newsletter of ceramics sa eastern cape
summer 2013
Letter from the chair
1
Notes from my studio
2
A visit by David and Sarah Walters
3
Dinner for one (in pictures)
5
Information on the Regional Exhibition
7
The pomodoro technique
8
Design capital of the world
10
Antoinette Badenhorst visit
11
How to‌‌an easy way to copy
12
Andy Bowls
14
Tips and tricks
18
all contact details on the back page
Front cover: Billy MacNaughton Index page: Delphine Niez
Letter from the chair
1.
We have had a great start to 2014! I was very sad to miss the AGM, but can ascertain from the minutes that we had good participation by members and views and ideas were discussed. This being a year of the Corobrik National Ceramic Exhibition, this time in Cape Town, I am hoping that you all have your thinking caps on and will produce fantastic work for the exhibition. Off course we need wonderful work for the Regional Exhibition in Grahamstown first. We have been able to secure a popular venue and we are hoping for many entries from our members. By now you have received your “Call for Entry” and will know what it is all about. In this issue we also have feedback from the David and Sarah Walters workshop and a number of images from our ”Dinner for One” exhibition. Did you know that our members have sold well in excess of R130,000 worth of work through ART gallery since the inception of our partnership? Worth a thought. We have a delightful article from Gavin Cox in East London in this issue, it is always interesting so see how people get into ceramics and to share their excitement. Ruthanne Tudball will be here soon and I do hope that you have booked. Even if you are not a wheel thrower, her interesting ways of altering work could be adapted to your own type of construction. Never miss out on an opportunity to learn. We are extremely lucky to have such a generous donation from the Nelson Mandela Metropolitan University which affords us the opportunity to offer the workshops at very good prices. With Antoinette Badenhorst arriving towards the end of June we really have a full programme ahead of us. We also need to fit a social evening in, but a date will follow later. These social evenings are well worth attending - good food and wine and a chat about ceramics - another opportunity to ask the experts. We are lucky to have sharing members. Please feel free to raise any issues with me regarding our organisation,the Argilos or workshops - Feedback is more than welcome - at least I know someone is out there! PS: All our web addresses in this magazine are hyperlinks. Just click on them!
Notes from my studio
2.
Recently I have been thinking about why I am still so passionate about clay after forty-odd years. What is it that keeps me going back to the studio, month after month, year after year? When I started my journey in clay I somehow thought that eventually I would know it all, that somehow I would reach a pinnacle and stay there forever. Gladly the more I learnt, the more I realized that I would never know enough; that the pinnacle was an illusion. There are mountains and valleys, some hillocks as well. The ups are great, the valleys not so good, but it is from these valleys that I continue to learn. These are not personal failures but part of the learning process. They call for harder work and a better understanding of how to improve. I like to look back occasionally, to remind myself of how far I have come. It is also important to take risks now and then. Sure, there will be some disasters, but also some success. It is important to keep looking and keep asking “How can I improve my work?� Many people have helped me on this journey. Some helped directly, by giving freely of their time, listening to my technical problems, and giving advice. Others helped indirectly, via ideas stimulated by workshops, demonstrations, books and informative articles. Maybe, because we all fail at times, people in ceramics give so generously of their knowledge. The bottom line is join Ceramics S.A., and meet and mingle with as many potters as you can. Attend workshops, where you will always learn something new. Become part of our community, and help other people by sharing knowledge and ideas generously. But, mostly enjoy the journey, for this is a journey that will last a lifetime.
3.
A visit by David and Sarah Walters
-
Margie Higgs
The most fun you can possibly have with your clothes on is… (according to Master Potter and Fellow of CSA, David Walters)… throwing a pot ! Well, lots of fun was had by all who attended the workshop presented by David and daughter Sarah recently at the Ceramic department. David very ably demonstrated throwing both large and small vessels with the minimum of effort, tools, only two to three “pulls” to bring your clay up, but plenty of chatty wit and tips along the way. He uses a rib inside the vessel to perform three functions: to shape, to thin and to smooth. His rib is an expired credit card, cut to shape. His other main tool is an all metal turning tool (seen in the picture below) given to him on completion of his ceramic studies. David uses a lump of clay and a long paintbrush to gauge the width of the pot when throwing repeats - the tip just lightly touching the rim. He demonstrated the throwing of the beautiful agateware teapots on show at the Legacy exhibition. He precisely shapes a piece of stained clay to the same width of the prepared lump which he cuts in half, and sandwiches the coloured piece in between the two halves. He then places the clay on the wheel head with the stain vertical. This ensures the colour forms concentric rings from the base to the top of the vessel. He proceeds to throw the lid and spout, off the hump, before the body of the teapot.
