After the Big Hats and Robes of Bolivian Peoples.
I began to reverse stretch the clay to make the top, about 20 inches tall. There is room to go to 30" up and to fill the bisque kiln entire with circumference, but wrestle heaviness of the top, one of which fell in, so now they are half the thickness of the body. The base is constricted then trimmed so it is narrow, but there is no bottom to these. Almost nothing could get in the top anyway. This also helps make it light. The laminate patinas of porcelain and other clays is very thin, following the experiments at Pompeii Politics. It is pointless to cover these with glaze when the clays are its beauty, so some mist of reds and clear and celedon, tenmoku the dark, and leave enough raw for the rustic, #5-7. Body Robes & Big Hats,
|12. 21 Mar|
|14. 23 Mar|
|13. 22 Mar|
|22. Maquiadore Eclipse|
|15. 24 Mar|
Voulkos "Invented each time as if for the first time then reinvented as part of the history of invention."...geology of art, archeology, layer by layer...primeval geology, gap, crack, smash, sludge, break...beauty of the crack, the burned crack, the torn edge, plasticity, viscosity, drying, slashed, embedded, incised, scratched, scored, incised wax resist stacks, plates, STACKS! contours, recesses, fit for caves, spelunkers, "destroy itself at the same time it creates," ...original wary attitude toward applied glaze solidified to total avoidance...cylinder, dome, sphere, disk, plate, slab. Leather hard wheel forms joined in various combinations in stacks or ice buckets (?) muscular, irreverent, anti-academic [primitef] From the introduction of Clay's Tectonic Shift: John Mason Mason began to make massive rough-hewn walls... huge cross forms and solid, geometric shape...imprinting the finished form with the gestural force of its making-ceramic walls]. Walls, vertical totems, crosses, reaching for the primitive.
#15 Black Mt grit with pearlite rolled in, also rubbed to scrape the surfa
ce, with red iron oxide and somecobalt.
ce, with red iron oxide and somecobalt.
imprinting the finished form with the gestural force of its making. - See more at: http://blogs.getty.edu/pacificstandardtime/explore-the-era/worksofart/blue-wall/#sthash.EIdyEBpA.dpuf].Ken Price, and Peter Voulkos, 1956…Slivka and Tsujimoto.Voulkos, Cal Memorium: "Firing in wood burning kilns gave him new surfaces to explore along with new clay bodies that he discovered while in Japan, clay from Shigaraki. Sandy clay from the bed of Lake Biwa has a warm orange color which characterizes Shigaraki ware [?] of irregular contours and archaic flavor. Firing technique shifted from reduction to oxidation firing, which allows free admission of air during the firing rather than limited air admission into the kiln. This allows iron oxides to be used as part of the coloring process. The allowance of free air is due to the type of ancient kiln, called an anagama kiln, which is used to fire Shigaraki ware...achieves the mineral glaze surface. Depending on the placement of the piece, the resulting coat of ash and minerals will vary with a greyish to a reddish-brown colorizing, small impurities protrude, caused by embedded quartz [feldspar?] partially fired. Covered with a thin layer of overrun yellowish-brown to a peach blossom red color glaze that crackles when fired is also characteristic." We are going to have to forgive Voulkos for being an influence on so many ceramic artists. That's their fault. Also forgive the force of his personality, here's a good pic. The solitude, rejection, anger, energy, dislocation: “The minute you begin to understand what you’re doing it loses that searching quality. Your emotions take over and what happens just happens. Usually you don’t know it’s happened until after it’s done.http://franklloydgallery.wordpress.com/2009/07/09/peter-voulkos-on-improvisation/Of the influence of Franz Kline:
|19. Hildegaard Partnership w/ Gavity|
I did not know Hildegaard before she appeared on the board last night, a partnership with gravity. For the record, with bisqued decomposed granite kneaded, the seams were light and she fell from a beautiful height to emerge thus with the weight.
I started these forms with the bottle tops after the Reitz kiln unloading and made attempts, to come, to wood fire (in the works), began mixing in bisqued decomposed granite and vermiculite, etc., kneading into the clay, but the whole structures wouldn't stand so weakened, which explains the slumping in some. Especially they split, broke along vertical lines when stretched, but along the way collars appeared, to be multiplied. I could make ten a day and that would speed the thing along, but there's nowhere to fire that many.