Disk, 21 in. (53 cm) in diameter, porcelain with black slip under a layer of porcelain paper clay, with clear glaze, fired to cone 8 in an electric kiln, 2011.
Mugs, 4 in. (10 cm) in height, porcelain, interiors inlaid with slip and clear glazed, exteriors water etched and coated with Grolleg terra sigillata, fired to cone 10 in an electric kiln.
|Justin Crowe, Hudson, Ohio
New York State College of Ceramics at Alfred University
Instructors: Linda Sikora, Wayne Higby
To achieve the surface of my plates, I layer thin sheets of translucent porcelain to create varied shades of gray. My process begins with a negative plaster mold of a plate on a potter’s wheel. I paint a black slip pattern directly onto the plaster; this will become the primary black geometry seen on the surface of the plate. Next, I spread out paper clay slip on a plaster slab, dry it, and compress it into a thin sheet. I press the sheet into the plate negative over the primary pattern, and proceed to paint slip on that surface. This will be seen as the second layer of imagery; the darkest gray. The process is repeated up to three times for varied levels of depth and value. Once I have the paper clay imagery finished, I throw porcelain into the mold, forming the underside of the plate. During this step, the paper clay, and the image attached, are stretched and ripped, distorting the pattern. When the plate is leather hard, I flip the mold over and drop the plate out. Finally, I add details such as slip inlay, altered edges, and clear glaze. The plates are once fired to cone 8, at which point the porcelain becomes translucent exposing the patterns previously hidden underneath the surface.