Agate ware - teapot
David consciously strives to create both useful and beautiful work. His interaction with customers before buying his elegant dinnerware where he establishes their entertainment style and preferences, leads directly to the choice of vessels
4. and style he goes on to create for them. His dinnerware is used in many top restaurants in the county and in stylish private homes worldwide.
magically appears to hold both light and shadow at the same time. These washed away vessels, the organic enhancements
Next came Sarah…………………while she follows David’s lead of making high quality porcelain ware it is with a distinct feminine touch. Sarah threw a vessel, pausing en route to randomly thin the rim and then continued to throw - resulting in the rim becoming delicately uneven. She then painted a design, both inside and out, on the leather hard vessel, in coloured cold wax. She carefully sponged away the clay between the waxed design. While this method has a high casualty rate, the resulting vessel, once fired, is wonderfully translucent and it
on her teapots and the carved designs through black slip all speak of her happy involvement with clay.
Dinner for one celebration (in pictures)
5. Margie Higgs is writing an article about our last 5 years as an organisation for the next NCQ, so you can read all about it there. Here are some images from our celebratory exhibition.
Bianca Whitehead
Nicole Kingston
Chantal Martin
Sarah Walters
Lisa Walker
Delphine Niez
6.
Nicole Kingston
Margie Higgs Lydia Holmes
Lee Hensberg
Donve Branch
7. We are privileged to have our Regional Exhibition at the National Arts Festival in Grahamstown this year. Make sure you enter!
Remember: If you would like to enter for the Ceramics SA National Exhibition in Cape Town in November, you have to have had work accepted for a Regional Exhibition at some stage. We have kept our entry fees reasonable and students may enter at no cost. Sponsored by
8.
The Pomodoro Technique
Ever hear of this? It is a time saving technique developed by Francesco Cirrilo in the 1980’s. The technique derives its name from a kitchen timer shaped like a tomato (pomodoro - Italian). The idea is to set the timer to 25 minutes and then take a short break. (3 - 4 minutes) So your work time is divided up into many Pomodori. After four such 25 minute Pomodori, you take a longer break, then start again. This method is said to increase mental agility and it also give your body a rest. An essential aim of the technique is to reduce the impact of internal and external interruptions on focus and flow. Before the process is started, you can plan you work time (a morning for instance), then take note of your goals for the time period.
As you complete the different Pomodori, you can note down what you have accomplished and where you are going to
go from that point onwards.
It allows many breaks which you can use to stretch or just blink you eyes!
At the same time it
allows you time to look at your work and note what your next step would be - for instance whether your ideas are working, or whether you need to start again, what under glaze you might use to emphasize something or ultimately whether you want to pursue the shape, carry on with the clay you are using, glazing, decorating or the bin! It is a low-tech technique : Winding up the clock confirms the user’s determination to start work. The ticking externalises the desire to finish a task and the ringing announces a break. Flow and focus become associated with the physical stimuli So let the lowly kitchen timer work for you! Just click on the link to read more and watch the video at http://www.pomodorotechnique.com
Cape Pottery Supplies sponsors of two regional exhibition awards
Kiln Contracts Building, 11 Celie Road, Retreat info@capepotterysupplies.co.za 021 7011320 http://www.capepotterysupplies.co.za
......an extract from a letter by Ralph Johnson, Western Cape Chair regarding the the Contemporary/Heritage Exhibition at the Iziko Museum in November 2014 - Month in Clay The contemporary exhibition running alongside the Heritage exhibition is open to all CSA members. The only criteria is that these pots must be in the same genre as the Heritage vessels which are smoke fired. So pots made by Nic Sithole, Michelle Legg, Donve Branch, Christine Gittens, Gabrielle Koch and of course Magdalene Odundo, whose work is so closely inspired by
From African Earth - Our National Exhibition will form part of the celebrations of Cape Town as the World Design Capital 2014.
Make sure you are part of it! Start working now and be sure to have your best work ready by October ! More details will be available later in the year.
African pots yet has a 21st century contemporary look, all fit into this genre. The pots can be thrown, hand built, slip cast or whatever, be cutting edge modern or look like Ukambas but they must all be smoke fired; in pits, bins, braais, saggars etc. They can be burnished or not, slipped or terra sigillata but no raku or glaze. They can be decorated or plain. Any clay, red earthenware or porcelain etc I would encourage people to look at ancient African vessels for inspiration. These pots will be selected at the same time as selection for the National Exhibition and be sent as per pots for the National. I cannot tell you at this time how many pots can be accommodated as Esther ( Iziko ) and I are still discussing the exhibition and gallery space.
10.
11.
Antoinette Badenhorst workshop late in June Antoinette Badenhorst, is a South African ceramist who now lives and works in America. wheel thrown porcelain pieces glow with translucency.
Her distinctive
This is a technique which she has researched and
developed over a period of time and now even presents an e-course which has been very popular. started a blog and has a Facebook page for interested ceramists.
