Spinning Madly On

I am sometimes asked to donate work for silent auctions and am often asked to bring my pottery skills into the schools. But, this is the first time I was asked to do one in the same.  I am so excited about the project!

The task was to come up with a “student” made class piece to be offered as a donation for the school’s silent auction.  So, together with the 5th grade students, we designed a vase form, made a template, and prepared the clay.

It began as a very large rectangle slab whose surface was sectioned off into a grid whereby each of 27 students choose a space and made it “their own design” complete with name or initials.  After that, we carefully folded it into an oval, pressed the front seam, and cut darts to form the curves on each side at the top and bottom.    Then, we brainstormed how we were gonna prop this monster up while it dried a bit!!!   Lastly, back in my studio, I added a slab bottom and a coil to the top.

The kids were so enthusiastic about the project and did a really wonderful job offering creative ideas and making their space on the vase unique.  It is amazing how the appeal of “stamping” into a soft slab never gets old.   I plan to finish the surface by using a black underglaze wash (wiped away) and then applying a limited palette of terra sig  to offer some color to accent some of the texture.    

The New Year brings with it resolutions to do better . . .

One of mine is to post more regularly to this blog.  Truth be told, I have a love/hate relationship with it.  I love how it connects me with other potters and people who love my work.  The encouragement and tips offered have been wonderful.  I have also sold more work from my blog than most shows I participate in, and, I really enjoy a more direct exchange with those who love my work.  But . . . I hate posting.  Okay, I said it.  It’s true.

It’s like this . . . when I am flowing well in my studio, the very last thing I want to do is stop and get on my computer.  But that is the very time I should because enthusiasm is high and everything is fresh in my mind.  But when I do, the gear change causes me to lose flow.   Clay and computers don’t mix, not to mention the concrete walls that surround my studio make the wireless signal impossible to find.  I rarely even get cell phone service in there – LOL.  This isolation is wonderful in that it keeps distractions at a minimum.  Instead, they come in the form of real live children who are hungry, tired, fighting with a sibling, or need a ride.

So, to post on this blog, I leave the studio.  I re-enter The House (where laundry, and cooking, and cleaning, and homework help calls).    And so, by the time I get back to my studio, I rarely seem able to pick up where I left off.  There is an indeterminate period of finding my place again.  And I hate that.   And so then, when life throws me too many curves, I have avoided my blog as one more thing to disrupt flow.  My temperament is to IMMERSE myself in flow. . . it is a long-standing battle to fight against that as I try to work in short bursts.

In the time since my last post (um . . . 3+ months ago),  I had 3 kids playing Fall sports (practices and games 7 days a week), my spouse became gravely ill with an MRSA Infection (2 weeks of serious illness, then 5 days in the hospital admitted through the emergency room, came home with a PICC line and IV for 4 more weeks), 2 surgeries for him, Thanksgiving, a week long visit from in-laws, Christmas, a ski trip, and we bought a used Mini Cooper (out-of-state) for the Soon To Be 16 Year Old.   Today, everyone is finally back at school and work . . . healthy and happy.  Okay, the kids are not happy to be back at school. . . (Im happy!)

During my Anti Blog period, I came across a series of articles by Lana Wilson published in Clay Times discussing the unique challenge of raising children and balancing a career in clay.  It seems my struggle is not unique (although I never want another Fall like last Fall!)   Lana’s thoughts are truly inspirational.  If you are struggling with a similar challenge with balance,  I encourage you to read her thoughts.

My intent in 2010 is to schedule just an hour, once a week, to write/photograph and post what is going on in my studio.  I can’t promise you it will be earth shattering, but I hope it will build a better feeling of mutual support between me and  you.

I wish you all the time and energy and flow to meet your goals this year!  Happy 2010!

Yesterday, I spent the day with Japanese potter Hatori Yasumi.   She demonstrated her processes at Piedmont College in Demorest, GA, north of Atlanta.  It was a long drive on a rainy day, but well worth it as I had been in need of  her exact type of inspiration.  Sometimes, I struggle to maintain a connection with my own voice and sense of purpose with my passion for clay . . . my daily commitment of raising three children can sometimes drown it out.

Observing a potter from another country, especially Japan, is an incredible experience.  Potters are revered in that culture and so there exists a feeling a dignity to their work and process that is palpable.  Yusami comes from a village of 50 potters who work full time in their craft.   The value of the work is such that 100,000 people come over the course of three days to purchase the pottery when her village (pop. 10,000) has their annual pottery sale.  Watching her work, there was this peaceful, unhurried acceptance in her process . . . from the rhythmic strokes . . 50 one way . . . 50 another as she knelt on the floor to wedge her clay . . .  to the time taken to  center one large mound and throwing unmeasured cups off the hump . .  . or the marks she left to tell the story of the pot .  No smoothing,  fixing,  or endless adjusting.

