

MKM Decorating Disk – Detail Showing Pencil Holes

for temporarily marking the clay, and allow the artist to quickly divide the surface into standard configurations of radial segments for the purpose of design layout. That said, anyone who follows my column knows that I think highly of MKM tools—both the ingenuity and quality—but I am known for telling students to “trust your eyes.” Go ahead and use the MKM Decorating Disk to get accustomed to the divisions you prefer, then wean yourself of measuring devices, and trust your eyes. You get better at it quickly and will be able to rapidly and intuitively divide surfaces however you wish with no measuring devices, and your work will come out better for it.

CLAYTIMES·COM n WINTER / SPRING 2015

Pottery Supply House acknowledges that the standard, inexpensive wire

clay cutters, pin tools, sponges, and scrapers easily outsell all other tools, and I think that most pottery supply retailers would agree. But of the unique tools made specifically by or for PSH, the Williams Trimming Tool far outsells any other trimming tool.

Mudtools makes many fine tools. My own preferences tend toward the more coarsely serrated stainless steel ribs and stiffer plastic ribs. But their most popular items are the original Shredder (the little D-shaped “cheese grater”), the R1 Very Soft Rib, and the Hax SS. The latter is unique among serrated stainless steel ribs. The long, slender shape allows access where other ribs cannot reach, and the micro-teeth give a surface available with no other tool. I guess I need to use mine more and let it fully reveal its capabilities. Surform tools have been ubiquitous in studio clay for good reason, and with its size and shape, the Mudtools Shredder gives greater flexibility and access than other curved variations by Surform or its imitators.

I mentioned this tool several years ago in my column, and have used it in my own work. While certainly inexpensive and no artisanal tool, this trimmer is lightweight and the carbon Stanley Hurst of Mecca Pottery Tools steel loops are very sharp. It does has been present at NCECA and exactly what you want a basic bandother ceramics events for a long loop trimmer to do. PSH also reports time, and now you can find his tools that among their selection of stainless at meccapotterytools.com. Stan says steel modeling tools, the double-ball that the wood rollers and stamps styluses are especially popular as are the foundation of his line and multi-use modeling and sgraffito MarcsPotteryTools-2inchBlockAd-OL.pdf 2/4/14 6:57 PM most popular. have2 always been tools. They feature a hollow handle His customers appreciate the deep impression they give, and the fact that no two are exactly the same. He also reports that his rope paddles are very

Shop Talk I Tool Times

popular. Paddles have been indispensable in my own work for several decades, and until recently I made my own because none were available commercially. It is gratifying that so many of the toolmakers now produce paddles, and Mecca offers an especially wide variety in flat, rope-wound, and textured or patterned wood. Bison tools reports the Standard Series Loop model “A” is the all-around most popular shape, which is no surprise since it is essentially the deluxe tungsten carbide version of the ubiquitous and useful pearshaped loop tool found in basic pottery tool kits. Of his newer tools, the Gracile Series “Double Ender” with “C” and “G” loops seem to be the preferred trimming tools for serious studio potters. Of the Solid Tool Series, the “No. 38” is the all-around workhorse for general trimming and especially for cutting sharp corners on small foot rings or galleries on lidded vessels. All the tools are intended for use on leather-hard clay, but customers especially appreciate the fact that the Solid Series can also trim bone dry or even soft bisque. To look at images of all the Bison tools go to ETSY and search “pdpbison.” If they don’t all come up, click the upper right button that indicates the total number of items listed. With 250 different Dolan tools in ten series, it’s difficult to pick favorites, but Maureen Dolan identified, in order of popularity, the DPT 220-C flexible knife, the DPT 310 pear-shaped loop tool, and the DPT 440 triangular loop tool (one of my favorites). Among the small detail loops with super-thin blades, the S-50 triangular tool and M-30 oblong tool are popular, and the latter is especially good for sgraffito. All of the Dolan tools have carbon steel blades. Go to ceramictools.com to view or download a PDF of the Dolan catalog.

Mudtools R1 Very Soft Rib

Mudtools HAX SS

Mecca Rope Paddles

Mecca Pattern Paddles

This is just a sampling of tool makers, and I regret that I could not include more. As always, I encourage readers to contact me if you know of tool-makers I have not covered, or of any unique or new clay tools from any source. I try to keep up on what is out there, but I need your eyes and ears to help me. [

Vince Pitelka is professor of clay at Tennessee Technological University’s Appalachian Center for Craft, an active participant on the Clayart Internet discussion group, and author of Clay: A Studio Handbook. Feel free to suggest topics for this column or contact Vince through his Website at http://iweb.tntech.edu/wpitelka.

CLAYTIMES·COM n WINTER / SPRING 2015

Po Zhou at chineseclayart.com says that their most popular items include the Texture Mats (item PA-01), the Five-Pin Scoring Tool, (Item CI-05), and the Dragon Scale Tool for impressing dragon scales, fish scales, or roof tiles (item DS-01). He also says that growing fascination for handbuilt Yixing teapots has inspired a healthy interest in the Circle Cutter and Parallel Cutter (items CC-02 and CP-02). If you have not done so, go online and watch videos of contemporary Yixing potters making teapots. The ones you assumed were wheel-thrown are entirely handbuilt using these tools.

Leanna Carlson’s Angel Clay

CLAYTIMES·COM n WINTER / SPRING 2015

BY PAUL LEATHERS

Leanna Carlson (pictured above) grew up in Prince George, BC, a part of Canada rich with clay and potters. Her family even sold locally-made pottery in their corner store, which was where Carlson bought the very first piece of her collection: a pot she still owns, made by Denman Island’s Beardsley Pottery.

