SIX IN ONE DAY

Maybe it pays to stay out of the studio for a week or two at a time.   This time I went in and was on a roll.  I had worked up six pieces of clay and used them all within just a couple hours.  The one at the back, with the points has since been recycled as I just didn't care for the form.  The pitcher on the left might have to be recycled as well because the split in the vertical of the handle doesn't want to fill or be filled. 

lol I just noticed the time on the clock in the background.  

Spring and yard work have taken a toll on my time and energy, I hope anyone interested in my blog will bear with me.   I'm sure after the first frost I'll be in better form.  (No pun intended.)

LOST AND FOUND

LOST AND FOUND

I LOST the teapot when it rolled off the wheel as I trimmed it.   Bang bangy bounce bounce!  Lots of dents and deformities.   I ripped it open to see the walls and FOUND that they were Thin!!!  Goal #1one--met! 

I already had the handle and spout prepared so instead of junking them  I attached them, just for practice.  FOUND that when I don’t sweat the small stuff I can work the clay with more efficiency and FOUND that there is a lot more manipulation that goes on in creating a finished piece than I had realized.  Things don’t just fall out of our fingers.  We have to smooth, bend, adjust, repair and smooth again.  I FOUND it’s not a bad thing to work the project after making it, that’s part of making it.   (Could this be construction/deconstruction?)

 

     I had LOST the vase on principle because I felt it was too thick.  So I used it to play and experiment with decorations:  I stretched a small mesh garlic bag over the top of the vase and pressed a design into it that surrounded the spirals I had pressed into it with a cork stamp.   Again I FOUND that when I am more aggressive in my approach and more uninhibited like Piesecki, my work improves.  I LOST the vase when I trimmed through the side.   Haven’t done that in Years!  

All the new clay used for these two projects is now being slaked and my fragile ego is healing.  I’ll use the yard work as an excuse to stall for a bit.   If I’m not careful though, I’ll stall and find 150# of hard clay in my bins.   Would serve me right!

ttfn

mec

CLEAN WORKSPACE, NEW CLAY!

We went to Charleston Saturday and bought 50# each of Standard 213 porcelain, 240 white stoneware, and 266 dark brown clay.  In honor of their arrival I put down a brand new tarp on the floor to protect the wood and to look better than the skanky old tarp we had used originally.   

Here is the view from my work space.  (Poor me.)  Thanks to Terry for letting me use his apartment project until the real ceramic studio is finished. 

I put 25# each into empty cat litter containers.  Two of them have plaster in the bottom, four of them do not, I think the airtight lid will work to keep the clay moist without the plaster, and of course I left the clay in their original plastic bags.  I hope I’m right, that’s a lot of clay to re-soften if it gets hard!

I won’t be working in clay until next week, after special company comes.  I want the work space to look its best and I’m not very tidy when working in clay, that’s for sure!

ttfn

mec

TEAPOTS ARE A LOT OF HARD HANDWORK!

TEAPOTS ARE A LOT OF WORK!!!!!!!!!!!!!!

     It took three tries to get the handle on my first (volunteer) teapot, no telling if it will fall off or make it through the firing.  AND, I do not like the little hairline crack that is appearing at the top of the spout…

 

Here are the parts for the second teapot.

The lid is the hardest to make because it has to be made to fit the mouth of the body.  I still haven’t learned how to make the little doodad that hooks into the rim of the gallery so the lid won’t fall off when you pour.   For one thing, I think my gallery is too thick, flows too easily into the body and so does not allow a place for a “hook”.  Because of this there is no horizontal surface on which to hook the hook.   This time I did not hang the pulled handle on the edge of the board (remember last one fell off its perch and cracked), and did not wait as long to shape it to the pot.

I used an old button to form a design on the top of the lid handle:

 

 

I say the lid is the hardest, but that’s what makes it fun, because it’s a challenge.  I love all the processes of messing in clay, so the recycling of inadequate thrown pieces is just another excuse to cut and slam and knead the clay.   My only concern about that is that the porcelain (Standard 213) seems to lose a little creaminess after three or four recycles.   Hope I’m not losing some major ingredient the absence of which will manifest during the firing.    

So, TA DAH...........here are the finished teapots.  

 

The one with the line decorations will probably have to be a sculpture because the thing is so heavy.   I refuse to recycle the clay to try again.  Three times is two too many.  (See the design from the button on top of the lid handle?)

