Greg Van Velsir on thu 4 apr 96
While I'm at it - I recall a recent post attacking Voulkos and the "macho
potter" approach. I thought that would generate some flaming replies.
However, it passed with little comment. I would suspect that the person
posting that hasn't seen that much of his work - especially his work in the
'90's. Last summer a retrospective was launched at the museum in Oakland -
then travelled to Newport Beach where I had the good fortune to see it. His
work was as powerful as I had expected. The "stacks", "ice buckets", and
plate forms hanging on the wall were exceptional and to me were the
quintessence of the Abstract Expressionist genre. The exhibit included his
bronze work with models for the outdoor work. IMHO the least impressive
were the monoprints and what I would call "collages". There was also a
video tape of himself working in his studio and goofing around. I have
never met the man but would bet from all the stories I've heard that it was
genuinely him on the tape and not an attempt to express some "macho" image.
While you may not agree with his lifestyle you have to respect his work- I
can't imagine a clay artist not thinking it is tremendous. So where was the
defense from ClayArters?
Greg Van Velsir
Lancaster, CA
e-mail: vnvelsir@hughes.net
Phone: 1.805.724.1158
Bill Aycock on thu 4 apr 96
At 06:44 AM 4/4/96 EST, Greg Van Velsir wrote:
>----------------------------Original message--- ( in small part)
---------------
>While I'm at it - I recall a recent post attacking Voulkos and the "macho
>potter" approach. I thought that would generate some flaming replies.
>However, it passed with little comment.
>Greg Van Velsir
>Lancaster, CA
Greg-- you just caught the very smallest tail end of a LARGE thread about
the man, and about lots of related thoughts. You missed a lot of very
heated debate on every side of the issue.
I guess the reason you didnt see the flames is that most of them had already
been lit- smoked or flared, and then died or were put out. Try looking in
the archives, if you want an education, about him, and the wide range of
feeling one man can generate in a short time.
It was VERY interesting and informative.
Bill- waiting the rain and sub-freezing weather (on Easter, in Alabama, we
are expecting SNOW) on Persimmon Hill
Lgeese@aol.com on sun 7 apr 96
Greg -
As someone who was in on the last Voulkos exchange...and after it was implied
that some of us might be victims of "hero worship," I backed off.
But I do agree with you. I admit that I like some of his pieces more than
others. And I agree that he is a showman. But I saw him decorate one of his
"plates" at a workshop in Iowa City. Yes, throwing was a big show...and
Peter Callas (did I spell that right?) even centered his clay for him. But
when Voulkos was decorating, he might as well have been alone in that room of
about 200 people. He was focused, quiet, and really seemed unaware of the
people around him. It was amazing.
At any rate...we're all free love, hate, or anything in between, certain
pieces of art. (Hopefully our political environment won't change that.) And
I feel whether a person enjoys his work or not...one cannot deny the
contribution Voulkos has made to the clay/ceramics movement.
Lisa in Des Moines
Lgeese@aol.com
Dan Wilson on sun 10 nov 96
I wonder why on earth anyone would want to watch a film about Peter Voulkos
working? Does he have special skills or techniques the rest of us don't
have?
mayonaise
Joyce Lee, Jim Lee on mon 11 nov 96
Mayo,
I would order and study Voulkos' videos for the same reasons that I read
your posts: they're interesting with a flare for the dramatic
accompanied by a distinctively different style. Content is not
unfamiliar, but the nuances reflect creativity and intellect.
Motivation for the artist/writer may appear to be casual, even
superficial, but the observer is stimulated to examine and reexamine
the final product. When I saw Voulkos' work in the recent Clay Times,
my first reaction was: This is art? It's just one crude mound after
another. However, I found myself returning to those pages many times,
each time seeing something new. Unexpectedly, I became a fan. I am one
of the group who will buy and watch Voulkos videos. Indeed.
Joyce
Bob Hanlin on mon 11 nov 96
Dan:
As a matter of fact he does. Not only is he a very good potter, although he
alters his work to hide it, if you watch him throw you'll realize the degree
of his skill and mastery of that rather ordinary function. But to sit at
the feet of a master is always enlightening. You do have to do a bit of
sorting out of wheat from chaff and gold from dung but my only experience
with him was about 10-20 years ago and while exhausting left me with quite a
lot of inspiration and good feeleings about what he has brought to clay. He
could have been a better human being but so could I.
>----------------------------Original message----------------------------
>
>
>I wonder why on earth anyone would want to watch a film about Peter Voulkos
>working? Does he have special skills or techniques the rest of us don't
>have?
>
>mayonaise
>
>
Bob Hanlin
3504 N. Tulsa
Oklahoma City, OK 73112
e-mail bhanlin@ionet.net
Bob Pulley on mon 11 nov 96
>----------------------------Original message----------------------------
>
>
>I wonder why on earth anyone would want to watch a film about Peter Voulkos
>working? Does he have special skills or techniques the rest of us don't
>have?
>
>mayonaise
I guess if you can't imagine why anyone would want to watch a film of a
master working then certainly you would have nothing to learn from it.
Robert Pulley
pulley@mail.cpbx.net
Robert Pulley
pulley@mail.cpbx.net
Tim Lynch on mon 11 nov 96
Dan et al: THAT is precisely why I want to see this dude in action. Does
he possess skills and abilities beyond the rest of us mere mortals? Why
do his platters sell for $20000 and mine for $50? Why on earth, indeed.
Maybe I could learn something.
Tim Lynch
The Clay Man
748 Highline Drive
East Wenatchee, WA 98802-5606
email: tlynch@usa.net
telephone: 509-884-8303
On Sun, 10 Nov 1996, Dan Wilson wrote:
> ----------------------------Original message----------------------------
>
>
> I wonder why on earth anyone would want to watch a film about Peter Voulkos
> working? Does he have special skills or techniques the rest of us don't
> have?
>
> mayonaise
>
Nils Lou on tue 12 nov 96
yes!
On Sun, 10 Nov 1996, Dan Wilson wrote:
> ----------------------------Original message----------------------------
>
>
> I wonder why on earth anyone would want to watch a film about Peter Voulkos
> working? Does he have special skills or techniques the rest of us don't
> have?
>
> mayonaise
>
Don Jones on tue 12 nov 96
>----------------------------Original message----------------------------
>
>
>I wonder why on earth anyone would want to watch a film about Peter Voulkos
>working? Does he have special skills or techniques the rest of us don't
>have?
>
>mayonaise
I forget, Dan
what exactly was it you did in clay?
