Jamie Yocono on mon 4 feb 08
Aloha everyone,
I'm on a short getaway vacation, but I thought I'd try posting this again. I
posted it twice right before the site went down, it must have gotten
devoured somewhere along the way.
I was rummaging around my studio and found a 5 year old article (in CM)
about simulating a wood fired effect in an electric kiln. Since I'm in the
desert, where the drought has scorched the land, I'm pretty much limited to
only using an electric kiln, so I thought I'ld try it. The article was
written by Richard Busch, and really supplied some wonderful imformation an
images to get me started.
Anyway, I've posted some pictures and test results on my blog, if anyone's
interested it's: http://wooditis.blogspot.com/
When I get a chance, I need to write Richard and thank him, his article was
COMPLETELY inspiring and helpful.
Jamie (from Vegas) (in Hawaii)
PS.... I had the good fortune of meeting Phil (of Bison Tools) a couple of
times in the last few months. He's not only sweet and full of facinating
stuff, but a pretty great woodworker, too. I feel like I've met a good
friend in Phil. He's special.
Hollis on tue 5 feb 08
I don't quite know why this fake wood-fired thing pisses me off, but I
felt the same way when Richard Busch's article first appeared in CM
five years ago. A pot is either fired with wood or it isn't. No amount
of diddling with the glazes and brushwork will make an electric-fired
pot into a wood-fired pot. There's nothing wrong with electric pots;
lots of great pots come out of electric kilns. But it seems to me that
if you want a pot to look like it's been fired with wood ... you find a
wood kiln somewhere - or build one yourself - and go through the labor
and sweat and woodcutting and long nights and everything else that
comes with the various kinds of woodfiring. You don't even have to
spend a week firing a big anagama; you can bring a smaller fast-fire
kiln to temperature in a matter of hours. But when those pots come out,
they will truly look wood-fired. And for the best reason - because they
WERE wood-fired.
Hollis Engley
Hatchville Pottery
E. Falmouth, MA
hatchvillepottery.com
On Feb 4, 2008, at 11:39 PM, Jamie Yocono wrote:
> Aloha everyone,
>
> I'm on a short getaway vacation, but I thought I'd try posting this
> again. I
> posted it twice right before the site went down, it must have gotten
> devoured somewhere along the way.
>
> I was rummaging around my studio and found a 5 year old article (in CM)
> about simulating a wood fired effect in an electric kiln. Since I'm in
> the
> desert, where the drought has scorched the land, I'm pretty much
> limited to
> only using an electric kiln, so I thought I'ld try it. The article was
> written by Richard Busch, and really supplied some wonderful
> imformation an
> images to get me started.
>
> Anyway, I've posted some pictures and test results on my blog, if
> anyone's
> interested it's: http://wooditis.blogspot.com/
>
> When I get a chance, I need to write Richard and thank him, his
> article was
> COMPLETELY inspiring and helpful.
>
> Jamie (from Vegas) (in Hawaii)
>
> PS.... I had the good fortune of meeting Phil (of Bison Tools) a
> couple of
> times in the last few months. He's not only sweet and full of
> facinating
> stuff, but a pretty great woodworker, too. I feel like I've met a good
> friend in Phil. He's special.
>
> _______________________________________________________________________
> _______
> Clayart members may send postings to: clayart@lsv.ceramics.org
>
> You may look at the archives for the list, post messages, change your
> subscription settings or unsubscribe/leave the list here:
> http://www.acers.org/cic/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
> melpots2@visi.com
>
vpitelka on tue 5 feb 08
Hollis wrote:
"I don't quite know why this fake wood-fired thing pisses me off, but I
felt the same way when Richard Busch's article first appeared in CM
five years ago. A pot is either fired with wood or it isn't. No amount
of diddling with the glazes and brushwork will make an electric-fired
pot into a wood-fired pot. There's nothing wrong with electric pots;
lots of great pots come out of electric kilns. But it seems to me that
if you want a pot to look like it's been fired with wood ... you find a
wood kiln somewhere - or build one yourself - and go through the labor
and sweat and woodcutting and long nights and everything else that
comes with the various kinds of woodfiring. You don't even have to
spend a week firing a big anagama; you can bring a smaller fast-fire
kiln to temperature in a matter of hours. But when those pots come out,
they will truly look wood-fired. And for the best reason - because they
WERE wood-fired."
I gotta agree with Hollis here. Trying to imitate the appearance of
wood-fired pots in an electric kiln is a misguided folly. I do not
understand why anyone would even be inclined to try this.
That said, there are all sorts of slip and/or oxide patinas,
fluctuating-color surfaces, layered glazes, etc. that will have an effect
not entirely unlike woodfiring, and certainly can have tremendous surface
richness and visual texture, but without ever "imitating" wood-fired glazes.
It is especially disturbing that the subject line of the original post said
"New wood fired glaze test examples on my blog." They are not wood-fired,
so let's be clear about that.
