sweet dreams

 

~French Butter Dishes by Keith Phillips

 

In the Seinfeld episode, “The Heart Attack” (season 2, episode 8), Jerry goes to bed after watching a science fiction B-movie, only to wake up in the middle of the night laughing.  He then writes down the joke for his stand-up routine.  The next day, he can’t read what he wrote down.*

This episode reminds me of when I was first learning to throw and work with clay.  I would practice; struggling for hours in the studio to learn the skills I needed to be proficient with the tools and materials.  Our professor, John Arnold, would watch us work and then ask, “Are you dreaming about clay, yet?”  His proceeding comments suggested that once the ceramic process invaded our dreams, we’d find our inspiration; follow through with our creative ideas; progress.

I’m not sure how much follow-through I was willing to apply back then, but lately I’ve been dreaming about clay.  However, I feel the need to qualify my subconscious efforts in part because I’ve been away from the studio and perhaps a little drug induced.

My absence wasn’t completely unplanned…well, it was hoped for.  But, not for this long.  Short.  Minimal time away was the thought.  Nothing is as we wish it would be.

A few days after final grades were posted, I was scheduled to have minor surgery on my arm.  Emphasis on the minor.  It was outpatient.  The doctor said no lifting for a week.  I can do that.

By the evening of my surgical encounter, my body began to betray me with a reaction to the anesthesia.  Nothing serious – though increasingly uncomfortable as I approached my follow-up appointment four days away.  After seeing the doc, with a prescription in hand, I felt like everything was under control.  We were headed to see family for a few days.  I’ll be good to go as soon as we return.  Ah…”the best laid plans of mice and men often go awry.”**

By Christmas Eve (with one day left on my Rx) the annoying reaction had become more than exasperating.  Harassing me day and night. (ugh!)

Four days later, I found myself in the doctor’s office with the telling signs of an oncoming cold and the ever growing Andromeda Strain that occupied my every thought. (please, just make it go away!)  Two weeks since surgery…another round of meds…AND my head is now heavy with snot.  I guess I won’t be hitting the ground running.

Nonetheless, my fitful sleep brought on dreams of clay.  Butter dishes to be exact. (very odd)  There are a number of potters who make butter dishes.  But, since most people buy a butter-like substitute that comes in a handy plastic tub; butter dishes seem part of a bygone era when folks actually used a table clothe, place settings consisted of more than a plate with a matching mug, and napkins were placed on one’s lap when dining.

There are numerous creative designs for the forgotten butter dish.  We have the French butter dish (see examples at the beginning of this post).
How it works: (just a bit high maintenance…it’s French)

~French Butter Dish

 

~Butter Dish by Cindy Gilliland

The thrown circular butter dish.  Hmmm…often these pieces are also referred to as a butter dish/garlic roaster.  (perhaps, because butter is generally of a different geometric form)

~Butter Dish by Liz Zlot Summerfield

The more practical brick shaped butter dish takes a bit more creative energy.  This is where my dreams took me…though, I’m not sure how much follow-through I’m willing to apply.

 

 

Go here to see Keith Phillips create the Classic American Butter Dish!

 

 

 

 

*The episode ends when Jerry remembers what he wrote down – a line from the movie he had been watching.  It’s then he realizes it isn’t funny.
**To a Mouse, on Turning Her Up in the Nest with the Plough, Robert Burns, 1785.

 

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I worked frantically heading into Thanksgiving so I could get a bit of inventory delivered the week before the holiday.  Now, as the semester winds down, I find myself in a strange lull at the studio.  It’s not that I don’t have work to do, I just don’t have the days (consecutive days) available to see the process through.  I’ll likely get new work made in the next couple of weeks, leaving it to dry over Christmas.

So then, in the absence of a hectic studio schedule, I’ve been tweaking and rewriting my Spring semester Sculpture class.  Over the years that I’ve taught Three-Dimensional Design and now Sculpture, I’ve observed students struggle to visualize their ideas beyond the two-dimensional plane.

“If I can draw it, why can’t I sculpt it?”

