Gas Kiln Firing 03/19/11

I always look forward to weekends when the studio/resident artists at Clayworks fire the gas kiln. Loading the kiln is an art in itself. We usually do that on a Friday evening before turning on the gas and letting it candle overnight.

The following morning, we're at the studio bright & early and ready to get the show on the road. One of us bumps up the gas, another adjusts the damper and body reduction begins. Kiln checks are every 30-45 minutes, leaving plenty of time in between to do whatever we wish. That's why I love firing the gas kiln; any excuse to spend 12+ hours at Clayworks puts a huge smile on my face. The rest of the day is spent looking through the peeps, checking the cones, nudging the gas & jiggling the damper, all the while hoping that - inside the kiln - everything is coming together, making magic, and that the pieces within will be glorious when the kiln door is finally opened. Late Monday afternoon, we were delighted with what we found.

On this table is about one third of our work. There were so many pieces on the shelves we were unable to get everything in for this firing. (Yay! That means another weekend at Clayworks will be coming soon!)

Pictured above, roughly front to back, is the work of Elaine Spallone, Julie Wiggins, and Chris Beloni. (Chris was the Team Leader for this firing.) In the middle of the table are some of my "flock". I had thirty-four birds in the kiln this time, evenly divided between what I call my "shino" birds and my "icy blues".

I experimented a little with four of the "icy blues", adding a bit of blue glass on the tail feathers. That's standard operating procedure for the "shino" birds but it's the first time I've tried it on their paler cousins. I was hoping for more of a "pooling" effect but the form of the tail didn't allow for that and the glass ran. Ah well, the idea was spur of the moment. Next time, I'll plan ahead when I'm making the birds and create the tails accordingly. I haven't decided if I like these little ones or not. What do you think?

This coiled planter, the biggest I've made to date, was a happy surprise. I didn't expect it to be so colourful. Now that Spring is here, I can't wait to fill this one with a rich potting soil and give a plant a new home.

Speaking of new homes, there's a mockingbird sitting just outside my window; in its beak are three or four pieces of pine straw.
I hope it builds that nest nearby so I can watch Spring's miracle of life unfold. I love this time of year as much as I love firing the gas kiln. Life is good.

Testing... Testing

Last Summer, while at a pottery sale, a friend introduced me to an absolutely wonderful snack - dehydrated tomato slices. Salted and decked out with basil and a dash of red pepper, those stained glassy tomato slices left a vivid impression on my taste buds. Since that time I've been boning up on dehydrators and I finally bought an Excalibur. The 5 tray model. It arrived at my office over 2 weeks ago and sat there, in its box, until yesterday when I finally cleared the counter space to bring it home.

Tonight, Excalibur makes its maiden voyage. Cherry & Roma tomatoes - drizzled in olive oil, sprinkled with salt and draped in ribbons of fresh basil - are happily , I hope, dehydrating away on my kitchen counter (next to several drying porcelain birds). This is how they looked going in.


This dehydrating thing is new to me. If anyone reading this has tips or pointers I would very much appreciate hearing from you. In the meantime, I'll post pix of the finished 'maters once they emerge from the Excalibur.

I wonder what would happen if I put a few (very thin) clay pieces in there? ;)

March Came in Like a Lamb

But I feel more like a Lion. Well, sort of but not really. I do like to think I have the Lion's courage to try new things in clay. But for me, it's almost always a hit or miss proposition unless I'm working on the porcelain birds that I fondly call "the flock". Another 18 went into the bisque kiln today - along with some coiled planters. Also pictured are honey pots and mixing bowl sets made by Kim Marcadis, Studio Assistant Queen at Clayworks.

Another piece went into today's bisque, and it's one that I'm excited about. Fellow potter, and good friend John, threw a pot for me, solely for creating a canvas for "cave art". Typically, I gnarled it up a bit. Atypically, I tried a carving technique I have never used before on my cave art work. Who knows what results this may bring?

Here's a closer look at one of the three "creatures" on the pot.

Other "secrets" on the piece will hopefully benefit from the final glaze and gas firing. Thanks, John, for the gentle nudge to get back to the parietal work.

Lastly, I've been working on a sculptural piece for class. This fellow may well end up in the slurry bucket before all is said and done. I've been sorely tempted to drown him time and time again. But I can't abort him just yet. There's an agony and ecstasy in his birthing process.

Hubby, Fred, says he looks like Dobby the House Elf. (Hmmm. Commercial possibilities?) Nonetheless, it will take more than a wizard's magic to bring this guy to life. And while I may feel like a Lion, I am no Bert Lahr.

We'll see what happens.

SEWE Weekend 2011

Okay, I'm woefully late in posting these photos. It's been nearly 2 weeks since sister Cinder and I attended the Southeastern Wildlife Expo in Charleston, SC. Fondly known as SEWE (pronounced SeeWee to locals and long time attendees) this show is billed as the "largest wildlife art/nature event in the nation". I know I've never seen anything quite like it - over 120 painters & sculptors from across the country, all exhibiting work that celebrates wildlife. It happens every February. I've only been twice. But I'm hooked.

The sculptures held special appeal to me, like the above mask from an artist whose work appears at Brookgreen Gardens. This one, too, made me pause. The photo doesn't do it justice. It was splendid.

And this one.

Because I am not a painter, I am in awe of those who are. The first time I attended SEWE. many years ago, I purchased a print from wildlife artist, Carl Brenders. He was at SEWE this year and I was delighted to meet him. His medium is watercolour. You'd almost think it was photography.



For those who have never visited Charleston, the city is a work of art in itself. An antebellum masterpiece. From its churches ...

...to the historic residences on Rainbow Row...

...there are few places like Charleston. When the city isn't hosting events like SEWE or Spoleto, it's gardens draw the eye. While we were there the camellias were in bloom.

And then there is the harbour....the lure of a marina at sunset.

It was a wonderfully inspiring weekend. I returned home with so many memories and images I'd like to explore in clay. Next year SEWE weaves its magic February 17-20. Hopefully I'll be there.