She has
She will be here to demonstrate exactly
how she throws, then manipulates the pieces while still wet , scraping down and inserting details. She will also share her knowledge of how porcelain behaves and her different glazing techniques. Antoinette’s visit to Port Elizabeth is sponsored by the Nelson Mandela Metropolitan University. Because of this sponsorship our workshops fees are low. Don’t miss this opportunity to learn something new. You can read more about Antoinette and her exploits by clicking on the link below. http://www.porcelainbyantoinette.com
How to……Easy transfers of patterns or images to your ceramic work
12.
Free hand drawing is not for everyone… This does not mean that you cannot do a bit of cheating to get your image onto the clay. This is NOT to do a final transfer, just to use the image as a guide so that you can trace it off on your clay. Choose your image, manipulate in Photoshop or similar pattern. Print it onto paper with your INKJET printer. You can now add writing (remember in reverse) with water based markers. You can also add to your drawing with water based markers.
.
.
Remove the paper and the image will remain on
the clay - now you can use a scratch tool of your choice to scratch the image into your clay.
Turn this upside down onto leather hard
clay. Spray with a little water and polish on with the back of a spoon or rubber kidney.
.
For a painterly effect use stains or oxides mixed
with pen medium (for good flow) to copy it. If you use stains, remember that you will have to glaze over it to retain the image as stain has no fluxing properties of its own.
13.
Remember writing has to be in reverse! Use water soluble markers.
Use under glazes to colour in
Finishing off. Apply wax resist to areas to remain unglazed. Glaze and fire to full temperature.
Lesson plan condensed form Ceramic Arts Daily. Are you a member - get your daily free lesson and information from their archives. http://www.ceramicartsdaily.org
14.
andy bowls and other ceramic ramblings
My wife and I have always wanted to try our hand at pottery and the opportunity finally came as we explored possible futures for our significantly disabled son. We typically describe Andrew, all six-foot-three of him, as twenty-one on the outside and five on the inside. A nicer chap you couldn’t hope to meet, by the way. Unfortunately the pottery has not turned out to be the answer to the rather difficult questions Andrew’s future poses, but exploring the option led to us establishing our small home studio complete with wheel and kiln in 2008/9. All equipment acquired had been pre-owned, and we enjoyed the ceramics community from the get-go, with folk open and helpful. Andy still helps out in the studio but by far his greatest contribution was the invention of the Andy Bowl – a half-spherical terracotta stoneware bowl 15 cm in diameter and half as deep, brightly under-glazed in a wide range of colours on the inside and then clear glazed all over. We sell these tissue-wrapped and cardboard-boxed, the closest thing to a perfect gift, and Andrew still
participates in the production of each and every one, at the very least hand-signing his “inventions” on the bottom. Let it be
15.
said that in this his ceramic aspirations seem to be fulfilled, although his interest perks up sporadically. As you can glean from the above, for Estelle and I a thought became an interest - became a hobby - became a passion, and we’re now attempting to establish our little studio with a measure of commercial viability; at the very least we’re aiming for a helpful income stream from our endeavours. And this is where things get really interesting! How do you develop a small home studio into a small business that at the very least washes its own face and provides a little on the top? An excellent question which as yet awaits a satisfactory answer. In the mix is the acquisition of skills. Thank you to John Steele for the lessons, the advice and the ongoing encouragement. In the mix is the inevitable opening of the studio to others who would like to give pottery a go. Thanks to those who did so, and thanks to those who will yet do so. You’ve helped us learn a great deal. In the mix are family and friends who graciously accepted a steady stream of unmarketable home-made pottery as gifts. We occasionally bump into our earlier work in a social context and cringe quietly. In the mix is hours of Internet surfing and You Tube viewing. And in the mix is experimentation; plenty of it; endlessly. And in the mix is the slow gravitational pull of expressions of the art which draw you as an artist and allow the craftsmen in you expression with some measure of competence. (I would love to say mastery, but I’m not sure we’ll get there in this lifetime).