Well, folks, I’m out of clay.  

I won’t be posting any more until we make a run to Capitol Clay Arts in Charleston, WV (the best little clay distributor/ceramics classes I know).  

Rest in Peace, Elizabeth Taylor.

ttfn

mec

VOLUNTEER TEAPOT

Sorry if you noticed a delay in my postings…took a tumble and had bruised elbows and a stitch in my arm so couldn’t’ mess in the clay for a week.   Glad you’re back and faithful.  All’s well that ends well.

VOLUNTEER TEAPOT

I set out to make a garlic pot like the one I use which was made by Diana Frank.  As I worked I realized it might be way bigger than I wanted for a garlic pot, so I decided it could be a bean pot.  “Lidded” was the keyword as that was the challenge I’d put forth for myself.

As the throwing spun to an end, the pot had decided to be a teapot.  No plan, no intention on my part.   The clay determined the size and contours and pronounced itself a teapot.  I wonder if this might be an inkling of how a novelist feels when the characters come alive for the author and direct the work.

And so, I was compelled to throw a lid, a spout and make a handle.

The pitfalls:

   As I cut off the pot it was apparent that the bottom was dangerously thin.  I never like it when I can see the wire moving under the clay.  Also, I felt the lid might be too shallow, but it was all the clay I had left so I had to go with it. 

   The handle.  Hmmmm.   You know how I hate to pull handles.   But, my hands took a wad of clay and began to pull a handle as I watched.   I listened to them (my hands) and paid attention to the bulges that needed to be compressed and the straining that seemed to be stretching to the point of breaking, and a handle appeared.   A right fine form if I do say so myself, although my self had nothing to do with it.  Nice job, hands!  As you can see, I left it hanging on the shelf to stiffen up with its fellows.

Conclusions:

     When I returned to attach handle and spout and trim the lid most of my fears came to reality.  

    The handle had fallen from its perch and when I tried to curve it to the side of the pot it snapped in the middle.  Not good to repair a handle for a vessel that will be holding boiling hot liquid.  I have a fantasy that I’ll make a reed handle if the teapot makes it through the firing/glazing.

     The lid was too thin at the bottom (top) and I had to add a hunk to form a grip.  (I also am grateful that a bit of wobble and off centeredness is not so obvious in a stationary form.) 

     The spout, while a bit thick, seemed to work out well, although aesthetically it looks a bit stiff and awkward.   Geez, it looks like it was made by a beginner!!  lol

    The bottom of the body was indeed too thin—I mushed a wad of soft clay and formed a disk.  Slipped and scored, both bottom and disk, and they seemed to strengthen the base.  Only time and the firing (if it gets that far) will tell.

     Here is a picture of the unfinished, unclean teapot.  I think I will attempt to make another handle, it certainly is demanding it.

Much to be done, but I am inspired to try again.  I’m nearly out of clay and will have to make a run to Capitol Clay Arts in Charleston for more. 

I feel the warmth of spring and the outdoors calling me, I hope ceramics doesn’t take a back burner.             

ttfn  mec

UNDER CONSTRUCTION

Isn't it amazing how we can be moved by something, "forgedaboudit",  then later it comes forth in something we do or make? 

A minute ago I went to Adobe Photoshop to adjust the size of the photo of this round ball of a pot and immediately noticed the photo on the wall behind it.  I had JUST pinned those up on the wall before I sat down at the wheel.  I remember noticing that black form with appreciation as I pinned it up.   Honestly, I did not have that in mind as I worked up this piece, but I like that it shadows the form.

 This next photo is of a vase I'm working on to try to make it look like an old hunk of iron wood--hopefully it will be a series of organic vertical half rounds, smooth, and perhaps not glazed but stained a soft gray matte.  I'll work on it tomorrow and post new photos when it's done. 

WHAT IS IT?

WHAT IS IT?

This is a little pot I designed as spring started to peek through the mud and snowy ground.  Someone looked at it and said shyly:  “What is it?”

What would you say it is?

And this is what a slump looks like:

Been too busy in the house to get out to the studio and create lately.  

BTW, I don't know why this blog doesn't seem to allow you to leave comments, so if you have anything you'd like to say, my email is maryellenchapman8@gmail.com   Thanks for visiting and I'll work on the comment option.   Any tips?

mec

ttfn