Tuesday, August 30, 2005
Saturday, August 27, 2005
Here's a poem: I was really into painting in the summer of 1965, and wrote this while working on an abstract painting called "Sleep".
REFLECTIONS WHILE PAINTING
How can one express the inexpressible
or picture something without form;
define with lines the essense of elusiveness?
The art has not been born
where paint can show the shape desires take
nor colors indicate a glow of pleasure;
Perspective on a canvas does not reach
where my imagination stretches;
Pure white is not as light as thoughts that soar in air
nor ebony as dark as feelings plunged in black despair.
But lack of hues precisely true
has not kept man from trying all his life
to fathom mystery with a brush, and thus,
a mortal canvas often has been touched by immortality
and stained with pigments that the soul alone can see
as tones the artist felt, when by approximation,
he gave vent to inspiration;
Mere tints suggest and hint at ecstasy
and knowledge beyond pedantry.
Thursday, August 25, 2005
Sometimes you just have to go ahead and make something you've been clay-doodling with for a while! You can see it doesn't take much to entertain me- I like looking at shapes made with loops...
It will go into our local art association gallery next Monday and may provoke some conversation; it will be interesting to see if it sells...ok if it doesn't.
Wednesday, August 24, 2005
Rutile wash over high iron glaze This vase was glazed with what I am calling "Bad Touchtone" (the batch prior to the latest one) and I purposely gave it just a quick dip, and got a very deep brown/black. Just what I wanted, as a base for this rutile, titanium, and GB wash (recipe from Clayart) which generally adds life wherever you put it, and would, I knew from previous tests, do a sort of nutmeg almost crystal looking effect with slow cooling. The marks are made with a slice of hickory nut.
Touchtone Red Glaze, ^6 to 7, oxidation
I started using this glaze a few years ago (got it from Rebecca Varner in a Clayart mug exchange) and have loved it for the excitement it gave to opening the kiln. ..never quite sure what to expect. Where thinly applied it is often a deep navy color. There is often a varying amount of sort of an olive color and whoopee! look at all that red, lovely iron red. This vase, which I call "Red Dancer" has the kind of result I hope for from this glaze. It is of white stoneware.
When I ran out of this glaze a while ago, I mixed up a new
batch, and was very disappointed; there was a lot of the olive, but not a nice olive, some sort-of black, and some brownish red, or faintly reddish brown. I didn't even take any pictures- all the pieces were designated to be re-dipped and refired. I remembered that I had used some red iron oxide from a different source, and thought that might be the problem. I also checked my firing logs to make sure I didn't go hotter or cool down faster. That was all about the same.
So, last week I mixed a new batch (half recipe, actually) and fired over the weekend. The result: better, but different, sort of spotty- maybe I need to strain it a few more times.
You can see my liner glaze was fluid enough on the rim to carry down the stripe I did just under the rim. The stripe was half RIO, half rutile. Anyway there is some decent red here, as well as pale olive. I actually don't mind the blotchy look, at least on this piece. I took a macro of the area where the glaze is thinner- you can really see the color change. This bowl is a buff stoneware, by the way.
I swear there is no cobalt in this glaze. I rolled the bowl around in the glaze pan and didn't quite go all the way, so here's the area of thinner glaze.
The recipe is in the Clayart archives, I'm sure, but here it is anyway:
TOUCHTONE RED, cone 6/7, oxidation
15 minute soak, slowed cooling
Gerstley Borate 31
Feldspar 20 (I used Kingman)
Add Red Iron Oxide 15
Tuesday, August 02, 2005
I managed to finish glazing a load of pots and will fire tomorrow.