In America, we are often consumed with the drive to be “perfect”, or to keep “improving” . . . an endless dissatisfaction and drive to make it “better.”   This reflects in everything about our culture, down to and including our pottery tools.  I found a beauty in the simplicity of Yasumi few, simple handmade tools, carefully cleaned after each use, and layed to dry on her cloth.  I smiled to see her use the same wooden knife to trim the foot of a cup, and cut a rim of a slab built basket.   (I have been caught in the trap  of thinking I “need” yet another tool. .  .)

In Japan, there exists a profound value for the intrinsic beauty of the material . . . and in allowing the process to inform.  ”Wabi Sabi” is an important, even essential influence. .  . it’s the finding of beauty in the imperfections . .. more even, that beauty cannot be found in the perfect, the blemish free.   The appreciation of the pot is in the subtly of the scars or marks that show the journey, from the  impuritiies found in the clay dug from the hillside in their local village . . . to marks left by the maker’s hands, a finger print, or a tool mark . . .  to the glazing and firing process, perhaps the  pattern left in  one spot from where the pot rested on  rice hulls in a post firing reduction,  or the flame pattern from the wood used in the anagama firing).  The beauty exists in what some might see as “wrong’ with the pot.  It’s found in the intimacy of that information. . . . and the dialog this creates between the pot and the user.

Today I am feeling peaceful with the process. . . . whether it be my struggle to make beautiful pots. . . or my struggle to get to the studio when kids need everything kids need.   Somehow, it makes whatever I produce (good kids or good pots) that much more precious and meaningful.  Thank you  Hatori Yasumi for reminding me.  Peace be with you.

I cannot seem to get enough of bowls!  I love this form because of it’s simplicity and versatility.  It is beautiful serving food, or sitting on a shelf, or just holding a collection of stuff.    I love throwing nesting bowls . . . the challenge of repeating the curve of the belly three different times in varying sizes is fun.  But, lately, I have been into this slab built, darted bowl.

My first idea for the form came from a hand made silver bowl I received many years ago as a wedding gift.  I loved the contemporary shape, but the metal seemed too formal and cold for everyday use.  So, I began with measuring the circumference  (the widest point) and height and translated that to a flat, rectangular template.

This particular square bowl takes a 5 lb chunk of clay that I wedge first, and then smack down onto the table, one side at a time until it takes on a block shape (no round balls of clay for making slabs).  I strive to have one side of the block be approximately the height of the slab I need because when I start throwing it down, I will do so with the end I wish to get longer.  Next, I throw/roll out my slab.  I don’t have a slab roller.  I feel this method works really well for me (and is fun).

I start by tossing (more flinging) it onto my work table at an angle so its own weight causes the block to elongate.  I repeat this, in both directions of one opposite end (dont want it to get wider . . . just longer) until I have a long, thick slab that is starting to become difficult to pick up.  The size and shape of my template guides the “throwing.”  If I were making a form that had began with a square slab, I would be “tossing” my slab for both length and width.  This one takes a really, really long rectangle.

Once I have the slab about as long as I can get it and still pick it up without stretching it out, I transfer it to a fresh board to continue elongating it with a rolling pin.  I like to throw my slabs on finish grade sanded boards.  The boards are absorbant smooth, keeping the clay from sticking or picking up undesired texture.   For this bowl,  I move to a 3′ ware shelf because my slab will become very long.

Next, I use a specific thickness of wooden sticks to ensure an even thickness.  How thick depends on the size of your finished piece (the larger the thicker) and what type of clay you use.  When I was working in porcelain, I could go really thin because of its fired strength.  In earthenware, I like it thicker.  I prefer the visual weight a thicker wall gives an earthenware piece.  I roll the slab both directions, and if it starts to stick to the board, then I flip it over . . . very gingerly. . . trying not to stretch the spots on the slab where my fingers are.  If making many of these on one day, I will use a piece of an old soft bedsheet (like a sling) to support the clay.

