Today, ceramic artist Jason Green explains his process for creating ceramic work on an architectural scale.
Egyptian paste or faience is a low-fire mixture of ceramic materials containing clay, sand, colorants, frits, and soluble salts. These salts effervesce to the surface along with water as the paste slowly dries, forming crystals, which create a self-glazing clay-glaze hybrid once fired. Deborah Sigel was intrigued by the properties of Egyptian paste the opportunity to “build sculpturally with color” and today, in an excerpt from the March/April 2013 issue of Pottery Making Illustrated, Mary Cloonan explains Deborah’s interesting process and beautiful results.- Jennifer Harnetty, editor.
The malleability of clay makes it possible to bend and shape in into any shape imaginable. But as we all know, this malleability can also present challenges. In today’s post, an excerpt from Sculpting and Handbuilding, Claire Loder gives some sculpting tips and shares a couple of techniques from two ceramic sculptors.- Jennifer Harnetty, editor.
Helen Gilmour is interested in the relationships between traditional crafts. So she decided to make traditional pottery forms – like teapots and bowls – that look like they are knitted. The result is a form that at first glance appears soft, but on closer examination has the fired strength of porcelain. In today’s post, Helen explains the process she came up with to make these delicate looking vessels. – Jennifer Harnetty, editor.
Today, in an excerpt from her new book Wall Pieces, Dominique Bivar Segurado goes over several materials and methods for hanging ceramic wall art.
Jennifer McCurdy has been working with porcelain for over twenty five years and for the last several years, she has been really putting it to the test structurally. She has been experimenting with how thin high fire porcelain can be before it collapses in the kiln and how much can it be cut away and still maintain structural integrity? The results of these experiments are stunning sculptures that reflect the movement of the potter’s wheel and the fire of the kiln. Today, Jennifer demonstrates her techniques from the initial thrown form to the lighter-than-air finished piece.
Maquettes have long been used by artists as a way of planning out a
sculpture. They are basically three-dimensional sketches in miniature
of the eventual larger-scale work. In today’s post, an excerpt from the January/February 2011 issue of Pottery Making Illustrated, Magda Gluszek walks us through her ceramic sculpture process, from maquette to form. – Jennifer Harnetty, editor.
In today’s video, Philippe Faraut returns to demonstrate adding hair to a sculpture. So sit back, watch, and learn. Then race down to your studio to give it a try! Watch the video now!
Aside from being beautiful, Valéria Nascimento’s work is mounted on the wall in what I consider to be a pretty ingenious way. She uses galvanized flathead nails and glue (check with your supplier to determine the best glue to use) to afix her pieces to the wall. The nails are hidden due to the height and size of the porcelain pieces, giving the work a light, airy feel.
In today’s video, Philippe Faraut demonstrates how he prepares a figurative sculpture for firing by cutting the piece into two sections, hollowing it out, and then putting it all back together without the slightest hint that it was ever two pieces. Watch the video!