Yet it wasn’t until age 29 that, while working as a computer programmer in Dawson Creek, Carlson took a night class in ceramics and realized that clay was her life’s passion. She was so fascinated, she became librarian of the local potters’ guild so she could access their archives of clay publications.

Carlson fondly recalls her first encounter with clay, back in the 6th grade. Making four ceramic faces, she explored a different technique and texture on each one, and remembers loving the color and plasticity of the clay.

The active lifestyle and potential of ceramic materials interest Carlson the most. While raising her two daughters in Pine Pass, BC she merged her love of the outdoors into dual careers: she worked as a certified ski/snowboard instructor

Caption 10½" x 10½" x 8".

Carlson intends for her “Angel Clay” forms to capture nature’s designs from the wood-fire process.

in the winter, and traveled to dig clay and minerals as far away as Mount St. Helens, Washington, during the summer months. Primarily a thrower and wood-firer these days, Carlson remains interested in pursuing her materially-based relationship with clay. In 2006, Carlson was introduced by her friend, Jack Angel, to a local clay deposit, which had drawn limited commercial interest since the early 1900s. In the 1940s, the deposit had been tested regarding its working properties and industrial viability. It was determined that this deposit

is a high-fire clay maturing at around 1770˚C (3218˚F, or Orton cone 32).

finished work and the end user, Carlson endeavors to make work that speaks primarily to her own aesthetic and draws like-minded buyers to it.

CLAYTIMES·COM n WINTER / SPRING 2015

While gold prospector Jack Angel had inspired her, well-known BC potter Wayne Ngan provided An adventuresome spirit, professional mentorship. Carlson is a risk taker who When the mineral rights for willingly accepts the chalthe deposit were allowed to lenge of the unknown for lapse, Carlson applied for the gifts that it brings. Havand was successful in gaining hosted Red Deer College ing the title to the claim. Ceramics instructor Trudy Since then, she has had to Golley during a two-day workwork patiently to overcome shop for the Prince George the barrier of the landholdPotters’ Guild, Carlson found ers’ resistance to her acthat her path and Golley’s cessing the mineral claim. crossed again more recently Driven by the challenge of at The Pottery Workshop in sourcing her own ceramic Jingdezhen, China. During materials for clay and one of their conversations, glazes, Carlson eventually With materials testing under the guidance of Trudy Golley at Red Carlson said she wanted to Deer College, Carlson developed a more durable cone 10 clay body. developed a bright, lemony, devote time to access spebutterscotch pudding-colcialized technical assistance ored flashing clay body that the form has lost its most compelin order to develop a workshe proudly calls “Angel Clay”. ling characteristic: its potential. able clay body for slip-casting, and to soda-fire the resulting body of work Although she still maintains other “My favorite part of making,” Carlson at Medalta in Medicine Hat, Alberta. financial streams of income to make says, “is when it’s still fresh, wet clay. Golley responded with an invitation ends meet, Carlson self-describes The moisture in the clay — it’s so to a seven-week artist residency in as an artist. Her other jobs merely alive, so beautiful!” the Ceramics Studio at Red Deer Colsupport her primary job of being an lege. Carlson accepted. artist, she says. For Carlson, leather-hard clay is dormant; bisqued ware is dead. “The time I spent in Red Deer,” CarlIn recent years, Carlson has attended “It’s always trying to get back to the son says, “was to research and refine artist residencies at MEDALTA in original beauty of the moist clay,” my clay body to be stronger and more Medicine Hat, Alberta, and The Pot- she says. durable at cone 10. I also learned tery Workshop in Jingdezhen, China. about mould making and casting. Her experiences with Blue & White Wood firing, she has found, can be (QingBai) brush painting in China used to reanimate her forms. Carl- “Trudy Golley facilitated my work,” opened her to a new, more gestural son creates forms with the intention she continued, “and we reached our approach to glazing greenware. of manipulating the way they engage goal of developing a cone 10 casting the flame path during the firing pro- slip. I look forward to using this slip Over time, Carlson has gained vast cess. The colors in her work depend and working out some of the ideas I empirical knowledge through trial on the various mixes of clay bodies had while I was in China.” and error, observation of the results, and firing processes used; the work and discussions with experts. Yet can be even more colorful should Following her residency at RDC, Carlshe is not solely interested in the she choose to apply terra sigilla- son traveled to Medalta in Medicine technical aspects of her creative tas, flashing slips, or glazes before Hat, Alberta, to soda-fire and comprocess. Like many ceramic artists, the firing. plete her body of work. She has since she feels disappointed that rigidparticipated in a four-person exhibiity of fired works can make them At home with the commercial as- tion in Nanjing, China. Carlson now appear static and inaccessible. At pects of pottery and mindful of the looks forward to further experimenthat somewhat cathartic stage, relationship that exists between the tation with soda firing at home. [

Resources I Classified Marketplace

Classified Marketplace Events

For Sale, cont.

Pottery Supplies & Resources

• Mitch Lyons Clay Printing Workshops for 2015 — All weekend workshops are in my New London, PA studio. Dates are April 11-12, June 2728, August 15-16, and October 24-25. Call 302.545.4839 or e-mail clayprint@ yahoo.com for details.

• Cape Cod bungalow and studio/ cottage on quiet dead end street — Close to Hyannis and college, but in very quiet area with lots of birds; north of historic Route 6A. Cottage has new Ikea kitchen, large living room, and another room now being used as a bedroom. $362,500. For details, contact Kathy Blackwell at Today Real Estate, tel. 774.994.7433; e-mail: kathybla@msn.com.