Don Jones
albuquerque
Dan Wilson on tue 12 nov 96
Joyce,
My concern here is with the "representation" of personality and style
through the medium of film/video/photo. It always seemed to me that when
viewing them, something was missing. I could never trust this medium to
present me with the whole truth that can only be achieved through
experience (being there). No feeling for the reality. The same applies to
photographs of works of art too. Simply representations of the real thing.
For example: When I was in grade school we all had to watch a film of
Picasso. I found myself wondering as he was painting on that piece of glass
in front of the camera whether he always smiled and winked at his paintings
the way he was smiling at me. Did he pick that particular shirt? And most
of all- did he save that painting? Or maybe he wasn't doing a painting at
all. It seems that its easy to accept film as truth, but it isn't the whole
truth, and thats my concern. As we become more dependent on film and photo
for our information, we may be accepting what is "represented" as reality
as reality.We may even start doing work that is not real, so to speak, but
representations of real works. Do I work in the style of Voulkos or do I
work in the style that "represents" Voulkos? Kind of like press-moulding
the original.
mayonaise
----------------------------Original message---------------------------- Mayo,
I would order and study Voulkos' videos for the same reasons that I read
your posts: they're interesting with a flare for the dramatic accompanied
by a distinctively different style. Content is not unfamiliar, but the
nuances reflect creativity and intellect. Motivation for the artist/writer
may appear to be casual, even superficial, but the observer is stimulated
to examine and reexamine the final product. When I saw Voulkos' work in the
recent Clay Times, my first reaction was: This is art? It's just one crude
mound after another. However, I found myself returning to those pages many
times, each time seeing something new. Unexpectedly, I became a fan. I am
one of the group who will buy and watch Voulkos videos. Indeed.
Joyce
Tim Lynch on wed 13 nov 96
Dan et al: You nut!! Of course the medium of film cannot present THE
TRUTH of the situation. I doubt that even being there in person for a one
time demonstration can present can present an accurate idea of what the
man is about. Maybe if I lived with him...I am a self-taught potter.
Most of what I know comes from books, experience, and my grandfather.
Watching "Little Big Man," with Dustin Hoffman, may not be THE TRUTH about
Custer and Little Big Horn, but it gives me an idea of what happened. I
just wanted to see Voulkos in action, to see what all the hubbub was
about.
Tim Lynch
The Clay Man
748 Highline Drive
East Wenatchee, WA 98802-5606
email: tlynch@usa.net
telephone: 509-884-8303
Sherri Borges on fri 15 nov 96
Is seeing a picture of the Eiffel Tower the same as seeing the real thing?
Seeing pictures of Voulkos' work never really did much for me. Seeing his
pieces in real life TOUCHED MY SOUL. Last year, I saw a retrospective of
his work at a museum in Oakland. I have NEVER been so moved by ANY piece
of art in my life --- If you like clay, seeing his big lumpy, earthy forms
in a museum will speak to you on an intimate level, I guarantee it.
It's hard for me to articulate exactly why his pieces touched me so deeply.
After the show, I was lucky enough to have gone to his studio and met the
master himself. He's a real character -- made us all laugh a lot. I think
he and his pieces speak to a primal part of any potter. The part of us
that wants to stick our hands in mud, and throw that mud into fire. Just
my opinion.
______________________________ Reply Separator _________________________________
Subject: Re Voulkos
Author: Ceramic Arts Discussion List at SMTPLINK
Date: 11/12/96 6:42 AM
----------------------------Original message----------------------------
Joyce,
My concern here is with the "representation" of personality and style
through the medium of film/video/photo. It always seemed to me that when
viewing them, something was missing. I could never trust this medium to
present me with the whole truth that can only be achieved through
experience (being there). No feeling for the reality. The same applies to
photographs of works of art too. Simply representations of the real thing.
For example: When I was in grade school we all had to watch a film of
Picasso. I found myself wondering as he was painting on that piece of glass
in front of the camera whether he always smiled and winked at his paintings
the way he was smiling at me. Did he pick that particular shirt? And most
of all- did he save that painting? Or maybe he wasn't doing a painting at
all. It seems that its easy to accept film as truth, but it isn't the whole
truth, and thats my concern. As we become more dependent on film and photo
for our information, we may be accepting what is "represented" as reality
as reality.We may even start doing work that is not real, so to speak, but
representations of real works. Do I work in the style of Voulkos or do I
work in the style that "represents" Voulkos? Kind of like press-moulding
the original.
mayonaise
----------------------------Original message---------------------------- Mayo,
I would order and study Voulkos' videos for the same reasons that I read
your posts: they're interesting with a flare for the dramatic accompanied
by a distinctively different style. Content is not unfamiliar, but the
nuances reflect creativity and intellect. Motivation for the artist/writer
may appear to be casual, even superficial, but the observer is stimulated
to examine and reexamine the final product. When I saw Voulkos' work in the
recent Clay Times, my first reaction was: This is art? It's just one crude
mound after another. However, I found myself returning to those pages many
times, each time seeing something new. Unexpectedly, I became a fan. I am
one of the group who will buy and watch Voulkos videos. Indeed.
Joyce
Rick Janssen on fri 15 nov 96
Hi All -- Recieved my Nov/Dec '96 issue of CLAY TIMES this morning
and there was an interview with Peter in it along with some
photographs of Pete and his work. The cover also features one of his
platters. So, anyone following this Voulkos thread may went to check
out this issue.
Rick L. Janssen
JANSSENR@columbia.dsu.edu
Hluch - Kevin A. on mon 18 nov 96
Tim,
It seems to me that the reason that Voulkos is such a media figure is
that it just so happens that his expressions have an "outwardness",
extrovertness, an "actionness" that coincide with the character of
film and video. Grand, large, expressive gestures are transparently
rendered by those "capture" and "disemminate" devices. Above all, the
theatricality of the event is important. We learn to expect a
"performance" as a result of the promotion and we and not dissappointed
when the slip starts flying.
In addition, Voulkos has had the benefit of a tremendous advertising
campaign by Rose Slivka as editor of American Craft and later by her book
on the artist. This tome was extensively advertised in that magazine that
she edited as well. It seems she saw in Voulkos the craft world's
Pollock.It would be interesting to see if Pollock would be an "abstract
expressionist" today if he had lived.
On the other hand, it is more difficult to stimulate this kind of
response in reference to quieter, less agressive expressions. Can one
imagine the video of, say, Ron Nagle or Richard Shaw? In comparison to
Voulkos, these would be less than riveting.
