Textures, Textures, Textures

Slab built Grogzilla® sculpture clay and paper clay.

Grogzilla® clay is a highly grogged sculpture clay with feldspar crystals. At Cone 10, the feldspar crystals "pop" and you get random white crystals.

Flashing slip on greenware. Carbon trap shino glaze on bisque. Fired to Cone 10 reduction.

They are totally functional pieces, yet very sculptural. I really like the textures and warm earth colors.

Each approx. 12"H.

Sometimes I Do Make Functional Stuff ...

A tall, slab built triangular Ikebana vase. High fire Cone 10 reduction. With green to black flashing slip on greenware. Carbon trap shino on the bisque.

18"H x 7"W x 7"D. I made the piece hefty and heavy to be able to take some large sized branches for an Ikebana arrangement.

I like the sculptural element of the piece. It can stand alone as a sculpture and it also works beautifully as a functional vessel. I think it would look great with some cherry blossoms branches.

When Clay Touches Another

As clay artists, most of the time we work alone. Toiling away in our studios, creating inspired works that come from within us. It’s only recently through websites and social media avenues that we are able to share our work with the rest of the world.

To have my work and what I do with paper clay touch another person’s heart is truly humbling and inspiring. To hear someone say something like, “you rekindle the fire in me” or “I feel empowered after attending your paper clay workshop” energizes me to keep doing what I do with paper clay – creating works that speak silently but directly to ones heart. No words are necessary nor needed.

I present my work in my website, blog, Facebook, Flickr to share with other ceramic enthusiasts. My pieces reflect who I am and my life experiences.

To all the clay people out there, we are already connected. Enjoy this oneness.

2 Views of Summer, 2012

Front and back views of my white Summer Grasses raku vase with bamboo handle. Hand built sculpture clay and paper clay. Grass orchid design is free hand wax resist. White crackle raku glaze. Bamboo is from recycled and repurposed old kendo shinai. Bound with waxed linen twine. 21"H x 8"W x 4.5"D.

I like the simplicity of the design. Doing the free hand wax resist is a one shot deal and I'm happy with the way the grass orchids turn out. The wax resist brushwork is done with a calligraphy brush.

It is more of a sculptural piece rather than an utilitarian one.

Summer Grasses Raku Vase Series

This is a continuation of my Summer Grasses series of raku vases.

Hand built sculpture clay and paper clay. The grass orchid design is free hand wax resist. Different colored raku glazes were used. I experimented with a unique finishing technique for the one on the left.

Each vase is approx 13"H x 6.5"W x 4.5"D. They are ready for my bamboo handles.

I’m a Sucker for All Things Bamboo

There is just something about bamboo that appeals to me. The material that fits very well with the sculptural work that I make and to the Japanese esthetic that I'm attracted to.

This picture shows some of the different types of bamboo material I have around in my studio. Starting from far left:

1. These are kendo shinai which I’m going to use for my vase handles.
2. These two pieces are very special to me. They are remains of a bamboo ikebana vase that’s over 40 years old. I still have to figure out a way to use them.
3. These are store bought bamboo rods, about ½” dia.
4. These were given to me by my friend who does Japanese archery (kyudo). They are broken arrow shafts. Very straight and very nice. No wonder they cost a lot!
5. This is a store bought bamboo pole 1 ¾ dia.
6. These are bamboo stems from my yard. I repurpose them into handles for my raku vases.

Recycling Paper Clay

In my recent paper clay workshop, I was explaining how paper clay can be recycled, reconditioned and reused. I’ve been working in this medium for a long time now and this process has become almost second nature to me. To other ceramic artists, this is a new concept.

I save all my scraps of paper clay and let them dry out. Once they are dry, they will last indefinitely and ready for me when I need them. The first step is to soak them well. This process is called slaking. Enough water is used to completely cover the dry clay. Do not mix the clay and water at this point. I leave this undisturbed for a couple of days.

This picture shows one bucket with my dried out scraps. The other two buckets have my paper clay slaking it them.

When I’m ready to reconstitute the clay, I pour off the excess water. You can save this pour off if you need to thin out the clay-water slurry to make paper clay slip. Then comes the messy part and your hands are great for this. Just dig in, mush and blend the clay well. Break down any lumps and try to get as smooth a consistency as possible. This may take some time. It’s a good time to wear an apron if you have one.

Once this clay-water slurry has been well blended, you’re ready to dry it out.

Here’s my earlier post on this drying out process.