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A Visit to the Philadelphia Pottery Studio of Daniel Ricardo Teran
Posted By Jennifer Harnetty On November 9, 2011 @ 8:51 am In Daily,Features,Open Studios | 12 Comments
Okay. I admit it. I am jealous. There, I said it. I am painfully, achingly, colossally jealous of Daniel Ricardo Teran’s studio space. Who wouldn’t be? It’s spacious, flooded with light, has cool architectural details, high ceilings and on and on and on…
But despite the fact that my jealousy seems to be a continuing theme of these studio visit posts, I still enjoy them. I think it is inspiring to see how people make their lives in clay happen. And so, today I am sharing this virtual trip to Daniel’s studio. – Jennifer Harnetty, editor.
|Just the Facts
Primary forming method
Primary firing temperature
Favorite surface treatment
|Our studio is an 880-square-foot triangle with a high ceiling, exposed structural beams, brick walls, wooden floors, and ubiquitous daylight from the many large windows. It is the most beautiful space I have ever had the privilege of working in. We have plants in every window and used the abundant light to start our vegetable seeds in the spring. The east windows offer a genuine view of Philly—first the rail track and trains, a large electrical plant, an abandoned brewery with a Palonia tree sprouting from its roof, and in the distance, the Philadelphia Museum of Art, high-rises, row homes, and skyscrapers. I appreciate the studio’s relative seclusion and am also learning to enjoy the horn of the trains as they rush by. My space is in the south corner of the studio. I keep it very clean and organized. Keeping things visually and physically organized helps me stay mentally organized. Be it the glaze materials or my object shrine for my sanity, comfort, and efficiency, everything has its place and every process has a regimented system. Naomi’s workspace is in the northeast corner, and the northwest corner is where our glaze mixing area and two electric kilns are located. With no elevator, moving the studio and materials up the stairs was a great deal of work, but stocking a lot of material means bringing them up the stairs is infrequent. Naomi is an amazing studio mate—encouraging, motivating, supportive, and understanding of the pressures involved with making and selling pottery. We share the space well, understanding and respecting one another’s different working styles.
The separation of studio and home is important to me, and as the studio is only six blocks from our house, which is across the railroad tracks in the Brewery Town neighborhood, it is very convenient. While walking to my studio, I often find interesting discarded objects. Everything from straight-E report cards to busted water meters make their way back to my studio to inspire stories and structures for the imagery on my pottery.
Paying Dues (and Bills)
In addition to my studio practice, I have two jobs. I am currently working at the Ethical Culture Fieldston School in Bronxville, New York, where I teach seventh through twelfth grade pottery and visual arts. It is an amazing one-year position as a replacement teacher for Brenda Quinn, who is on maternity leave. I also produce pieces for a production pottery in Allentown, Pennsylvania. The position in NYC is three days a week plus travel. The other days are spent in the studio, often late into the night. I am busy, but with love of everything I do, I can’t complain. In my rare free time, I talk to family on the phone, read, and garden.
Most Valuable Lesson
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