Eventually, the slab becomes long enough for my template.   Im not sure if the photo shows it well, but I write little notes to myself on it in regular pencil (or if Im really lucky, a WHITE one . . . my eyes these days prefer the white lead).  I name the form, include the finished dimensions, the weight of the “block” to start with, and the size and type of any darts I will put in.  This way, when I dig through my stack of templates, I am the least confused I can possibly be.   (when I am into “versions” of the same piece . . . leading to “versions” of  similar templates, things get really sketchy. . . )

Finally, when I’ve rolled the clay out as far as it will go, preserving the slab thickness I want, I cut the shape with an exacto knife or some other crazy knife (I have a  knife collection . . . another topic).  Really, use anything with a straight blade that is sharper than a fettling knife.  The blade on that one is too thick, in my opinion, for this job.  I also roll out a slab of the same thickness to be used later for the bottom of the bowl.  Wrap this one in plastic until it’s time to use.

The next step is to add any surface texture I may want  with stamps or other mark making tools.  Then, I bevel the short ends, score and slip and butt them together.  I like the seam to show as much as possible, so I use a  technique where I gently slip/slide  the two ends in a very tiny movement until I feel the clay particles lock.  It is very subtle.  The ends do not need to be “smooshed” together.  I want to preserve the integrity of the seam line.  I am looking for the ends to “join” . . . and I achieve this from that “lock” that is felt when I slip it together just right.

Next, I add darts at the corners and attach the bottom.  Then, I place wrap it in plastic overnight to allow the seams to really take hold and the whole thing to set up.  The next day, I unwrap the piece (the seams and darts will be very strong) and stretch some “volume” into the shape with my fingers.  This is my very favorite  steps. . . . I feel like it breathes the life into a slab built form.

I hope you enjoyed the process!

After I fixed the sink I got the rest of the cleaning done . . . it felt more like an excavation . . . wiping down and scrubbing off in layers.   I suspect I haven’t  cleaned this thoroughly since . . . well, ever!   I almost let the splash pan of my throwing wheel go . . . just brushing out the crumbs . . . (kinda “what was the point?” deal)  but then committed a full  clean . . . I even windexed (is that a word?) the stainless steel sink.  Throughout it all, I kept thinking about potters who have studio sales in their work space. . . . (like Ron Philbeck). . . who else does this?  How do you get ready for it?

(I exchanged the photos under the “Studio” tab with the rest of my Clean Pics, if you want to see more. . . )

My three kids started back to school this week and so it is time to begin a new cycle of work.  I cannot wait . . . many ideas have been swirling in my head these last many weeks.  Our summer has been crazy busy with my last show coinciding with the last day of school. . . so when it was over, I hit the ground running full on with kids each day and did nothing but dump all my “show” boxes into my studio.  Then . . . when Star House camp hit, I shoved things around a bit to gather tools, and roll out slabs . . .dumped all my clay stuff back in when it was time for tie dye. . .  and when it was all over I was actually delivering fired and glazed student work just before leaving for Savannah.  It wasnt pretty.

I have spent the better part of days putting tools back where they actually belong .  .  . discovering leather hard slabs of clay  buried under piles of junk (might be good to cut up  for test tiles?)   . . . recycling all the clay scraps from clay camp . . . throwing out stuff I have no idea why I saved. . . and discovering that the drain pipe that used to hold together (with encouragement) was done cooperating.

After having some fun with Teflon tape . . . and Duct tape (I dont know why. .  I just like that tape . . . and just that just maybe the adhesive was so strong it could withstand water????) . . . (it didn’t) . .. so then, 2 trips to Home Depot and a final encounter with the pipe wrench and I believe I have tamed  my drain connection.  Today.  I will spend the rest of the time I have mopping up dried, spilled glaze . . .wiping down all the surfaces . . . washing off bats and tools that were used at clay camp . . .tomorrow is time to make pots!

This place is seriously fun.  There are about 85 art educators here for the week having what amounts to . . grown up summer camp.  We live in a dorm  (with all the typical challenges of dorm life).  We eat in the cafeteria (except when we cannot stand it).  And we take amazing workshops offered by the SCAD professors.  I have met art teachers from as far away as California and Connecticut and everywhere in between.  

Because I work in clay. . . I’ve been dying to draw or paint or do something 2-D.  I have been in heaven!   The workshops run from 8am – 1pm, with some type of optional activity planned for the afternoons and evening.  This has included museum tours, architectural tours, and even a trip to Tybee Island.  Savannah is also a great place for bike riding so I brought mine and have been riding all over town enjoying this beautiful city.  (Today, i rode my bike to the Savannah Day Spa for a massage.) 

If you are an art teacher looking for continuing education credits or even just an artist looking to explore some other disciplines, I highly recommend this program.