In many respects, the "Voulkos Phenonenon" strikes at the core of what it
is to be an artist vs craftsperson, MFA candidate vs. apprentice, today.
What would today's aspiring art student rather be: a rock star or
artisan? I think it's obvious the value system that is promoted.
Tim, in this culture, I don't think your work will command Voulkos's
prices unless you stand the clay world on its head and have that activity
well promoted so that everyone can never forget what you've done.
Don't make the mistake Ohr made by finding Garth Clark too late.
Kevin A. Hluch
Frederick, MD
On Mon, 11 Nov 1996,
Tim Lynch wrote:
> ----------------------------Original message----------------------------
> Dan et al: THAT is precisely why I want to see this dude in action. Does
> he possess skills and abilities beyond the rest of us mere mortals? Why
> do his platters sell for $20000 and mine for $50? Why on earth, indeed.
> Maybe I could learn something.
>
>
>
>
Tim Lynch on tue 19 nov 96
Uh...did you have a film or video to recommend? all I want is to watch
him for A couple of minutes to see what all the hoopla is about.
Ok..ok..the truth is I want to see how he handles humongous amounts of
clay. Maybe the 40 watt lightbulb will go on over my head and I'll see
something I didn't figure on before. Maybe not. Anyway...ice bucket.
Tim Lynch
The Clay Man
748 Highline Drive
East Wenatchee, WA 98802-5606
email: tlynch@usa.net
telephone: 509-884-8303
On Mon, 18 Nov 1996, Hluch - Kevin A. wrote:
> ----------------------------Original message----------------------------
> Tim,
>
> It seems to me that the reason that Voulkos is such a media figure is
> that it just so happens that his expressions have an "outwardness",
> extrovertness, an "actionness" that coincide with the character of
> film and video. Grand, large, expressive gestures are transparently
> rendered by those "capture" and "disemminate" devices. Above all, the
> theatricality of the event is important. We learn to expect a
> "performance" as a result of the promotion and we and not dissappointed
> when the slip starts flying.
>
> In addition, Voulkos has had the benefit of a tremendous advertising
> campaign by Rose Slivka as editor of American Craft and later by her book
> on the artist. This tome was extensively advertised in that magazine that
> she edited as well. It seems she saw in Voulkos the craft world's
> Pollock.It would be interesting to see if Pollock would be an "abstract
> expressionist" today if he had lived.
>
> On the other hand, it is more difficult to stimulate this kind of
> response in reference to quieter, less agressive expressions. Can one
> imagine the video of, say, Ron Nagle or Richard Shaw? In comparison to
> Voulkos, these would be less than riveting.
>
> In many respects, the "Voulkos Phenonenon" strikes at the core of what it
> is to be an artist vs craftsperson, MFA candidate vs. apprentice, today.
> What would today's aspiring art student rather be: a rock star or
> artisan? I think it's obvious the value system that is promoted.
>
> Tim, in this culture, I don't think your work will command Voulkos's
> prices unless you stand the clay world on its head and have that activity
> well promoted so that everyone can never forget what you've done.
>
> Don't make the mistake Ohr made by finding Garth Clark too late.
>
> Kevin A. Hluch
> Frederick, MD
>
> On Mon, 11 Nov 1996,
> Tim Lynch wrote:
>
> > ----------------------------Original message----------------------------
> > Dan et al: THAT is precisely why I want to see this dude in action. Does
> > he possess skills and abilities beyond the rest of us mere mortals? Why
> > do his platters sell for $20000 and mine for $50? Why on earth, indeed.
> > Maybe I could learn something.
> >
> >
> >
> >
>
"Rafael Molina-Rodriguez (Rafael Molina-Rodriguez Rafael on wed 20 nov 96
Dan :
From what I gathered from Campbell's "Myth" series is that every group,
community, culture, creates myths. The contemporary American
ceramics community is no different. In the early part of this country's
clay rennaissance this century, especially after WW II, many myths were
created. Some faded with time (Sam Haile, John Mason) and others
have endured (Voulkos, Soldner, et. al.).
What Voulkos has is a myth created by Rose Slivka to help her career
and to get the fledgling magazine, "Craft Horizons" now "American
Craft", off the ground. This myth was perpetuated by Voulkos'
colleagues, gallery owners, and museum curators
While Voulkos may have done some interesting work early in his career,
his recent work is aesthetically bankrupt. All image and hyperbole very
little substance. The work is conceptually (intent or purpose) boring,
formally (use of the elements of art and principles of design) banal, and
technically (use of the materials and processes) lacking. He, like many
others later in their careers, has thrived on momentum.
To further buttress my argument let's compare and contrast Voulkos'
work with other sculptors. Clay sculpture doesn't exist in a vacuum. It
has to be evaluated along side other forms of sculpture such as bronze
casting, wood-carving, stone-carving, welded metal, resins, etc.,... .
Does anyone really believe Voulkos' work compares to Moore, Smith,
Calder, Rodin, Giacometti, Michelangelo?
The American clay community's continued adoration of Voulkos' reminds
me of the story of the "Emperor's New Clothes". This isn't an original
analogy. An American expatriate living in Japan used the same
description in a recent letter to Ceramics Monthly. The American clay
community needs to be more objective in their evaluation of Voulkos'
work and career.
Finally, my opinions of Voulkos' work are concerned with aesthetics.
This is unlike some of his critics who allude to his personal struggles.
Get out your flamethrowers. I'm sure the response to this post is going
to be nuclear. The dialogue is what's important. Having the courage to
state one's convictions without concern for social acceptance or political
correctness is also important. There is room on this list for
disagreement, dissent, devil's advocates, gadflies to the establishment,
etc.,... Just keep the personal attacks down and debate the merits or
frivolousness of my arguments.
Sincerely,
Rafael Molina-Rodriguez
rmr3431@dcccd.edu
>>> Dan Wilson 11/10/96 11:25am >>>
----------------------------Original message----------------------------
I wonder why on earth anyone would want to watch a film about Peter
Voulkos
working? Does he have special skills or techniques the rest of us don't
have?
mayonaise
Patrick & Lynn Hilferty on thu 21 nov 96
>On Mon, 18 Nov 1996, Hluch - Kevin A. wrote:
>> On the other hand, it is more difficult to stimulate this kind of
>> response in reference to quieter, less agressive expressions. Can one
>> imagine the video of, say, Ron Nagle or Richard Shaw? In comparison to
>> Voulkos, these would be less than riveting.