I believe visualization begins with seeing (go ahead and laugh a little at that sentence…read it again if you must).  Perception.  We miss a lot because we process quick visual cues and then just fill in the blanks.  Our ‘filling in’ isn’t always accurate and often void of details.  We create a good, general image in our head and can probably provide an adequate description.  However, if we really (really) saw, we’d be amazed at what we gloss over.

While searching for some inspiration, I read an article about jump starting the creative process.  Several artists were asked what they do when they need a creative push.  One artist suggested choosing a color and then taking photos of that color in any shape, shade or texture.

I thought this might be fun to try, so I grabbed my point-and-shoot to record the color red for the next half hour.

When I looked at my images I immediately noticed that I kept to a fairly narrow value range (no pinks here).  I can see how this exercise could be expanded (hmmm…thinking, thinking).  Just allowing time to thoroughly seek out a color would begin to push students.  In fact, well after my allotted half hour of searching for red, I caught myself being drawn to the color; accompanied by a mental note that I’d seen it (Where’s Waldo run amok!).  This exercise sparked a renewed awareness of color, surface, texture and even shape.

An exercise in perception that I find myself returning to is creating line drawings (a collection, actually) in my sketchbook for the surfaces of functional work.  These drawings help me see form.  The simple visual cues on the two-dimensional plane suggest spacial relationships as well as speak to the form of the clay.

~sketch for 'Forgive Me for Believing I'm Immune'

The line drawings are an abridged version of the images I draw on paper (really lousy paper) for my drawings on clay.  I develop a detailed image on paper – far more detail than I will ever be able to translate onto the ceramic surface.  This might seem like a waste of time and energy; creating such finished sketches.  But, they help me to really (really) see.  Develop my perception.  Jump start the creative process.

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I hear tuna!

Faster than a fat cat at the sound of a can opener, the first Cap, Cup and Mug Sale, Show and Trade came and went.

The days and weeks preparing and gathering for the sale generated a certain energy.  Unpacking boxes of beautiful cups and mugs is very much like the anticipation a potter experiences when the kiln is finally cool enough to open after a glaze firing.  Or…in more practical terms…it’s like discovering significant money forgotten in the pocket of your jeans.

Everything about this sale was intimidating (I documented my fear here) and unexpected.  When I first threw out the idea, I was afraid I couldn’t get enough work together to create a sale.  Instead, 34 artists participated with 623 cups and mugs.  (Thank You!)

Then, the panicked thoughts…what if no one shows up?  But, Friday’s crowd was unbelievable.  WOW!  So many people came to check out the sale, buy mugs, chat and contribute to our sock and knit cap collection for a local homeless shelter.

Saturday was more relaxed, but had steady traffic.  Again, unexpected.  The budget for promoting the sale amounted to the cost for a short-run of postcards.  I really depended on artists and friends to spread the word.  Free paid for space in several events listings in the on-line versions of the local papers (does anybody read those?) and a couple community magazines…that, and Facebook.

Our collective efforts yielded 25 knit caps (not an easy find in Arizona in the fall) and 185 pairs of socks. (pause here for a quick happy dance!)

The Monday following the sale, I spent checking inventory against unsold work; spending time meditatively wrapping and packing up mugs and cups.

As artists have come by the studio to collect their work, they’ve asked if I plan to do this again.  You know…yes, I think I will.  But today, I need to get back to clay.  I’m out of mugs.  Go figure.

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…let us run with perseverance the race marked out for us.  Hebrews 12:1

Those words express my general approach to each day.  Though, there are times when I think I’ve shown up for the wrong race.

I use to be an athlete…now I just ache.  I was a gymnast and briefly (very brief) ran the 4×4  (4oo meter relay).  Track and field is a big deal where I grew up in the high elevation deserts of west Texas (with exception to Texas football, which is an entity unto itself).

However, my membership card for the track team was short lived.  Made the team, but the track season conflicted with gymnastic competitions.  Truth is, I wasn’t very versatile on the oval.  I could run my forth of the 4x, but that was about it.  Done.  I remember my hesitation when coach Reed suggested hurdles.  Gymnasts may have great coordination and flexibility, but we are generally short.  Wrong race.

Lately I’ve been running hurdles; get up a good head of steam just to be interrupted so I can launch myself over an obstacle.  It’s nerve wrecking.  Running full out toward the hurdle: playing chicken.  Not pretty.

