Michael McDowell on fri 9 may 97
Hello again Clayart,
I hope you all aren't getting real tired of me posting on this subject. It
seems that many of you may have some questions as to just what constitutes
an "Ancient Clay Workshop". Here in Vince's own words, although the
formatting may be a little scrambled, is a description of what the workshop
entails. I think it will be good reading even for those who are not
planning to attend. Those of you who have been kind enough to post the
announcement in various places might consider also posting this additional
information. It sure would be appreciated!
Michael McDowell
Whatcom County WA, USA
ANCIENT CLAY - WORKSHOP DESCRIPTION AND SCHEDULE
PROJECTS - modeled, pinched, and coil-constructed vessels and sculptural
forms with a variety of surface-decoration options including bisque stamps,
applique, burnishing, terra sigilatta, polychrome slip painting, and
black-on-black brush decoration.
BACKGROUND
Throughout the evolution of Western civilization we have too often
assumed that
"progress" means a move from the un-civilized to the civilized, from the
primitive to the sophisticated, from the inferior to the superior. As a
result, Western artists have so often turned their backs on the wonderful
aesthetics, processes and techniques of the past. Until quite recently
tribal ceramic traditions were generally seen only as primitive oddities,
like "living ancient history," and were generally ignored in the study of
ceramics. Fortunately, through the 20th century the appreciation and
understanding of tribal art has increased dramatically, and we now
recognize that tribal traditions are "primitive" only in the studio
facilities and firing processes. The level of craftsmanship and the final
aesthetic are as sophisticated as any historical or contemporary art.. An
understanding of ancient and tribal traditions increases our awareness and
appreciation of diverse cultures world wide and through history. More and
more artists today are finding powerful aesthetic and spiritual inspiration
in ancient and tribal art.
COURSE DESCRIPTION:
This workshop is designed to give beginning and experienced
clay-workers a good introduction to ancient and tribal ceramic techniques
in a relaxed but productive atmosphere. The structuring of the workshop
and the projects also allows those already familiar with ancient and tribal
clay to further their knowledge and skills. We strive to build a positive
learning environment, where each participant feels a sense of
accomplishment from the very first hour, through the duration of the
workshop and beyond. Over a brief five-day period participants will
experience a complete cycle of ceramic creation and completion. With most
ceramic processes involving normal bisque-firing, glazing, and glaze-firing
processes this would be difficult, but in this case only a quick low-bisque
and fast bonfiring are needed.
We will focus on simple vessels and sculptural forms using modeled,
pinch, and coil construction methods. Our primary emphasis will be on the
broad diversity of decorative effects used before glazes were developed.
The surfaces will be finished with clay slips and with ancient and tribal
burnishing and polishing techniques. Among the slips available will be
several colors of terra sigilatta, an ultra-refined slip used by the
ancient Greeks and Romans, which can give a satin gloss without burnishing,
or a hard glassy sheen with burnishing.
Most tribal pottery is finished in a single bonfire-firing, but in
many climates and with most claybodies this is risky, and firing losses
tend to be high. To reduce (not eliminate!) the possibility of loss in the
bonfire, wares will be pre-fired in a very low-temperature bisque
immediately before the bonfire, and will be transferred from bisque to
bonfire while still warm. The bonfire will be a classic starved-reduction
blackware manure firing, as practiced by Native American potters of the
Santa Clara and San Idelfonso Pueblos in New Mexico, and by many other
tribal cultures through history. In this firing process the bonfire is
smothered with crushed manure and sand, and the wares all turn black, often
with subtle shades of brown and tan. The technique is especially suitable
for any partially or completely burnished forms, for black-on-black
effects, and for terra-sigilatta-decorated pieces. This firing process is
not appropriate for polychrome slip decoration, as all the colors would
come out black. If there is time and sufficient demand, we can also do an
oxidation bonfiring for redware and polychrome effects.
The primary forming and finishing approach we will cover in this
workshop corresponds to that used by many tribal potters including the
Pueblo Potters of the American Southwest, where the wares are pinch- or
coil-formed quite roughly, and when bone dry are sanded smooth. The forms
are then coated with repeated layers of terra-sigilatta, and are burnished
with a polished stone before this introduced moisture has evaporated. On
larger pieces, a very thin coat of lard or shortening will greatly
facilitate the burnishing process.
In the blackware firing all burnished areas will turn a glossy
jet-black, while unburnished areas will be a dark charcoal grey. This
offers unique decorative possibilities, as in the black-on-black painting
of San Idelfonso pottery, or the carved or incised burnished surfaces of
Santa Clara pots, Peruvian Chavin pottery, and Etruscan Bucchero wares.
A primary appeal of tribal ceramics is that the processes involve
almost no modern technology. This feature is difficult for many modern
ceramic artists to accept, with our fascination for tools and equipment.
Once experienced, however, a tribal approach to ceramics is tremendously
liberating, and even many "high-tech" ceramic artists periodically "return
to the basics" with handbuilt, bonfired work.
WORKSHOP SCHEDULE:
MONDAY MORNING - Introductions, discussion/demo of pinch construction and
coil/module construction. Work on pinch and coil forms.
MONDAY AFTERNOON - Slide discussion on ancient and tribal ceramics. Work
on pinch and coil forms.
TUESDAY MORNING - Discussion/demo of damp-clay decoration. Work on pinch
and coil forms.
TUESDAY AFTERNOON - Work on pinch and coil forms. Load forms to be sanded
in kiln to dry overnight.
WEDNESDAY MORNING - Work on pinch and coil forms. Discussion/demo of
non-glaze decorating techniques, including bisque stamps, applique,
sanding, terra-sigilatta application, burnishing, sgrafitto, and polychrome
slip painting.
WEDNESDAY AFTERNOON - Work on pinch and coil forms, sanding, terra
sigilatta application, burnishing, polychrome slip decoration.
THURSDAY MORNING - Work on sanding, terra sigilatta application,
burnishing, polychrome slip decoration.
THURSDAY AFTERNOON - Finish wares and load low-bisque-fire. Prepare for
bonfire-firing.
FRIDAY MORNING - Bonfire-firing(s). Slide show on ancient/tribal firing
processes.
FRIDAY AFTERNOON - Relaxed lunch while smothered bonfire cools. Dig up
bonfire and admire the work.
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