The pieces on the blog show some lively surfaces and graphic markings. To
me, they look more like high-fire reduction pieces. I can see developing
those surfaces for visual richness and experiential effect without ever
thinking about any connection to wood firing, and I can see that they would
move in a very good direction.
- Vince
Vince Pitelka
Appalachian Center for Craft
Tennessee Tech University
vpitelka@dtccom.net; wpitelka@tntech.edu
http://iweb.tntech.edu/wpitelka
Jamie Yocono on tue 5 feb 08
Hey Hollis,
Lighten up.
Try moving to the desert, where the slightest spark can ignite a fire and
burn down hundreds of homes. We're talking millions of dollars of damage.
Remember San Diego a few months ago?
Tell you what... send me your address, I'll send you a bottle of Hawaiian
wine and a couple of Valiums. Maybe you'll relax enough to enjoy a new glaze
technique. And learn something, at the same time.
Jamie (not in Vegas) (in Hawaii)
Hollis on wed 6 feb 08
I stand corrected, Lee. Thanks for that. "Never say never" is a good
thing to live by, though I think the saggar process is not what the
Busch method is about. And thanks for the Valium offer, Jamie. I'm fine
without it.
Hollis
hatchvillepottery.com
On Feb 5, 2008, at 9:11 PM, Lee wrote:
> On 2/6/08, Hollis wrote:
>> I don't quite know why this fake wood-fired thing pisses me off, but I
>> felt the same way when Richard Busch's article first appeared in CM
>> five years ago. A pot is either fired with wood or it isn't. No amount
>> of diddling with the glazes and brushwork will make an electric-fired
>> pot into a wood-fired pot.
>
> Hollis,
>
> They are masters of getting various effects in electric
> kilns. One of the most autentic ways is firing in saggers in
> electric kilns. They are able to do this because they don't use the
> skinny coil elements, but rather, thick bar type elements like you
> find on your electric range.
>
> At the Mashiko pottery festival, a couple guys on both
> sides of me fired reduction in their electric kilns. They achieved
> reduction by putting a sagger full of charcoal in the bottom of the
> electrick kiln. There is no way you can tell this work apart from
> gas or oil fired work. Believe me!
>
> So, Never say never!
>
> --
> Lee in Mashiko, Tochigi Japan
> http://mashikopots.blogspot.com/
>
> "Tea is nought but this: first you heat the water, then you make the
> tea. Then you drink it properly. That is all you need to know."
> --Sen No Rikyu
> "Let the beauty we love be what we do." - Rumi
>
> _______________________________________________________________________
> _______
> Clayart members may send postings to: clayart@lsv.ceramics.org
>
> You may look at the archives for the list, post messages, change your
> subscription settings or unsubscribe/leave the list here:
> http://www.acers.org/cic/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
> melpots2@visi.com
>
John Hesselberth on wed 6 feb 08
> Hollis wrote:
> "I don't quite know why this fake wood-fired thing pisses me off,
> but I
> felt the same way when Richard Busch's article first appeared in CM
> five years ago. A pot is either fired with wood or it isn't. No amount
> of diddling with the glazes and brushwork will make an electric-fired
> pot into a wood-fired pot. There's nothing wrong with electric pots;
> lots of great pots come out of electric kilns. But it seems to me that
> if you want a pot to look like it's been fired with wood ... you
> find a
> wood kiln somewhere - or build one yourself - and go through the labor
> and sweat and woodcutting and long nights and everything else that
> comes with the various kinds of woodfiring. You don't even have to
> spend a week firing a big anagama; you can bring a smaller fast-fire
> kiln to temperature in a matter of hours. But when those pots come
> out,
> they will truly look wood-fired. And for the best reason - because
> they
> WERE wood-fired."
Ah, the wood-fired elitists are rumbling again. First, let me say I
would not try to duplicate the wood fired look in an electric kiln
unless I did it out of curiosity. I find most wood fired work to be
fairly ugly. But to each his own. If someone wants to try to find an
easier way to make that look in another type of kiln I say more power
to him or her. Isn't that the essence of technological progress in
this world? Searching for a simpler way to accomplish the same
result? As long as the person is honest, when asked, about how the
look was achieved I think it's great! I admire curious minds who are
not hemmed in by tradition. I also admire those who prefer to
practice traditional ways to do things. Those two types of people
gain little by trying to tear each other down.
Regards,
John
John Hesselberth
www.frogpondpottery.com
"Man is a tool-using animal....without tools he is nothing, with
tools he is all" .... Thomas Carlyle
Lee on wed 6 feb 08
On Feb 6, 2008 2:32 PM, Hollis wrote:
> I stand corrected, Lee. Thanks for that. "Never say never" is a good
> thing to live by, though I think the saggar process is not what the
> Busch method is about. And thanks for the Valium offer, Jamie. I'm fine
> without it.