With generous momentum I approach the first hurdle; catching it with the heal of my lead foot.

Despite my best efforts, the soaring Arizona heat got to my clay before I did.  A week’s worth of work destine for the reclaim bucket.

The second hurdle is but three steps away.  Stumble over.

The glaze firing won’t reach temperature.  After hoping for more, I shut the kiln down.  Burned out element.

Looking for a quick recovery.  Clear the hurdle, but trailing behind.

Replace the element.  Reload.  Re-fire.  My clear glaze doesn’t really like to be re-fired.  Praying I don’t lose the entire kiln load.

The color was a bit off, but the glaze behaved.

A few more hurdles ahead.  My…knee…tags…every…single…one.  That’s gonna leave a mark.  My timing must be off.  Count.  Three steps.

As the artists’ deadline approaches for the cup and mug sale, my calendar is suddenly congested with personal appointments of some urgency.

The finish is in sight.  Just run now.  Run!

With a slushy delivery deadline and a week until the sale, my days have been punctuated by the most beautiful handmade cups and mugs.  Not a bad finish.

Cap, Cup and Mug Sale, Show and Trade

Looking forward to seeing you!!

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My recently purchased 50mm (f/1/8) camera lens arrived last week.  A 28-135mm lens is my standard when taking images of work.  It gives me flexibility with the ability to shoot sharp details throughout the entire range.

The new lens is far less flexible; with a fixed focal length, it has a relatively short depth of field.  But, my thinking was that it would provide excellent images of larger work where actual viewing distance won’t allow the 28-135mm lens to capture the entire piece (yeah, I tell myself that all the time, “I should work smaller.”).

So then, I set up a little exercise to record my glaze process as a way to see what the lens would do (in spite of my incompetency).  I learned several things during my self-imposed drill.  Two of the most notable:

1. Don’t rely on the auto focus (AF).  I employed the AF and timer for most of the shots because my hands were otherwise occupied with glazing.

2. As if I hadn’t already realized, this exercise amplified the fact that my glaze process is tedious.

Apply a fairly thin layer of slip* over the drawn area.

 

 

 

 

 

With a sponge and water, wipe back the slip; leaving the color in the recesses of the drawing.

 

 

 

 

Cleaned up drawn image on bisque.

 

A quick dip over the drawn area in a glossy clear glaze.  Thin application.
(AF frustration!)

 

 

 

 

When the glaze can be handled without marring the newly applied glaze, dry foot (remove glaze) the bottom.  I also clean the clear glaze from the interior foot ring so I can apply a color glaze in there later in the process.

 

 

 

Carefully clean off the clear glaze with a sponge from all areas that will be glazed with a color later.

 

 

 

 

 

 

 

Wax to cover only the areas glazed with the clear glaze.

 

 

 

 

Go to lunch!
Need to wait at least two hours for the wax to set up.  Though, in the Arizona heat, it’s still a bit soft after two hours.  However, allowing for much more time would dry the moisture in the bisqueware; creating a whole new set of problems.

 

Dip the piece in the second, color glaze.  Quickly sponge any residual glaze off the waxed areas.

 

 

 

 

 

Dry foot (again).  This time, leave the glaze in the foot ring.

 

 

 

 

 

Lastly, clean up the edge of the color glaze where it meets the waxed area.

 

 

 

 

Ready to be loaded into the kiln!

*For all the purists out there: I use the terms ‘slip’ and ‘engobe’ interchangeably (The stuff in my throwing bucket…that would be slurry).

Mistaké Slip ^5-6  (pronounced: mis-tock-ee)
Yes, that actually says ‘mistake’.  The urban legend is that a grad student was trying to develop a stoney glaze and mistakenly created this slip.  The revised pronunciation was an attempt to provide some legitimacy and confuse the undergraduates.

EPK or Grolleg 50

Custer  25

Flint     25

add: Macaloid  3

~for mid-range (^1-4), substitute Nepheline Syenite for Custer.

This slip is compatible on bisque (for most clay bodies…test, test, test) when applied thinly.

This Is How the Work Gets Done, Charlie Peacock.

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