Uh, there IS video of Nagle and Shaw out there (though general availablity
is another matter entirely). It was shot at the Pipe Symposium that used to
take place at Mission Clay Products in Fremont, CA, a number of years ago.
Both departed from what they are known for to work with extruded sewer pipe
in a public setting.
Patrick Hilferty
**************************************************
Patrick Hilferty
Belmont, CA 94002
E-Mail: philferty@earthlink.net
Web Page: http://home.earthlink.net/~philferty/
**************************************************
Vince Pitelka on thu 21 nov 96
Raphael -
I hesitate to jump in here at all, because we have been around the block on
Voulkos a few times on Clayart, but how can I resist??
>While Voulkos may have done some interesting work early in his career,
>his recent work is aesthetically bankrupt.
Bullshit.
> All image and hyperbole very
>little substance. The work is conceptually (intent or purpose) boring,
>formally (use of the elements of art and principles of design) banal, and
>technically (use of the materials and processes) lacking.
The fact that YOU do not see the power in the work certainly does not mean
it is not there. Obviously a large percentage of the viewing public is
still strongly affected by his work.
>He, like many
>others later in their careers, has thrived on momentum.
He, like many others later in their careers, has allowed his earlier work to
evolve with subtle changes which are perhaps harder to spot for those who
are insensitive to the nuances of change and evolution.
>To further buttress my argument let's compare and contrast Voulkos'
>work with other sculptors. Does anyone really believe Voulkos' work
compares >to Moore, Smith, Calder, Rodin, Giacometti, Michelangelo?
Yes, many do. Of course, in the case of Rodin and Giacometti, people said
exactly the same thing about them in comparing them to earlier, more
conservative sculptors. What does that tell you?
>The American clay community needs to be more objective in their evaluation
of >Voulkos' work and career.
Why? Individual appreciation of art is largely subjective. Should we be
more objective in order to convince ourselves that the strong subjective
response we feel to his work is somehow invalid? Gee, that really makes sense.
>Finally, my opinions of Voulkos' work are concerned with aesthetics.
Your own personal aesthetics, right? Why should we be the least bit
concerned with your own personal aesthetics, other than to be interested in
your opinion. You are of course entitled to your opinions, and we love to
hear them, but your post was not stated as opinion. It was stated as if you
were INFORMING us.
>The dialogue is what's important. Having the courage to
>state one's convictions without concern for social acceptance or political
>correctness is also important.
That's not what you are doing. What you are doing is stating an extreme
point of view in order to stir up the pot just for the hell of it. That's
fine. We all need a little boost in our circulation now and then.
I do not care for Voulkos's newer bronze work. To me it is completely out
of character, and reminds me of 3-D design projects. I see no power or
originality in it. But his clay work still knocks me for a loop.
- Vince
Vince Pitelka - vpitelka@Dekalb.Net
Phone - home 615/597-5376, work 615/597-6801
Appalachian Center for Crafts, Smithville TN 37166
taube wilson on mon 24 sep 01
Chris,
Check Voulkos' website at http://www.voulkos.com .
-Taube Wilson
_________________________________________________________________
Get your FREE download of MSN Explorer at http://explorer.msn.com/intl.asp
Hank Murrow on sat 16 feb 02
Kelly in Ohio wrote;
>For reasons I can't understand I burst into tears when I read about
>Volkous... it's not like his work has deeply affected me, I didn't know
>him personally, and still...
>
>And it is not a surprising bit of news... It was clear to me at his
>demo/lecture in Bowling Green, months ago, that he was in his last days,
>ill and jaundiced, but drinking/smoking heavily anyway, as folks sometimes
>do when they've made peace with the inevitable...
>
>He was funny and irreverent in his lecture, laughing at the world and
>himself...
>I look forward to reading clayart in the next few days, hearing from folks
>who knew who he was, understand better what he meant to the world of
>pottery...
I suspect Pete would be a little uncomfortable with all this
'Olympian of Clay' talk. I remember hearing he was to arrive at the U of
Oregon in Spring of '58, and that I should get his clay ready for him. It
was a mix of Lincoln 60 fireclay and grog and a little silica. Well, I had
about 1200 # mixed up when he arrived, but it was pretty punky, so I was
wedging some by smashing two three lumps together and slicing them apart
with a wire, etc; when he sidled over to the concrete clay tanks and took
about 50# out and got on the cement floor and started to rock back and
forth with the clay kind of spiralling under his huge hands. I watched for
5 minutes and then joined him on the floor with about 25#. Soon (perhaps 10
minutes) I got the hang of it and never looked back, though I still wedge
just 25.
Second memory is of my first gas firing about three weeks later in
the Alpine kiln. Some student work, but mostly Pete's work. Fired that kiln
until the janitors closed the building and I had to get back in the window
to check it. Well, the cones still had 'not come into view' by then but
David Stannard fell by the shop and looked at it (knowing it was overfired)
saying, "Maybe make a drawing and then decide what to do", going home &
leaving me to ponder. I did that, and turned the kiln off in a little
while. came in the next morning to find the cone pack clay melted in a
puddle, all the shelves broken and the student work slumped......perhaps
C/16? Bob James looked at his watch and said,"Bet you can get it repaired
and started again before dinner". Amazing generosity!
The deal was....Voulkos' pots turned out swell with that refractory
body....almost every one. And I never overfired again. That experience led
directly, if hesitantly to my many kiln designs, culminating in this:
http://www.ceramicsmonthly.org/mustreads/shinofire.asp .
Pete was intensly shy, very generous, and kind in an off-hand way.
I'll miss him. Only two of my mentors left.
Musing in Eugene, Hank
Marta Matray Gloviczki on sun 17 feb 02
i took a soldner-voulkos wksp at anderson ranch in
95. at that time i didnt know much about these two
masters other than seeing some of their work in books
and magazines. i was not aware of their bigger than
life myth, legends, gossips... and all.
later, when i heard all the wild stories, i was
surprised.
i was deeply impressed by their teaching that week
long workshop, their talent and their friendship for
each other.
i think about it often, because that was my very first
workshop i attended and because of the reminder of the
famous clayboy poster hanging on my studio wall since
`95 with both soldner and voulkos` signature...
i remember one day, after almost everybody left for
dinner i heard music coming from the studio.
when i peeked in, i saw voulkos sitting at the wheel,
alone, throwing teabowls and listening to music.
few of us quietly went in and watched.
althou he was aware of us beeing there, he wasnt
performing... he just kept throwing... he was very
loose, but very focused.
i will never forget his enjoyment of making those
teabowls---
that`s how i remember him.