• Visit claytimes.com to order print and digital back issues, original Potter’s T-shirt designs, and more — available exclusively from Clay Times! We’ve also got the Great Glazes I & II collection of glaze formulas for all types of firing, in both digital and print form, plus back issue collections and step-by-step pottery projects in PDF format (downloadable or on CD). To order, log onto www. claytimes.com/store.html

• The 30th Alabama Clay Conference takes place Feb. 2728, 2015 in Birmingham, AL. Featured guest presenters will include Nick Joerling, Patti Warashina, and Peter Rose. Sponsored by the Alabama Craft Council, the 2015 event will be held in conjunction with the 2nd Bunting Ceramics Symposium at the Birmingham Museum of Art. To learn more, log onto www.alclayconference. org, or e-mail Paula Reynolds at: preynolds6510@charter.net For Sale

CLAYTIMES·COM n WINTER / SPRING 2015

• Beautiful, 1200-sq.-ft brick ranch built in 1977 with modern conveniences and circa early 1900s outbuildings on 14 lovely acres in the heart of the Seagrove, NC pottery country. Minutes from Jugtown and Ben 0wen’s pottery. $195,000. For details and pics e-mail: billyrayon@verizon.net

• Arts Community seeks smart, happy people — Intentional, sustainable, arts-oriented community located in the NC mountains near Penland School of Crafts. Forest preserve, hiking trails, organic farm site, green-built houses. Makers and appreciators of clay (and other arts) welcome! Visit us online at www.HighCove.com

• L&L Electric Production Kiln — Very good condition. Kiln has 6 sections; 3 of them have never been used. Dyna glow element holders. Fires manually or automatically. Fits three 14" x 28" shelf stacks 24 inches high, or all 6 sections 4 feet high. Powered bottom. Manufacturer retail price for this kiln is $12000. Valued by manufacturer at $ 6000. Asking $5000 including shelves (perfect condition) and electrical wire. Call 208.453.1130 or e-mail karen@karendonleavy.com Handmade Arts Online • Looking for artsy-yet-affordable fine gifts for yourself or that special someone? Visit www. claytimes.co/artstore.html for unique U.S.-made wearables and decorative home accents including Native American sterling silver jewelry, handblown glass, hand-carved woodens, hand-dyed silk, original handbags, all-natural soaps and soy candles, garden art, fine pottery, and more! Everything priced below retail and handmade in the USA by talented fine artists. A great option for indulging yourself or year-round gift buys in lieu of big box store options. Check it out!

Opportunities • Use of pottery + painting studio + workshop + private room + board in exchange for being eyes + ears for elderly artist couple. Idyllic setting ½ hour south of Albany, NY. Great opportunity for the right person. Have health caregivers but need couple or individual to be there at least nights, to eat meals with them + be part of the home. Debbie.Pepin@ gmail.com [

Reach tens of thousands of active clay artists with your message in Clay Times! Classifieds as low as $ 75 Display ads as low as $ 151 YOUR PRINT AD in any issue EARNS YOU a FREE 3-MONTH AD ONLINE!

Order your Clay Times classified at www.claytimes.com/classifieds.html or call 800.356.2529 for display advertising

REVIEW BY STEVEN BRANFMAN

With all of the new books recently published in our craft we are in the midst of a pottery literature renaissance. My desk is piled high. Here are three books, geared toward the novice potter, that rise to the surface. Pinch Pottery: Functional, Modern Handbuilding by Susan Halls Lark Books, soft cover $21.95 Not since Paulus Berensohn’s seminal book Finding One’s Way with Clay, has there been a book solely devoted to pinch pottery. Evidently, the time has come. Having said that, I was disappointed to not see the author make any mention or reference to Berensohn other than to include his book in a list of four reference materials. Too bad. Pinch Pottery is a handsome book, with 128 bright and heavy pages that will withstand the mess of a pottery studio. Following the author’s introduction, the book is carefully organized into nine sections: Pinching the Basic Forms, Adding Elements to Your Forms, Pre-Fired Surface Treatments, Color & Glaze, The Decorated Surface, Clays, Kilns & Firing, The Projects, Appendix. There is also a brief glossary of essential terms, and an even briefer index.

Pinch Pottery: Functional, Modern Handbuilding will be a welcome addition to the library of beginning and novice potters. It will also be a useful book for teachers who may have clay in their curriculum but who are either not well versed in the craft, or may not have the handbuilding experience necessary to be comfortable teaching pinch pottery and realizing its versatility as a vessel forming method. Ceramic Studio: Wheel Throwing by Emily Reason Lark Books, soft cover $19.95 Will there ever be enough books on throwing? Apparently not! All kidding aside, with the variety of approaches to throwing and to teaching throwing, and the individual nuances of handling clay on the wheel, perhaps the more books available, the better. Wheel Throwing begins with an introduction where the author shares her beginning encounters with clay and the wheel. She continues by discussing the clay process, explaining clay bodies, stages of dryness, wedging, and recycling. Reason goes on with laying out the basic studio setting, wheels, tools, and safety. This introductory section concludes with a discussion of form, volume, and proportion. continued on next page

CLAYTIMES·COM n WINTER / SPRING 2015

Susan Hall is the author of two other books: Ceramics for Beginners and Animals & Figures, both of which have been well received. After reading the introduction, I was immediately impressed with her clear, concise, and instructive style. But more importantly I was struck by her inclusive and encouraging tone. Each section contains complete and detailed, yet simple, instructions accompanied by full-color photos. Important teaching notes are highlighted in sidebars. A very useful aspect of the book is the inclusion of featured artists in the sections in which their background and work is presented for inspiration and

ideas. The last third of the book is the section on projects. It is here, through nine diverse projects, that the author’s friendly teaching style and constant encouragement shine through.

