Spinning Madly On

I have been working in this studio space for over a year and am very happy with the layout.  This photo shows the main entrance.  Work tables, shelving, and the trimming wheel (Brent) line the left wall. To the right of the door is the throwing wheel (Whisper), tool cart, and some ware boards.  I throw in front of a mirror so I can monitor the form as I go without having to lean far to one side.   The shelving to the right of the wheel provides an easy place to move wet work off the wheel.   The view out the door looks out onto woods and a small lake.

If you turn to look at the wall on the left, you will see two work tables lining the wall with shelving and the trimming wheel in between.  This is where I keep everything I use for trimming and hand-building.  I’ve got bins of stamps I have made or textures I have collected over the years.  I’ve clipped some shop lights to the shelves to provide more light on a cloudy day or if I’m working at night.  The “roll” you see hanging from the wall on the left is a variegated backdrop for photographing my work.  The box hanging from the ceiling is a light box that I made in John Britt’s Photography Workshop with Joy Tanner . . . (awesome!).   Basically, all I do is clear that worktable, unroll the backdrop, lower the light box. . . add a few diffused lights on the side and start shooting.  I love having a set up like this handy in my studio.. . . and I’m vertically challenged  so the  hanging light box doesn’t get in my way.   The blue mats are my Poor Potter’s version of “anti-fatigue mats” (more commonly known as Foam Yoga Mats and run about $30 at a sporting goods store).   They have made a huge difference for my feet, working on a concrete floor.

Turning a bit more and there is a  35 sq. ft. alcove that juts out from the main space- perfect for a kiln!  The walls are cement but we used fireproof wall board in this area as well.  We also installed an industrial exhaust fan to move the heat out, and put an EnviroVent on the Skutt Kiln.  I pretty much just lean my kiln shelves against the wall right now when they are not in use.   The cement floor has been  sealed with an epoxy type paint used to seal garage floors.  It has worked beautifully.   My aluminum ware cart (aka a bakers rack) was picked up as surplus on the cheap from a restaurant supply house.  I have cut sheet rock boards to fit that I use in this cart.  I love the sheetrock because it offers a very flat surface (wood is prone to warping) and allows the bottom of my pots to dry at the same rate as the rest of the pot.  If you use sheetrock, it is important to wrap the exposed ends in duct tape so that the crumbly insides dont wind up in your work.   Also in view is an old wooden bookcase (behind the ware cart) where I keep kiln furniture, mitts, and a firing log book.  Behind the bookcase, I store some plywood boards that place on my worktables if I am working in a lighter colored clay body (than red earthenware).

Turning again so the kiln is right behind.  You will be facing the glazing table and sink, with more shelving over top.  I have an unbelieveable amount of raw materials cramed into this space.  This where I make and store all my glazes and the terra sig.  Under the table I am keeping my jiffy mixer, drill, tool box, buckets, and a few plastic bins that I use as damp boxes when needed.   To the left is my sink, under that are buckets for reclaiming scraps.  I do that the old fashioned way. .  .slaking it down, drying it out, and wedging it up.   I fantasize about a pug mills . . .

Around the corner from the sink is another work table and a lower, canvas covered plaster filled wedging table.  I store clay on the shelf below the wedging table.  All my work tables are 2′ x4′ for flexible configuration and thankfully, on casters.   Above the work table and wedging table are shelves where I keep my clay library (I have a weakness for books), Ceramics Monthly, Clay Times, workshop notes, my working clay journals and some molds.  Visible  on the back wall are some old shelves I used in my previous space that now hold finished work . . stuff I love . . . stuff I hate but need to learn from.  So that is pretty much it.

Of course, no studio tour would be complete without noting my “studio mate.”   On nice days, she lays outside the studio door . . . sometimes even across the threshold (then preventing me from closing the door . .  ).   This location gives her a perfect spot to scout any geese who wander into our yard. . . . and then she loves a good chase!  Her company is only offered until the kids are home from school and then she makes it very clear, that she was just passin’ time with me.