2009 Peachtree Road Race

Yes, I know the blog is stale . . .  its been forever since a post.   I am sorry about that.   My only explanation is I’m in week 10 (of 12) with my 3 kids home on summer vacation.  I have been busy with everything except clay.   I began the summer working along side my 15 year old daughter volunteering with families and coaches from her cheer gym to help out an elementary school nearby that was in critical need of some improvements.  Hands On Atlanta lent us the tools. . . .  gym donated materials. . . and together we completed 18 projects for the school on a Sunday in June. . . . it was awesome.   The rest of June was spent shuttling kids to football camp, soccer camp, and plans with friends.  My oldest daughter also tore a ligament in her ankle  . . .  spent 4 weeks in a purple cast.  My younger two attended Camp Thunderbird . . . (a place so fun I wish I could go). . .and  the oldest visited her aunt and uncle in San Francisco for a few days. . . while my husband and I enjoyed 5 days alone. 

  On the 4th of July, I ran  the Peachtree Road Race. It’s largest 10k in the country (55,000 runners).  Okay . . . . the truth is, I didnt run it.  I haven’t run in two years.  I cycle . .  well, not outside, exactly.  I ride my bike outside but I am  really, seriously addicted to spin class inside.  I love endurance rides. . . and threshold rides. . . aerobic endurance rides.  I wear my heart rate monitor and pay attention to which Zone I am in.  I love Mary Brown who does Tue/Thurs  cause she picks her music perfectly. . . and has a crazy personality.  So, no . . . I dont run . . . I have not run since plantar fasciitis high-jacked my feet.  But I had a really good time.  I yelled and waved my arms at the Moe’s party bus until I was thrown a t-shirt.  I waited and yelled at the Chik-fil-A party bus to grab for another  t shirt . . . I walked 6.2 miles on concrete . . . another 3  back to the Marta train station and at some point,  I looked up (my feet were really hurting) . . . I saw this guy in front of me with a sign taped to the chair he was carrying.  I knew the message was for me.    

I also have been voluteering my time and materials in support of the STAR House summer camp.  I taught one week of clay and organized a week of tie dye.  In addition, I coordinated our local chapter of  NCL volunteers to support both projects.  STAR House is a really wonderful non profit foundation here in Roswell that supports at-risk children by providing academic enrichment after school and in the summer.  They also promote communication and connection between  school,  children, and their families.  This is my second summer helping out with the camp.

We enjoyed a vist from my brother and sister in law and their three kids.  We had a great time catching up and letting the kids play.  And so then . .  . the last bit of news I have to share is that I am also currently updating the blog from Savannah, Georgia where I am enjoying a week at Savannah College of Art and Design participating in their annual Art Educators Forum.  I came down early to enjoy a few days with an old friend and the workshops started today.    I am enjoying meeting art teachers from around the country.  Today I participated in “Life Drawing Using Black and White Charcoal” . . . dusted off a few cobwebs drawing the wonderful model “Caitlyn” . . . 

I finally logged onto my blog today and was shocked to see it has been 7 weeks since my last post.  I knew it had been a while . . . I have a lot to get caught up on.   In the weeks Ive been away, I planted flowers in many pots and baskets on our deck . . . strawberries. . . and a vegetable garden below.  And, soccer is finally over.  We hosted the Never Ending Soccer Season Year End Party at our house last night.  We estimate half our games this Spring were rained out and rescheduled extending the season beyond our imaginations.  Tryouts for “next season”  begin in a week.  Lacrosse also ended in a glorious tournament Mothers Day Weekend. . . football is beginning.  All Star Cheerleading just goes on forever.  My children are now out of school for the summer.    My husband has been traveling weekly. . . leaves for China tomorrow.  And,  I had a birthday. . . .   a birthday party . . . . and started shopping for shorts examining the the length wondering if they were appropriate for “my age.”   Hmmmmm. . . . .  

Anyway. . . on a brighter note, I participated in the Clay West Show last weekend.  Traffic was steady and sales were pretty good. I entered a large faceted soup tureen with ladle and set of bowls for the juried portion of the show and was very honored to have my work selected by  Rick Berman  for an Honorable Mention.   I was the only potter to have received a nod with the other awards going to a two sculptors and a hand builder.   My favorite part of the juried show is the comments left to each artist who submits work.  I really appreciate the feedback and the time taken to offer it.

I also was lucky enough to snag  a wonderful pair of cups by Debra Fritts and I then when I got home, I found myself stashing them in a different cabinet . . . away from the “other cups” . . . .  and so I’m wondering . . .  have you ever felt “selfish” with a new acquisition???