Resources I Books & Videos

Pottery Making 101

Resources I Books & Videos

Book Reviews (continued from previous page) The meat of the book is presented in eleven sections; Centering, Throwing a Cylinder, Pulling a Handle, Throwing a Bowl, Trimming, Decorating Surfaces, Throwing Off the Hump, A Brief Overview of Firing, Glaze Fundamentals, and Applying Glazes. The final section, titled Handy and Homemade, contains additional useful information on items such as bats, chucks, slip, stamps, and chops. The books rounds out with a selection of recipes and a glossary. Each section topic is taught through specific projects, and there is a gallery of work done by many recognized clay personalities. Teaching throwing through a book is a difficult task. Learning how to throw from a book is even more difficult. Reason does a better than adequate job. Her writing style is friendly and encouraging. Her instructions are clear, well thought out, and accompanied by fullcolor and detailed photos. Her choice of projects is wide-ranging and attractive. Is Ceramic Studio: Wheel Throwing the ultimate treatise and final chapter on the literature about teaching throwing? I don’t suspect so. But if you’re looking for another resource on the subject that, in 128 lovely pages, offers yet another potter’s approach and method of instruction that will be useful, encouraging, fun and inspirational, then Ceramic Studio: Wheel Throwing belongs on the shelf in your own studio. Troubleshooting for Potters by Jacqui Atkin Barrons Educational Series, soft cover, $21.99

CLAYTIMES CLAYTIMES··COM COM n n WINTER WINTER // SPRING SPRING 2015 2015

I’ll admit that at first examination, Troubleshooting for Potters appeared to offer a similar treatment of faults, problems, and remedies that other books covering the same subject do (such as Ceramic Faults and Their Remedies and Practical Solutions for Potters, to name two). However, when I did my first visual sweep, it confused me. I might even say that it confounded me. In fact, I’ll go all the way and say that it spun my head around and whipped me out the other side. Troubleshooting for Potters is not like any other book that covers the subject of pottery problems.

Troubleshooting is organized into five chapters: What’s the Problem, Clays, Forming and Bisqueware, Surface Decoration, and Firing. Chapter 1, “What’s the Problem?” contains what the author refers to as “diagnostic charts” that list, by the titles of the next four chapters, problems, descriptions, causes, and what the author calls “potential fixes”. The remaining four chapters each include sections on “Best Practices”: that is, instruction on how to carry out trouble-free technique, followed by “Fix-its”, which describe problems that a beginner or novice potter is likely to encounter, along with causes and remedies. Rounding out the content is a

short section on health and safety, a nicely conceived glossary, and a useful index. Jacqui Atkin gives us a carefully thought out, cleanly designed and organized, well-written book. The 144 pages contain hundreds of full-color photos that add clarity and detail to the written descriptions. The topics included cover virtually every area that a novice potter is likely to navigate and slip (no pun intended; OK, maybe a little) on. However, if you are expecting a dictionary-type format like I was, where you can look up a specific problem or issue, you will be frustrated and disappointed. Troubleshooting for Potters is not that book. This is different, and perhaps for the beginning potter to whom this book is aimed, better. Troubleshooting for Potters is more like a pottery-making manual that, if read cover to cover as if it were a textbook, would offer the most benefit in foundation, information, and coaching, as well as problem identification and solutions. Whether the author intended it or not, Troubleshooting for Potters offers as much creativity and inspiration to the reader as technical information. Troubleshooting for Potters is different enough so as to create its own niche. It is full of practical and exceedingly useful information. This is a book that has already found its way into my high school teaching studio. If you had it in your studio, it would get a lot of use. Give it a try. You won’t be sorry. [ Steven Branfman is an accomplished potter and teacher of pottery and ceramics at Thayer Academy in Braintree, Massachusetts, and proprietor of The Potters Shop and School. He may be reached by e-mail at: sbranfpots @aol.com

Relocating Your Gas Kiln

ooner or later, most clay artists are going to be faced with a moving day. This move can take on many characteristics. It can be a “Congratulations… I hear you’re building a new studio,” or a sadder, panicfilled, “Bummer, I hear your landlord is kicking you out. What are you going to do?” Or maybe it’s one of those “Our school is building a new facility that we’ll be moving into next year” situations.

So, if you’ve been using low-pressure (½ psi or less, 14 inches water column or less, or 8 oz. or less) you’ll not need to change your burner system when you move your kiln. If you switch between lowpressure propane and lowpressure natural gas, you’ll need a simple change of orifice plugs. If you move from high-pressure gas (anything over 1 psi) to low-pressure gas, you are probably going to need a new burner system.

turned on their heat and he didn’t have enough gas volume to fire his kiln in a reasonable time frame. So while you’re checking on school districts, nearest grocery stores, and yoga classes, don’t forget to check on tank placement and meter capacities.

Suburbia can be a great place for a pottery. You may like suburbia…but that doesn’t mean suburbia will like you. If you move to a place that has color requirements for house paint or lawn height limits, a kiln in the backyard is probably not going to fly. If there is a homeowner’s association that governs the community where you plan to move, things could be problematic. Not to malign the “Bay State” or our friends to the North, but some jurisdictions—be they towns, counties, states, or entire countries— have imposed sweeping new rules, codes, or laws that could affect your kiln situation, without having a total understanding of what they aim to regulate. Check out the rules of your destination before you commit to your move. Talk to other potters and artists. Speak with the gas suppliers or gas-certified plumbers, who also know the rules and the lay of the land. Have a good move. Just follow the old cliché: “Look before you leap.”[ Marc Ward is owner/operator of Ward Burner Systems in Dandridge, Tennessee. He may be reached via the online catalog and Website at: www.wardburner.com.