marta
=====
marta matray gloviczki
rochester,mn
http://users.skynet.be/russel.fouts/Marta.htm
http://www.silverhawk.com/crafts/gloviczki/welcome.html
__________________________________________________
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Rikki Gill on sun 17 feb 02
Thank you Hank. Great story. Peter was an amazing person and artist. By
the time I was his student, he was more into metal sculpture, and wasn't
around the clay studio a lot of the time. What he did teach me was that
clay could be wedged as you describe, thrown, undercut, lifted up in his
hands and set aside to dry prior to being incorporated into a piece of
sculpture. Seeing Peter handle clay was a major revelation. And at the end
of a Voulkos demonstration the atmosphere was drenched with his creative
energy. As was the Oakland exhibition of his sculpture. His presence hung
over his work in an indescribable manner, but anyone who has felt it will
never forget it. A sad goodbye from Rikki Gill
--- Original Message -----
From: "Hank Murrow"
To:
Sent: Saturday, February 16, 2002 10:08 PM
Subject: Re: Voulkos
> Kelly in Ohio wrote;
>
>
> >For reasons I can't understand I burst into tears when I read about
> >Volkous... it's not like his work has deeply affected me, I didn't know
> >him personally, and still...
> >
> >And it is not a surprising bit of news... It was clear to me at his
> >demo/lecture in Bowling Green, months ago, that he was in his last days,
> >ill and jaundiced, but drinking/smoking heavily anyway, as folks
sometimes
> >do when they've made peace with the inevitable...
> >
> >He was funny and irreverent in his lecture, laughing at the world and
> >himself...
> >I look forward to reading clayart in the next few days, hearing from
folks
> >who knew who he was, understand better what he meant to the world of
> >pottery...
>
>
> I suspect Pete would be a little uncomfortable with all this
> 'Olympian of Clay' talk. I remember hearing he was to arrive at the U of
> Oregon in Spring of '58, and that I should get his clay ready for him. It
> was a mix of Lincoln 60 fireclay and grog and a little silica. Well, I had
> about 1200 # mixed up when he arrived, but it was pretty punky, so I was
> wedging some by smashing two three lumps together and slicing them apart
> with a wire, etc; when he sidled over to the concrete clay tanks and took
> about 50# out and got on the cement floor and started to rock back and
> forth with the clay kind of spiralling under his huge hands. I watched for
> 5 minutes and then joined him on the floor with about 25#. Soon (perhaps
10
> minutes) I got the hang of it and never looked back, though I still wedge
> just 25.
>
> Second memory is of my first gas firing about three weeks later in
> the Alpine kiln. Some student work, but mostly Pete's work. Fired that
kiln
> until the janitors closed the building and I had to get back in the window
> to check it. Well, the cones still had 'not come into view' by then but
> David Stannard fell by the shop and looked at it (knowing it was
overfired)
> saying, "Maybe make a drawing and then decide what to do", going home &
> leaving me to ponder. I did that, and turned the kiln off in a little
> while. came in the next morning to find the cone pack clay melted in a
> puddle, all the shelves broken and the student work slumped......perhaps
> C/16? Bob James looked at his watch and said,"Bet you can get it repaired
> and started again before dinner". Amazing generosity!
>
> The deal was....Voulkos' pots turned out swell with that
refractory
> body....almost every one. And I never overfired again. That experience led
> directly, if hesitantly to my many kiln designs, culminating in this:
> http://www.ceramicsmonthly.org/mustreads/shinofire.asp .
>
> Pete was intensly shy, very generous, and kind in an off-hand way.
> I'll miss him. Only two of my mentors left.
>
> Musing in Eugene, Hank
>
>
____________________________________________________________________________
__
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.
>
Jim Bozeman on sun 17 feb 02
I was saddened to hear of Pete's passing. I met him at Anderson Ranch the Summer of 1994. I asked him to make a drawing for me and he drew one of his "stacks" and signed it "Love Pete Voulkos". He was a very generous man. Jim
Get your FREE download of MSN Explorer at http://explorer.msn.com.
Tom's E-mail on sun 17 feb 02
Voulkos,
So sorry to hear of Voulkos passing. I had 5-6 encounters with him over the
past 10 years. I attended a couple of his workshops and had him visit my
home on two occasions. Several thinks stand out but the two that I remember
most vividly are once when I received a call from Callas; he and Voulkos
were in Jacksonville and were en route to Sarasota; Pete asked if they
could stop and visit. I ran out to my studio and threw a bowl knowing that
when they arrived they would tour my studio. I asked if they would decorate
the bowl. Voulkos gave me a hard time kidding that I would sell the bowl;
finally after promising a glass of gin, he drew a line down the middle and
told Callas to decorate half and that he would decorate the other half.
While they were at work Voulkos commented that he and Callas hadn't
decorated a pot together in over a decade. later I had the opportunity to
wood fire the piece. The bottom bears the inscription thrown by Tom Sawyer
and decorated by Callas and Voulkos. My second most vivid memory is a day
when I was visiting Callas in his N.J. home; Callas was there working and we
were eating lunch when who should drop in unexpectedly but Soldner. The rest
of the day is somewhat of a blur; I remember we drank a lot of manhattans
and that when leaving a local resturant Voulkos and I were shoulder to
shoulder with our arms wrapped around one another singing quite loudly and
out of tune. I really enjoyed my time with him. He did a lot for all of us
potters.
Tom Sawyer
tsawyer@cfl.rr.com
artimater on mon 18 feb 02
My teacher should be telling this story(It's hers), but I don't =
think she reads CLAYART....Or maybe she just don't like you =
guysHEHEHE.....Anyway she was once, many years ago in a Voulkos =
workshop....It was supposed to start at 9 AM....At noon he was nowhere =
to be seen....At 2; still not arrived.....At 4 the same.....About 6 PM =
when only two or three people were still hanging out, he stumbled in =
with a snootful and proceeded to wow those left with clay until the wee =
hours of the morning.....Her eyes still glaze over when she mentions his =
name.....