The learning curve continuous at suicidal gradient. We’re now members of Ceramics SA. Glean, glean, glean. I’m tickled pink to be writing for Argilos. Influences into the ceramics scene in the Eastern Cape in 2014? – why, it’s workshops by David and Sarah Walters, Ruthanne Tudball, Antoinette Badenhorst and Magdalene Odundo, and a highly informative article by, well – me! I guess every publication needs a humour piece! We’ve also joined numerous Facebook groups and discussion forums; we’re even starting to understand the terminology used on some of them. Any and every opportunity to learn, and they’re many. And of course we’re experimenting. A trip along the Midlands Meander introduced us to Ian Glenny and Lindsay Scott. And tea bowls. Captivating! A chat here and a nudge there (thanks John Steele) and I’ve started throwing porcelain tea bowls and experimenting with layering glazes (all at stoneware temperatures). And absolutely loving it! What that means is that friends and family our now in our teabowls-as-gifts phase. Fortunately they’re a gracious lot and even seem to be enjoying their new tea bowls. Some have even
16. shown off their chawans to others and so we’re selling a few here and there. Nice. Yet the great experiment of the moment is pit firing. Looking back it is evident that we would inevitably start probing options beyond our electric kiln. Somewhere between researching wood-firing kilns and briefly contemplating slapping up a small Roman kiln (Jeremy Dubber’s fingerprints are also all over our journey, as are his clays and other supplies), the idea of pit firing started to take root in the recesses of the mind. The first few pots tossed into the braai fire died unenviable deaths, but eventually the good old Weber kettle braai provided a reasonably successful pseudo-barrel-firing experience. One look at the beauty of the flame painted wares and we were hooked. Our first full-scale pit firing came several weeks later. Learning curve – vertical! Too much wind, so 45% breakage. A little too little sawdust (pit not deep enough); significantly too little wood, so temperatures high enough but not for long enough; add complications with smothering the fire; result – less reduction than desired. At least this is what we think. Disappointing – no! Some beautiful pots – yes! We can hardly wait for the next firing. In the meantime the studio keeps ticking over – a few Andy bowls, a few lessons, Estelle doing some hand building, a few commissions here and there, a couple of tea bowls, and a constant little stream of planters and vases thrown destined for the pit. All the while we’re also turning our attention to the greatest challenge in our immediate future – marketing. Having saturated the family-and-friends-brigade and having made a small foray into supplying local retail we’re fast reaching the conclusion that best way ahead is to market directly somehow. The initial plan is to build a collaborative with other artists and
17. craftsmen in the East London area and together find ways to market our wares in East London and beyond. We’ve put out one or two calls and will yet make a few more. Any others who might wish to explore such collaboration with us are welcome to be in touch. In conclusion, then, a quote from our son Andrew, who is a young man of few words; this on one of his less favourable days in the studio; said with great emphasis – “clay sucks!” And he’s right – some day’s clay can be the most frustrating and defiant of substances imaginable. But far more often it serves as one the most exciting of creative mediums. We’ve come to love it – its smell and its touch and occasionally (inadvertently) it’s taste. We admire what others are able to do with it and are slowly more able to coax a semblance of obedience from it ourselves. What fun!
Gavin Cox East London
BELMONT cERAMICS
Tips and tricks
18.
For those who sculpt: Use drinking straws as armatures for arms and legs. Especially the ones with bendy bits for the elbows and knees. When drying slab or hand rolled tiles: Dry them upside down between two sheets of ceiling board. The board will absorb the moisture from both sides and no warping will occur. Once dry do not try to put them back. They will
We supply: Quality earthenware and stoneware clays Exciting coloured clays Wide range of glazes Pottery tools and equipment Contact us : Danie 0719063313 Belmont@cermalab.co.za
crack easily. For wheel throwers: Glue a grinding disk to a bat (especially if you use pins on your wheel. Spin this to grind down excess glaze or rough patches under bowls or plates. To avoid cracks and separations at junctures in wet green ware, coat the outside with wax resist. This will stop the water evaporating faster on the outside. (It will burn off in the bisque firing, off course). To keep glaze particles in suspension, add small amounts of Epsom Salts (1 or 2 tablespoons to 9 - 10 kg) to glaze, thus avoiding the rock hard lump at the bottom. “A good pot is in the wallet of the beholder�
Ruthanne Tudball Antoinette Badenhorst
3 May 2014 NMMU Full day demonstration workshop (subsidised) R250 (non-members R400) 9 am to 4 pm Ruthanne is known for soda firing her work, but this workshop is about her process of creating her ware.
June 2014 NMMU 2 day workshop (subsidised) R600 (non-members R900) Antoinette works in porcelain and will be demonstrating her skills in throwing and then manipulating her vessels
“Manipulating soft clay on the wheel and feeling the material respond to the merest touch is like setting out on an exciting journey for me”.
into different shapes. She will be demonstrating different
“I do very little trimming as all my work is thrown and manipulated while wet on the wheel”.
https://www.porcelainbyantoinette.com
She will be demonstrating her techniques in this one day workshop. https://www.ruthannetudball.com Book at ceramics.easterncape@gmail.com
techniques in decorating and glazing.
Book at ceramics.easterncape@gmail.com
lydia holmes - chair 0835649430 lydia@rgholmes.co.za donve branch - v. chair 0833262842 donve1@telkomsa.net
margie higgs - treasurer 0837279454 margiehiggs1@gmail.com lisa walker -workshopcoordinator 0825169220 deanlisa@mweb.co.za bianca whitehead 084 257 3073 bianca.whitehead@nmmu.ac.za eloise mogg east london rep 0827565734 moggspottery@bluebottle.com
Email address: ceramics.easterncape@gmail.com