CLAYTIMES·COM n WINTER / SPRING 2015

There is a higher density of semi-applicable laws, rules, codes, and official whims when population density increases. If you live in a city, you are already aware of Whatever the Does the new location have this. Plan accordingly. circumstances that space and infrastructure If you have lived your accompany your studio to deal with your kiln? existence in a rural setting move, you’ll most likely be Propane cylinders of or have become used to met with some challenges. different sizes have it after a few decades, Two of that I want to different placement the move to a city venue address concern the gas/ parameters. Depending can come as a shock. pressure for your kiln(s), on their size, they have In the country, if you and codes/inspectors to be a certain distance needed a new shed over relative to kiln relocation. away from buildings and your kiln, you went to Here are some basic rules property lines. The size the lumberyard, bought that may give you a heads- of your propane cylinder stuff, and built stuff. In up about what to expect. is a function of kiln size, the urban environment winter low temperatures, • It’s easier to move you might be fined heavily and whether you’ll be from a low-pressure gas for cutting down a small firing year-round. environment to a highsapling in your yard pressure gas environment. Natural gas can have its without the permission own constraints. Older of the county arborist. • It’s easier to move cities may have laid pipe from an urban/suburban when demand was far That said, there are environment to a less. If so, they won’t some pluses to moving rural environment. have the infrastructure to an urban location. in place to deal with your Lots of towns are trying • It’s not easy to do kiln. I know of one potter to revitalize older areas, anything in Massachusetts who moved to a location and many times that or Canada (!). in the Northeastern U.S. involves the arts. There Low-pressure gas, be it in the spring. Everything are wonderful examples propane or natural gas, went fine until the of this all over the country. is going to be available next winter, when the These can be great almost anywhere you go. businesses around him places to start anew.

BY MARC WARD

Shop Talk I Firing

What You Need To Know Before You Go

The Slurry Bucket Reduce, Reuse, Recycle There’s no need to add to our landfills or empty your pockets when so many things around us can be re-purposed for use in the clay studio: • Old buttons, discarded toothpaste caps, the soles of your tennis shoes, or almost anything with an unusual shape or pattern can be used as stamps for making great impressions in your clay work.

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CLAYTIMES·COM n WINTER / SPRING 2015

• Ask your dentist if he/she has any old stainless steel tools to spare. What’s too worn out for professional use in the dental office can still be repurposed by the clay artist for cutting, punching, and carving very fine details into clay — especially porcelain.

• Is the water in your slurry bucket getting too thick for throwing? Pick up a kitchen blender from the local thrift store and reserve it for studio use. Then you can turn that yucky glob of slurry into smooth-flowing slip for brush decorating or attaching handles, knobs, or other appendages. • Recycle overworked clay by letting it dry a bit on a plaster bat or slab, then wedging it back into desired throwing consistency. • Discarded paper towel rolls and toilet paper rolls can serve as useful forms for slab building. • Got too many shards of fired clay rejects piling up in your backyard? Consider using them to build an

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unusual outdoor sculpture ... or make mosaic step stones with the smaller bits and pieces. • If you’re like most of us, you now carry a mobile phone with you practically 24/7 — meaning you have a camera at hand nearly every moment of the day. Make use of that camera to capture any image that inspires your clay work: the texture of tree bark, perhaps, or the form of a vase in a shop window. Instead of taxing your memory or carrying with you a tattered sketch book, your phone’s camera can keep everything at your disposal almost anytime. Use it at workshops, too, so you can refer back to it later, when you’re at work in the studio. [

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Check out these listings to find local programs for wheel-throwing, handbuilding, sculptural techniques, & more … Classes are listed alphabetically by state

COLORADO

FLORIDA, cont.

MAINE

Spinning Star Studio — 427 East Colorado Ave., Studio 129, Colorado Springs, CO 80903; http:// www.spinningstarstudio.com; jennifer@spinningstarstudio. com. Wheel-throwing, handbuilding, electric firing, raku firing, classes for adults; wheelchair accessible wheel available. Open studio is available as well as electric kiln rental for firing up to cone 6.

Morean Center for Clay — 420 22nd St. South, St. Petersburg, FL 33712; 727.821.0516; www.MoreanArtsCenter.org; valerie.scott.knaust@ moreanartscenter.org. Wheel-throwing, handbuilding, electric firing, gas firing, raku firing, wood firing, guest artist workshops, classes for adults and children. Children summer

The Red Door Pottery Studio — 44 Government St., Kittery, ME 03904; 207.439.5671; exfpottery@yahoo.com; www.reddoorpottery.com. Year-round classes, all skill levels, monthly workshops, private lessons, retail gallery, shows. Wheel-throwing, handbuilding, electric firing, guest artist workshops, classes for adults and children.

DISTRICT OF COLUMBIA Hinckley Pottery — 1707 Kalorama Road NW, Washington, DC 20009; www.hinckleypottery.com; info@ hinckleypottery.com. Our studio offers ongoing classes on the potter’s wheel for all skill levels. Wheel-throwing, electric firing, gas firing, raku firing, classes for adults and children, tools and pottery for sale.

FLORIDA Boca Raton Museum Art School — 801 West Palmetto Park Road, Boca Raton, FL 33486; 561.392.2503; Fax 561.361.8306; artschool@bocamuseum.org; www.bocamuseum.org/ artschool. We offer handbuilding, wheel-throwing, clay sculpture classes for kids, teens, and adults as well as classes in jewelry, painting, and photography.