Sounds like my kinda guy
PAX,
Rush
"I only indulge when I've seen a snake, so I keep a supply of =
indulgences and snakes handy"
http://artimator.com
rush@artimator.com
http://clubs.yahoo.com/clubs/texasceramics
Artimator Galleries
2420 Briarwood Ln.
Carrollton, TX 75006
972-841-1857
scott cooper @ st. earth on mon 18 feb 02
Peter Voulkos is dead, alas
The most enduring image for me, as a potter who never met or saw the man himself, but learned to know of him only through books and the occasional video, is of one of his magnificent, confident, form-shattering platters hanging on the wall. I ran across a classic photo in an early 90's CM last night, before I heard he was gone, that caught my eye... one of these platters, side by side with Arneson's response to it: a portrait of Voulkos scratched into the surface, with the requisite porcelain bullets and cracks, title "Pete Plate." And I recall a photo of his studio, possibly when he was also working in bronze, of stacks of them piled around the wheel, easily twenty or thirty. I aspire to that kind of conviction; the belief that what I'm doing is significant enough to commit to it that much.
I'm also glad that he made enough of them to not only perfect the form, but to let them spread out into the world -- I seem to come across them at the most pleasantly unexpected times. The one hanging over the fireplace at John Balistreri's parents house in Denver ("if you have to sell it to put your kids through school, i'll understand"); the one tucked away in a small corner of the International Mingei Museum in San Diego (this is mingei?); and just last week, in the back room at Garth Clark gallery in NYC... the whole 20th century revolution in clay summed up in one 20 inch disk.
Time to go back and re-read Rose Slivka's "Art of Peter Voulkos"...
Scott Cooper
St. Earth Pottery
www.negentropic.com/clay
Gail Dapogny on mon 18 feb 02
Throughout my often ignorant, clay-oriented life, I have looked at Voulkos
pots in various books and (I say with embarrassment) sort of didn't get
it. Always thought, "Well, I'm not there yet; I have to keep looking, and
someday maybe I will get it."
Then, last year at Charlotte there was an exhibit that included a Voulkos
pot. I came upon it unexpectedly and stopped dead in my tracks. It took
my breath away, and I wasn't even sure why. It just emanated power and
other things that defy explaining.. I'm still so grateful for that
moment, and sad about his death.
----gail
Gail Dapogny
1154 Olden Road
Ann Arbor, MI 48103-3005
(734) 665-9816
gdapogny@umich.edu
Ron & Nancy on fri 22 feb 02
Dear Clayarter's
I need to write a paper for a class and have chosen Peter Voulkos as
my subject. I have planned to use many of the quotes from your posts of
him. I would like to show a cross-section of opinions from his piers,
students, and observers. But I would not want to print a quote from some
one if they were uncomfortable with the idea. You can let me know off
line. I am going to the Alabama Clay Conference so I will be away next
week . And will plan to read any comments when i return. But the
following week, I will start the writing. It is a small college and the
paper will just be for discussion in class ( class fodder ). I just
thought this would be the polite thing to do.
regards Nancy
Mike Gordon on tue 13 dec 05
Tony wrote....
On the other hand old Pete Voulkos was baaaaaaaaaaaaaaad to the bone.
Cursed, drank, cocaine, cigars, wild women. The works in double
overtime.!
Now a Voulkos workshop in heaven I'd line up for. One of my
life's regrets is that I never got to see Pete move clay. I love his
work.
I agree Tony, I worked at the Berkeley Art Foundry right over the
tracks from Pete's place, n Berkeley, Ca. and after I left the foundry
and went back to teaching I always dreamed of attending one of his
workshops when I got around to retiring. Then before I did retire he up
and died. He was a character with a heart of gold. I miss him. Mike
Gordon
Rikki Gill on tue 13 dec 05
I saw Pete throw on two occasions. The first time was the most powerful
experience I've had in clay, because he wedged and threw fifty pounds of
clay, then cut into it to sculpt it, and undercut it with a wire. He then
lifted it with his hands and removed it from the wheel head. He was making
one of his large sculptures. I just didn't know you could do that. I
thought I was watching god.
Rikk Gill
www.rikkigillceramics
----- Original Message -----
From: "Mike Gordon"
To:
Sent: Tuesday, December 13, 2005 10:57 AM
Subject: Voulkos
> Tony wrote....
> On the other hand old Pete Voulkos was baaaaaaaaaaaaaaad to the bone.
> Cursed, drank, cocaine, cigars, wild women. The works in double
> overtime.!
> Now a Voulkos workshop in heaven I'd line up for. One of my
> life's regrets is that I never got to see Pete move clay. I love his
> work.
>
> I agree Tony, I worked at the Berkeley Art Foundry right over the
> tracks from Pete's place, n Berkeley, Ca. and after I left the foundry
> and went back to teaching I always dreamed of attending one of his
> workshops when I got around to retiring. Then before I did retire he up
> and died. He was a character with a heart of gold. I miss him. Mike
> Gordon
>
> ______________________________________________________________________________
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
> melpots@pclink.com.
>
>
Paul Lewing on tue 13 dec 05
on 12/13/05 10:57 AM, Mike Gordon at clayart@EARTHLINK.NET wrote:
> On the other hand old Pete Voulkos was baaaaaaaaaaaaaaad to the bone.
> Cursed, drank, cocaine, cigars, wild women. The works in double
> overtime.!
> Now a Voulkos workshop in heaven I'd line up for. One of my
> life's regrets is that I never got to see Pete move clay. I love his
> work.
Tony, I did get so see Pete some. He used to come up to Missoula to visit
Rudy, and drink. My God, that man could drink! Rudy was no slouch himself
at any time, but when Pete came, they turned it up several notches! And I
saw a 2-day workshop with Pete at Pottery Northwest, about 1977 or so. Many
people in the workshop were kind of offended by the bottle of Scotch and the
cigar parked on the wheel deck, but I've never seen anything like it.
Pete was almost inarticulate most of the time, but when he touched clay it
was almost like sparks flew off his fingertips! I've seen most of the
pottery greats of that generation work with clay, but none of them had what
Pete had. I don't know how to explain it in words, because it had nothing
to do with words.
And when he was done throwing a 4-foot 100-pound pot, he stepped back, took
a snort of Scotch and a drag off the cigar, and uttered, in that growl of
his, one of the best lines about art I've ever heard: "You know, something
that ugly shouldn't be that big!"
I'd line up for a Voulkos workshop somewhere too, but I'm not sure if that's
where that one would be held. And I say that even though I didn't like
anything Pete made for the last ten years or so of his life.
Paul Lewing, Seattle
Hank Murrow on tue 13 dec 05
> Tony wrote....
> On the other hand old Pete Voulkos was baaaaaaaaaaaaaaad to the bone.
> Cursed, drank, cocaine, cigars, wild women. The works in double
> overtime.!
> Now a Voulkos workshop in heaven I'd line up for. One of my
> life's regrets is that I never got to see Pete move clay. I love his
> work.
