I work at home, and I was extraordinarily fortunate to find
a beautiful little airplane bungalow to rent with the space for the TWO studios
I really need. The “dirty” studio, where I work in wet clay and glaze, is my
13×11-foot spare bedroom on the first floor, and the “clean” studio, where I
draw, keep yarn, crochet, knit, and sew, is the upstairs 12×7-foot loft area.
Nearly as important are the “portable studios” of my sketchbook, digital
camera, and laptop. I gratefully am able to fire work in the kilns at Washburn
University (less than a mile and a half away), where I teach.
My studio is the main perk associated with my position as
visiting artist in the ceramics program at the University of Louisville. The
setting is urban and industrial, with the constant rumble of planes landing and
trains passing by. I have a large private space (10 × 27 feet) that opens into
the main ceramics studio classroom.
The Many Layers of Kiln Wash: How to Find the Best Kiln Wash for Your Firing Temperature and Methods
In this post, John Britt explains that giving a bit more consideration to kiln wash might help potters avoid some of the common kiln wash headaches – like scraping cracked kiln wash off shelves or lamenting an otherwise perfect piece that was ruined by a flake of kiln wash. Plus he shares some kiln wash recipes for various firing techniques.
Focus: Gallery Guide
Find a partner, or find inspiration through all the great work ceramics galleries are representing. Making significant work does not require a successful business plan—but the chances of enough people seeing your work to recognize it as significant are greatly improved if you have one. The most successful plans often involve outlets beyond the studio—like galleries, websites, and stores (ideally all of the above), so you can focus on making work. Yes, these are business agreements, but they are usually more successful if approached as a partnership—a team, if you will, where everyone is invested in the process and works toward collective success.
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The dozen or so stained earthenware sculptures revolved around human heads on pedestal-posts or wall-mounted and clusters of bird beaks (some of which were raku-fired) also mounted on the wall. The results were uniformly dark, foreboding, and very promising.
It has never been easy to make a living through handmade ceramics, whether you’re an artisan, a gallery owner, an arts center, or a school. Here is an example of how all four constituencies came together
to promote the art and culture of their region. The trick? It would
need to be economically feasible and advantageous for all parties, to
expand the potential audience for everyone involved, and benefit those
participating in a way otherwise not achievable. In short, it would
require a lot of creativity and cooperation.
A field of blooming cotton under a blue sky can be dazzling, even
disorienting as its snowy appearance conjures associations radically at
odds with the dry heat of a summer day. This curious confounding of the
senses is perhaps only fitting, since cotton is enveloped by other,
more troubling, contradictions as well. Fleecy white cotton bolls are
visually and tactically among the most appealing of all natural forms,
and there is little wonder that an artist should find them formally
inspiring. To the eye, what could better exemplify purity?