Craft Gallery & Dixie Art Loft — 5911 South Dixie Hwy., West Palm Beach, FL 33405; 561.585.7744; fax 561.585-0476; www.thecraftgallery. net; potteryme@comcast.net. Gallery, studio & kiln rental. Glazes, clay, glass, tools, books, equipment, and art. Classes in glass fusion, enameling, silver clay, wheel-throwing, hand-building, and Architectural sculpture. Workshops by guest artists.

St. Petersburg Clay Company — 420 22nd St. South, St. Petersburg, FL 33712; 727.8962529; www.stpeteclay.com; stpeteclay@stpeteclay.com. Electric firing, gas firing, raku firing, wood firing, guest artist workshops, soda firing and salt firing. Please call or e-mail us to ask about membership availability and gallery openings.

GEORGIA Callanwolde Fine Arts Center — 980 Briarcliff Rd., Atlanta, GA 30306; 404.874.9351; www. callanwolde.org; gdair@callanwolde.org. Located in Midtown Atlanta, Callanwolde offers basic and intermediate wheel and handbuilding classes for adults, as well as electric, gas, raku, and soda firing, plus guest artist workshops. Hudgens Center for the Arts — 6400 Sugarloaf Pkwy, Bldg. 300, Duluth, GA 30097; 770.623.6002; Fax 770.623.3555; info@thehudgens. org; www.thehudgens.org. The Hudgens is located north of Atlanta and offers year-round fine art classes. Wheelthrowing, handbuilding, electric firing, gas firing, raku firing, classes for adults and children, open studio for students. Johns Creek Arts Center — 6290 Abbotts Bridge Rd., Building 700, Johns Creek, GA 30097; 770.623.8448; Fax 770.623.6995; jcacinfo@bellsouth. net; http://www.johnscreekarts.org. Located in Johns Creek, GA, the Johns Creek Art Center provides ceramics instruction for adults and youth with wheel-throwing, handbuilding, summer camps, cone 06-6 electric firing, and guest artist workshops.

MARYLAND Renaissance Art Center — 9250 Gaither Rd., Gaithersburg, MD 20877; 301.987.0377; www.rcarts.com; info@rcarts.com. Pottery classes for all ages, teaching wheel throwing, handbuilding, and glazing techniques. Electric firing. Our new studio features 12 wheels and over 2000 s.f. of studio space!

MASSACHUSETTS Purple Sage Pottery — 3 Mechanic St., Merrimac, MA 01860; 978.346.9978; www.purplesagepottery. com; iris@purplesagepottery.com.Wheel-throwing, handbuilding, sculpture; electric, gas reduction, and raku firing; guest artist workshops; classes for adults and children.

MISSISSIPPI Bodine Pottery & Art Studio — New location: 432 West Frontage Dr., Wiggins, MS 39577; 601.928.4718; www.bodinepottery.com; hukmut@ bodinepottery.com. Wheel-throwing, handbuilding, kiln building, PMC (precious metal clay), week-long clay camps for adults and summer clay camps for kids. Also a clay supplier and gallery, featuring the work of ten Mississippi artists.

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CLAYTIMES·COM n WINTER / SPRING 2015

Carla’s Clay Inc. — 1733 Northgate Blvd., Sarasota, FL 34234; 941.359.2773; www.carlasclay.com; cobrien@carlasclay.com. Classes for adults and children in wheel-throwing, handbuilding, electric and raku firing. Guest artist workshops; retail supplies and gallery.

camps and week-long adult camps.

Resources I Classes

Community Pottery Classes

Resources I Classes

MISSOURI

NEW YORK, cont.

VIRGINIA, cont.

323 Clay — 323 West Maple Avenue, Independence, MO 64068; 816.254.7552; http://www.323Clay.com; kimberly@323clay.com. Wheel-throwing, handbuilding, electric firing, gas firing, raku firing, guest artist workshops, classes for adults, classes for children.

The Painted Pot — 339 Smith Street, Brooklyn, NY 11231; 718.222.0334; www.paintedpot.com; mail@paintedpot.com; wheel-throwing, handbuilding, sculpture.

Nan Rothwell Pottery — 221 Pottery Lane, Faber, VA 22938 (near Wintergreen); 434.263.4023; www.nanrothwellpottery.com; info@nanrothwellpottery.com. Wheel-throwing, gas firing, salt glaze firing, guest artist workshops, plus two- and three-day workshops focused on wheel work or decorating and firing functional pottery.

Kansas City Clay Guild — 200 West 74th St., Kansas City, MO 64114; 816.373-1373; www.kcclayguildstudios.org; kcclayguild88@yahoo. com. Wheel-throwing, handbuilding, electric firing, gas firing, raku firing, guest artist workshops, classes and “pottery parties” for adults and children. A fun, family atmosphere for novice through advanced ceramic artists.

NEW YORK Artworks at West Side YMCA — 5 West 63rd St., New York, NY 10023; 212.912.2368; ymcanyc. org/westside; kmissett@ymcanyc.org We are a friendly, supportive studio on Manhattan’s Upper West Side offering classes and open studio time in the visual arts. Wheelthrowing, handbuilding, electric firing, wood firing, guest artist workshops, stained glass, watercolor, drawing, and beading. Classes for adults and children. BrickHouse Ceramic Art Center — 10-34 44th Drive 1st Floor, Long Island City, NY 11101; 718.784.4907; ellen.day@brickhouseny.com; http://www. brickhouseny.com. Spacious, fully-equipped studio, yearround adult classes, ceramic artist rental shelves, pottery for sale.Wheel-throwing, handbuilding, electric firing, guest artist workshops, private parties.