Pete came to the U of Oregon to do a workshop and lecture in '59, and I
was assigned to get clay ready for him. His preferred mix was Lincoln
60 with 10-15% grog. No spar, no silica, etc. I was 'helping' him by
slamming two small chunks of clay together and cutting them apart on
the wire......german style, which is the way it was done then. He got
on the floor and worked 50#s into a shell shape in 3 minutes. Mouth
agape, I asked how he did that, and he got me on the floor with 20#s
and I still couldn't do it. He said, "Close your eyes, they are fooling
you". So I did, and in five minutes had a similar shell shape unfolding
under my hands. I bless him every day for that lesson.
He tweaked the expectations of some of the folks by throwing a huge
bottle with a narrow neck and just when everyone was admiring it he
took two big drywall blades and went from the bottom to the top
squeezing it flat like a tube of toothpaste. About the time the "OH
NOs!" died down, he put his mouth to the neck and blew it back into a
bottle shape again. The chorus of "Wows!" was deafening.
I also recall how he would show up to NCECA meetings looking terrible,
and by the end of the meeting, his pieces in the gallery had suffered
another price increase. I don't know if that was strategy of dumb luck,
but he lasted a lot longer than anyone expected.
Cheers, Hank
www.murrow.biz/hank
Elizabeth Priddy on tue 13 dec 05
I least you wouldn't need to worry what he would be firing
with: brimstone with a drip of scotch!
Paul Lewing wrote:
...
And when he was done throwing a 4-foot 100-pound pot, he stepped back, took
a snort of Scotch and a drag off the cigar, and uttered, in that growl of
his, one of the best lines about art I've ever heard: "You know, something
that ugly shouldn't be that big!"
I'd line up for a Voulkos workshop somewhere too, but I'm not sure if that's
where that one would be held. And I say that even though I didn't like
anything Pete made for the last ten years or so of his life.
Paul Lewing, Seattle
Elizabeth Priddy
Beaufort, NC - USA
http://www.elizabethpriddy.com
---------------------------------
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Craig Edwards on mon 1 feb 10
Hell All: I was in Minneapolis yesterday and saw a Voulkos piece. It was a
large sculpture. I enjoyed it very much and also liked how it stands the
test of time.
Artistically sweet and technically very difficult. I stood their wondering
"What sort of clay body could he have used? " Any ideas on what sort of
clay body that Voulkos used for his large sculptures?
Thanks for any input.
--
Make Good Pots
~Craig
New London MN
http://woodfiredpottery.blogspot.com/
Kiln building workshop October 15-22
Taku, Japan
karatsupots-workshop.blogspot.com/
Brandon Phillips on mon 1 feb 10
craig-
i have this in a notebook, i can't remember the source though but i seem
to remember it being legitimate...who knows though.
Voulkos Clay
100 Goldart
100 Coarse Fireclay
100 OM4 Ball
50 Custer
50 EPK
15 Coarse Grog
Brandon Phillips
www.supportyourlocalpotter.com
> Hell All: I was in Minneapolis yesterday and saw a Voulkos piece. It was =
a
> large sculpture. I enjoyed it very much and also liked how it stands the
> test of time.
> Artistically sweet and technically very difficult. I stood their
> wondering
> "What sort of clay body could he have used? " Any ideas on what sort of
> clay body that Voulkos used for his large sculptures?
> Thanks for any input.
>
> --
> Make Good Pots
> ~Craig
> New London MN
> http://woodfiredpottery.blogspot.com/
>
> Kiln building workshop October 15-22
> Taku, Japan
> karatsupots-workshop.blogspot.com/
>
Lee Love on mon 1 feb 10
On Mon, Feb 1, 2010 at 1:05 PM, Craig Edwards wro=
=3D
te:
> Artistically sweet and technically very difficult. =3DA0I stood their won=
de=3D
ring
> "What sort of clay body could he have used? " =3DA0Any ideas on what sort=
o=3D
f
> clay body that Voulkos used for his large sculptures?
> Thanks for any input.
"Many years ago Peter Voulkos, wanting the simplest body, mixed half
fire clay and half ball clay, sometimes adding crystal silica, sand,
or grog. This works at cone 10; lower, it is porous. Due to the lack
of clay variety and of flux, this body is more open than it is
homogeneous."
I it found here:
http://books.google.com/books?id=3D3DPAZR-A9Ra6EC&pg=3D3DPA157&lpg=3D3DPA15=
7&dq=3D
=3D3Dpeter+voulkos+claybody&source=3D3Dbl&ots=3D3DNpvOap4D1y&sig=3D3D0CizDC=
d2CLTPcx=3D
8bS-pLoJwMmss&hl=3D3Den&ei=3D3DnjdnS5sui_g13ays7AY&sa=3D3DX&oi=3D3Dbook_res=
ult&ct=3D
=3D3Dresult&resnum=3D3D5&ved=3D3D0CB8Q6AEwBA#v=3D3Donepage&q=3D3Dvoulkos&f=
=3D3Dfalse
--
Lee, a Mashiko potter in Minneapolis
http://mashikopots.blogspot.com/
=3D93Observe the wonders as they occur around you. Don't claim them. Feel
the artistry moving through and be silent.=3D94 --Rumi
Carolyn Boeri on mon 1 feb 10
Hi Craig,
When I was at a Voulkos/Soldner/Peter Callus workshop in PA years ago,
Voulkos was using a sandy clay he got shipped from Japan. He made a little
candleholder for me and I fired it in my wood Noboragama kiln when I next
fired. It was exceptionally groggy, as I recall.
Carolyn
----- Original Message -----
From: "Craig Edwards"
To:
Sent: Monday, February 01, 2010 2:05 PM
Subject: Voulkos
> Hell All: I was in Minneapolis yesterday and saw a Voulkos piece. It was =
a
> large sculpture. I enjoyed it very much and also liked how it stands the
> test of time.
> Artistically sweet and technically very difficult. I stood their
> wondering
> "What sort of clay body could he have used? " Any ideas on what sort of
> clay body that Voulkos used for his large sculptures?
> Thanks for any input.
>
> --
> Make Good Pots
> ~Craig
> New London MN
> http://woodfiredpottery.blogspot.com/
>
> Kiln building workshop October 15-22
> Taku, Japan
> karatsupots-workshop.blogspot.com/
>
>
Craig Edwards on tue 2 feb 10
Lee, Hank, Brandon, and Carolyn: Thanks for the stories and formula help.