CLAYTIMES·COM n WINTER / SPRING 2015

Clay Art Center — 40 Beech Street, Port Chester, NY 10573; 914.937.2047; www.clayartcenter.org; leigh@ clayartcenter.org. Clay Art Center kindles a passion for the ceramic arts and provides a community for that passion to flourish. Wheel-throwing, handbuilding, electric firing, gas firing, raku firing, guest artist workshops, classes for adults and children, community arts programming.

Clayworks on Columbia Inc. — 195 Columbia St., Brooklyn, NY 11231; 917.428.3128; ddmcdermott@rcn.com; www.clayworksoncolumbia.org. A not-for-profit clay studio now in its 16th year. Classes for adults & children in wheel-throwing, handbuilding, and sculpture; featuring electric firing plus rental space and gallery for students and members. The JCC in Manhattan — 334 Amsterdam Ave., 76th St., Brooklyn, NY 10023; 646.505.5715; sorr@jccmanhattan.org; www.jccmanhattan. org/artstudios. The Upper West Side’s community ceramics center with classes for everyone at every level! Wheel-throwing, handbuilding, electric firing, guest artist workshops, classes for adults and children. We also offer classes for children with Special Needs, private lessons, birthday parties, and bench time for registered students.

NORTH CAROLINA Dan Finch Pottery — 5526 Nursery Lane, Bailey, NC 27807-9492; 252.235.4664; http://www.danfinch. com; dan.finch@earthlink.net. Wheel-throwing, handbuilding, electric firing, gas firing, raku firing, wood firing, guest artist workshops, classes for adults. Demonstrations and workshops for groups (school, church, civic). Quarterly day and evening classes available in a collaborative and nurturing environment at Finch Farm.

TEXAS Eric Orr Clay — 22 Blackjack Lane, Lewisville,TX 75077; 940.241.1242; ericorrclay.com; ericmuddorr@ yahoo.com. A complete teaching studio for lovers of clay and glass. Wheel-throwing, handbuilding, electric firing, gas firing, raku firing, glass fusing and slumping, classes for adults and children. I work with you individually and endeavor to take you where you want to go on your clay/glass journey! SUNIN Clay Studio — 13473 Wetmore Road, San Antonio, TX 78247; 210.494.9100; suninpottery@ sbcglobal.net; suninclaystudio.com. A teaching and working pottery studio offering classes, equipment, supplies, gallery/ shows and creative encouragement. Wheel-throwing, handbuilding, electric firing, raku firing, guest artist workshops, classes for adults and children, sculpting classes and retail products.

PFAC — 101 Museum Drive, Newport News, VA 23606; 757.596.8175; mpreble@pfac-va.org; www.pfac-va.org; wheel-throwing, handbuilding, electric firing, raku firing, guest artist workshops, classes for adults and children. PFAC offers the opportunity to explore clay with a variety of techniques and processes. Round Hill Arts Center — 35246 Harry Byrd Highway, Round Hill, VA 20142; 540.338.5022; info@ roundhillartscenter.org; www.roundhillartscenter.org; wheelthrowing, handbuilding, electric firing, classes for adults and children, summer camps, also classes for all art mediums. Mention Clay Times for a 10% discount on your first class! Open studios for students. Workhouse Arts Center Ceramics Program — 9504 Workhouse Way, Bldg. 8, Lorton, VA 22079; 703.584.2982; www.workhousearts.org or www.workhouseceramicsarts.org; dalemarhanka@lortonarts. org. A collective and highly dynamic environment with the goal of promoting ceramic art through research, education, and outreach. Resident artist program and classes for adults (ages 16 & up) and children (5-15 years old) in wheel-throwing, handbuilding, ceramic sculpture, tile making, electric firing, gas firing, raku firing, visiting artist workshops, corporate retreats, and workshops for Girl /Cub Scout troops.

WISCONSIN VIRGINIA Art Pottery Studio — 4810 Tabard Pl., Annandale, VA 22003; 703.978.1480; artpottery@earthlink.net; www. potteryart.biz. Year-round classes, Summer Clay Camp, Group, Private. Wheel-throwing, handbuilding, electric firing, classes for adults and children. Scouts, Cancer Survivors, Special Needs. Sculpture, Specialty workshops: "Wine, Cheese, Pottery!"; "Parent & Child!" ALL LEVELS. Mainly Clay — 217 N. Main, Farmville, VA 23901 (beside Green Front Furniture). Pottery wheel and handbuilding classes, open studio, supplies, gifts, and jewelry; 434.315.5715; butlerp@mainlyclay.com; www.mainlyclay. com. Amaco & Standard dealer, Brent wheels, Shimpo slab roller, and Skutt electric kilns. Located in beautifully renovated historic building with upstairs rental space available for events and workshops. Manassas Clay & Tin Barn Pottery Supply — 9122 Center Street, Manassas, VA 20110; 703.330.1040; www.manassasclay.com; manassasclay@aol.com; wheelthrowing, handbuilding, sculpture, glazing, raku.

Adamah Clay Studios of Bethel Horizons — 4651 County Highway ZZ, Dodgeville, WI 53533; 608.574.8100; e-mail: artventures@bethelhorizons.org; www.bethelhorizons-artventures.org. Wheel-throwing, handbuilding, wood firing, classes for adults and children. Weekly pottery classes, affordable summer intensive weeklong workshops, beautiful views, & university credits.