Yesterday over lunch I started mixing Hank's, Voulkos formula in the
bluebird mixer. I threw some today... abrasive but surprisingly smooth and
easy to throw.
The Voulkos piece that I was looking at was made in 1959... the same year
that Hank made clay for Pete.... what are the odds on finding someone that
made Pete's clay in 1959!! Only on Clayart!!
Well lunch is over so time to work on some of Pete's clay...try and make it
look like art.
>
>
>
--
Make Good Pots
~Craig
New London MN
http://woodfiredpottery.blogspot.com/
Kiln building workshop October 15-22
Taku, Japan
karatsupots-workshop.blogspot.com/
Hank Murrow on tue 2 feb 10
On Feb 2, 2010, at 11:31 AM, Craig Edwards wrote:
> Lee, Hank, Brandon, and Carolyn: Thanks for the stories and formula =3D20=
=3D
> help.
> Yesterday over lunch I started mixing Hank's, Voulkos formula in the
> bluebird mixer. I threw some today... abrasive but surprisingly =3D20
> smooth and
> easy to throw.
> The Voulkos piece that I was looking at was made in 1959... the =3D20
> same year
> that Hank made clay for Pete.... what are the odds on finding =3D20
> someone that
> made Pete's clay in 1959!! Only on Clayart!!
> Well lunch is over so time to work on some of Pete's clay...try and =3D20=
=3D
> make it
> look like art.
Ok, Craig, you now get to have the rest of the story.
About four weeks after the Voulkos visit, Bob James says to me, "Lots =3D20=
=3D
of things on the cart, so why don't you fire the Alpine?" I had never =3D20=
=3D
fired a kiln before, but was glad of the invitation. A lot of student =3D20=
=3D
work went in along with Pete's pots, and I asked Bob to look over my =3D20
loading job and he said it all looked good and I started the kiln =3D20
around 9am. I had a couple of classes that I fit into the firing =3D20
r=3DE9gime, and all seemed to be going well. Everyone went to dinner =3D20
while I stayed with the kiln, and I began to get a little uneasy =3D20
because I could not see the cones. Alone in the building around ten =3D20
o'clock, David Stannard came by and had a look. He said "What did the =3D20=
=3D
cones look like before the fire?" I could not remember, so he said, =3D20
"Make a drawing and it will resolve itself."....... and left.
I made a drawing and began to realize that the cones had already =3D20
fallen, so I turned it off and secured the kiln for the night. The =3D20
next day, I came in around noon and someone said, "Bob is looking for =3D20=
=3D
you". I went to his office and he said, "Looks like it got a little =3D20
hot in your kiln." I waited for him to continue and he pulled out his =3D20=
=3D
pocketwatch and said, "If you start now, I think you can have it =3D20
repaired and firing again by dinnertime." I did, and have never over-=3D20
fired a kiln since in the thousands of fires I have done.
All the shelves were broken, all the radients also, and the student =3D20
work was puddles on the shelves, and Pete's pots were holding up the =3D20
shelves. They were the only things in the kiln that stood. Pete said =3D20
the pots we sent him were the prettiest he'd seen from that clay. =3D20
After studying the evidence, we figured that the Alpine had reached =3D20
cone 17 or 18, since the cone clay itself had melted. Never =3D20
underestimate the power of forced draft!
Had I not been given the chance to repair that kiln, I would be an =3D20
architect, attorney, or worse by now. I've built over a hundred kilns =3D20=
=3D
and learned a lot from that old Alpine about how not to build a kiln. =3D20=
=3D
Bob is now 81 and I am 71 and have been potting for 51 years, and =3D20
both of us are looking towards the 25th anniversary firing of the =3D20
East Creek anagama next month.
Good Luck with that recipe, Craig, and make sure you get it hot enough.
Cheers, Hank=3D
Craig Edwards on wed 3 feb 10
Hank: Thanks for the story... I'll file it under, Hank's Studebaker
Chronicles,
and title it "Fame through Infamy"
Yes, I'll fire this hot... I was looking for something to put next to the
firebox.. thanks again.
--=3D20
Make Good Pots
~Craig
New London MN
http://woodfiredpottery.blogspot.com/
Kiln building workshop October 15-22
Taku, Japan
karatsupots-workshop.blogspot.com/
Ok, Craig, you now get to have the rest of the story.
>
> About four weeks after the Voulkos visit, Bob James says to me, "Lots of
> things on the cart, so why don't you fire the Alpine?" I had never fired =
=3D
a
> kiln before, but was glad of the invitation. A lot of student work went i=
=3D
n
> along with Pete's pots, and I asked Bob to look over my loading job and h=
=3D
e
> said it all looked good and I started the kiln around 9am. I had a couple=
=3D
of
> classes that I fit into the firing r=3DE9gime, and all seemed to be going=
w=3D
ell.
> Everyone went to dinner while I stayed with the kiln, and I began to get =
=3D
a
> little uneasy because I could not see the cones. Alone in the building
> around ten o'clock, David Stannard came by and had a look. He said "What =
=3D
did
> the cones look like before the fire?" I could not remember, so he said,
> "Make a drawing and it will resolve itself."....... and left.
>
> I made a drawing and began to realize that the cones had already fallen, =
=3D
so
> I turned it off and secured the kiln for the night. The next day, I came =
=3D
in
> around noon and someone said, "Bob is looking for you". I went to his off=
=3D
ice
> and he said, "Looks like it got a little hot in your kiln." I waited for =
=3D
him
> to continue and he pulled out his pocketwatch and said, "If you start now=
=3D
, I
> think you can have it repaired and firing again by dinnertime." I did, an=
=3D
d
> have never over-fired a kiln since in the thousands of fires I have done.
>
> All the shelves were broken, all the radients also, and the student work
> was puddles on the shelves, and Pete's pots were holding up the shelves.
> They were the only things in the kiln that stood. Pete said the pots we s=
=3D
ent
> him were the prettiest he'd seen from that clay. After studying the
> evidence, we figured that the Alpine had reached cone 17 or 18, since the
> cone clay itself had melted. Never underestimate the power of forced draf=
=3D
t!
>
> Had I not been given the chance to repair that kiln, I would be an
> architect, attorney, or worse by now. I've built over a hundred kilns and
> learned a lot from that old Alpine about how not to build a kiln. Bob is =
=3D
now
> 81 and I am 71 and have been potting for 51 years, and both of us are
> looking towards the 25th anniversary firing of the East Creek anagama nex=
=3D
t
> month.
>
> Good Luck with that recipe, Craig, and make sure you get it hot enough.
>
> Cheers, Hank
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