WYOMING Potters Depot LLC — 75 East Benteen St., Buffalo, WY 82834; pottersdepot@msn.com; www. pottersdepot.com; 307.684.4555. We have a beautiful gallery and offer pottery classes for adults, teens, and kids. Wheel-throwing, handbuilding, electric firing, gas firing, raku firing, guest artist workshops. We are located at the foothills of the beautiful Big Horn Mountains and provide a large selection of clay bodies and tools [ LIST YOUR POTTERY CLASSES IN PRINT AND ONLINE for just $129 per year at: www.claytimes.com/classes.html

BY DAVID HENDLEY

ecently I got a call from an old high school acquaintance. He has been a film writer, producer, and director for many years, and was starting a new project tentatively titled, How to Die … An Inquiry into How to Live. Since everyone will die one day, he posits, the real goal is to live a meaningful life so that there are no regrets. For this documentary, he planned to interview dozens people of all faiths and from all walks of life. Would I be interested in participating?

The sample questions he sent were along the lines of, “How do you find meaning in your life?”, “How would you define a well-lived life?”, and “Why do you think we fear death?” Whew! If I were going to do this

What struck me, as it had when I was talking with my friend, was that none of the speakers I watched spend their time actually making things. For the most part, I agreed with the general YouTube consensus that meaning in life comes from one’s relationships with family, friends, and even other unknown people. Think of the old joke that no one lying in the hospital, close to death, says, “I wish I'd spent more time at the office.” I also agreed with the point many others made, that a life well-lived must be intentional, deliberate, and conscious. But there is also a strong human need and desire to interact with the physical world in a creative and meaningful way, and this is why learning a craft, such as pottery, can be such an enriching experience. As is the case throughout the world and in most areas of life, balance is an important part of the equation. What is light without dark, summer without winter, or sound without silence? Sure relationships, thinking, and self-examination are important, but these need to be balanced with interaction with and manipulation of the physical world. Looking back over the past 40 years, first as a ceramics student and then as a studio potter, I am pleased that I

decided to dedicate my working life to something that is a perfect combination of artistic expression, scientific knowledge, practical application, and physical labor. There is also a great sense of inclusion and belonging in knowing you are part of something as constant and timeless as ceramics. Of course, some things have evolved and technical knowledge has increased, but the basics of shaping clay and heating it in a kiln are no different now than they were hundreds, even thousands of years ago. There is no way I could have even conceived of the idea when I first touched clay back in the 1970s, but I love the fact that ceramics cannot be digitized into an array of zeros and ones. You still have to get your hands dirty to make something! The much-anticipated and heralded 3-D printer cannot take the place of a potter. Now, to complete the circle, consider that even as much as I’ve just stressed the physical nature of being a potter, it’s still that connection to and relationship with other people that helps make being a potter so satisfying. A little bit of the potter is incorporated into every piece that is shaped by her hands. Hundreds of people have told me, for instance, that, being a mug maker, I am a regular part of their morning coffee. This is significant and pretty cool. And, hopefully, the relationship will continue even after I am gone, and maybe even extend to another generation of user. cont. on next page

CLAYTIMES·COM n WINTER / SPRING 2015

He sent me the proposal. On the list of prospective interviewees were an astrophysicist, a cosmologist, several poets, well-known journalists, famous actors and authors, former presidents, and even the Pope! Why, given this distinguished roster, I asked him, would he be interested in interviewing an unknown potter living in out-of-the-way rural East Texas? Talking to him, I realized I was probably the only person he personally knew who had decided what he wanted to do more than 40 years ago, set about making a life doing it, and never wavered, in spite of years of erratic and unreliable income and little recognition. Plus, as anyone who has seen the movie Ghost and can still picture the potter’s wheel scene will attest, throwing on the potter’s wheel can make for great video. A potter would be a welcome relief, speaking while making something, when interspersed among an assortment of loquacious “talking heads.”

I had better give it some serious consideration and work on the best way to articulate my thoughts. I turned to that current repository of reliable information, YouTube, to see what others had to say on the subject. That turned into an interesting several hours-long bingewatching session, a compilation of “TED Talks”, pontificating pastors, and motivational speakers.

Opinion I Around the Firebox

No Regrets

Opinion I Around the Firebox

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No Regrets (cont. from page 49)

Index to Advertisers Art New England Workshops..................13 Bamboo Tools.........................................38 Bunting Biennial Ceramics Symposium....10 Carolina Clay Connection.......................50 Clay Times Products.........................28, 50 Clayworks Supplies................................50 Continental Clay......................................46 Dolan Tools.............................................12 Euclid’s Elements....................................51 Evenheat Kilns........................................36 Fulwood Measure...................................12 Giffin Tec’s Lidmaster.............................20 Great Lakes Clay & Supply Co...............50 Herring Designs......................................50 Hi-roller Vertical Slab System.................36 Japan Pottery Tools................................38 L & L Kilns...............................................20 Larkin Refractory Solutions....................46 MKM Pottery Tools.................................36 Muddy Elbow / Soldner Mixers................3 NCECA Conference 2015.........................4 Olympic Kilns .........................................22 Paragon Industries....................................8 PCF Studios............................................50 Peter Pugger.............................................7 Rushing Waters Videos...........................28 Skutt Kilns...............................................52 Skutt Wheels.............................................2 Spectrum Glazes....................................10 Strictly Functional Pottery National........10 Strong Arm Centering Tool.....................38 Ward Burner Systems.............................50 To advertise your product or service in Clay Times®, log onto www.claytimes.com/advertise. html or call 800-356-2529

The only thing that might, perhaps, make for a more meaningful life? Being a ceramics teacher. A teacher not only has to learn and practice the skills, but has to be able to talk about it and show others how to do it. This makes for a compelling and long-lasting legacy and a connection through generations. I’m not a teacher, so my next best forum for reflection is this Around the Firebox column. If you are one who works with clay, I hope your relationship with this most basic of materials will inspire you to think about your place in the world, and how to live your life to the fullest. [ David Hendley may be reached via email at: david@farmpots.com

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