Busch's nutmeg and satin white ares fine glaze. I have
thought of using the combo in my flue channel, where the temps are
about cone 6. Only problems there, is a lot of ash. Maybe just the
Nutmeg would work well with the ash?
Someone recalculated it to be more durable. Check the
archives. Keep the tests coming! Please includes the recipes
with the images. Remember, recipes cannot be copyrighted!
Jamie, I'll take the wine if Hollis doen't want it! I
am thinking of going low carbo when I get back to the States and dry
wine is recommended. ;^)
--
Lee in Mashiko, Tochigi Japan
http://mashikopots.blogspot.com/
"Tea is nought but this: first you heat the water, then you make the
tea. Then you drink it properly. That is all you need to know."
--Sen No Rikyu
"Let the beauty we love be what we do." - Rumi
Liz Willoughby on wed 6 feb 08
Hello Jamie,
Frankly I applaud your enthusiasm for trying different glazing
methods in your electric kiln. Sounds to me from your blog,
http://wooditis.blogspot.com/ that you have been doing a lot of
experimenting with glazes, especially using "waterfall brown" from
Mastering Glazes. These last tests were from simple glazes, a white
satin plus a nutmeg glaze. Many people use these glazes in electric.
Anyone who is drawn to warm toasty glazes, can use any method of fuel
that they have on hand to produce work that is dressed with these
glazes. It seems to me that if you don't experiment, you become
stagnant, you lose enthusiasm, and work can get boring. It is not
dishonest to find a way to glaze and fire pots in electric that look
similar to wood fired work, so long as you are not deluding anyone
about the process.
Congratulations on your glaze experimentation. It is electric, and
it just goes to show you that electric firing has endless
possibilities for experimentation, especially if one lives in an area
where it might be dangerous to fire a wood kiln.
Liz Willoughby from Grafton, Ontario, Canada
who fired electric for 20 years, who also loved the look of warm
glazes, and experimented with them for electric, who now lives in the
country where I can fire with propane, and who also has access to two
wood kilns that I can help to fire with my work included in it.
There is a severe winter storm outside now, do you think that the
weather-man will make sure to have nice weather in Pittsburgh? Can
hardly wait.
>
>On Feb 4, 2008, at 11:39 PM, Jamie Yocono wrote:
>>
>>I was rummaging around my studio and found a 5 year old article (in CM)
>>about simulating a wood fired effect in an electric kiln. Since I'm in
>>the
>>desert, where the drought has scorched the land, I'm pretty much
>>limited to
>>only using an electric kiln, so I thought I'ld try it. The article was
>>written by Richard Busch, and really supplied some wonderful
>>imformation an
>>images to get me started.
>>
>>Anyway, I've posted some pictures and test results on my blog, if
>>anyone's
>>interested it's: http://wooditis.blogspot.com/
>>
>>When I get a chance, I need to write Richard and thank him, his
>>article was
>>COMPLETELY inspiring and helpful.
>>
>>Jamie (from Vegas) (in Hawaii)
Tony Ferguson on wed 6 feb 08
I think one of the important things to remember as Shiro said, "The end justifies the means." Whatever you got to do with your art to get it where you want it to be...is fine. It does not matter what temp, clay, place, glaze, etc. The end result of your work will say or not say it all. Of course, we enjoy the ride, the process. So both are important to me.
Tony Ferguson
John Hesselberth wrote: > Hollis wrote:
> "I don't quite know why this fake wood-fired thing pisses me off,
> but I
> felt the same way when Richard Busch's article first appeared in CM
> five years ago. A pot is either fired with wood or it isn't. No amount
> of diddling with the glazes and brushwork will make an electric-fired
> pot into a wood-fired pot. There's nothing wrong with electric pots;
> lots of great pots come out of electric kilns. But it seems to me that
> if you want a pot to look like it's been fired with wood ... you
> find a
> wood kiln somewhere - or build one yourself - and go through the labor
> and sweat and woodcutting and long nights and everything else that
> comes with the various kinds of woodfiring. You don't even have to
> spend a week firing a big anagama; you can bring a smaller fast-fire
> kiln to temperature in a matter of hours. But when those pots come
> out,
> they will truly look wood-fired. And for the best reason - because
> they
> WERE wood-fired."
Ah, the wood-fired elitists are rumbling again. First, let me say I
would not try to duplicate the wood fired look in an electric kiln
unless I did it out of curiosity. I find most wood fired work to be
fairly ugly. But to each his own. If someone wants to try to find an
easier way to make that look in another type of kiln I say more power
to him or her. Isn't that the essence of technological progress in
this world? Searching for a simpler way to accomplish the same
result? As long as the person is honest, when asked, about how the
look was achieved I think it's great! I admire curious minds who are
not hemmed in by tradition. I also admire those who prefer to
practice traditional ways to do things. Those two types of people
gain little by trying to tear each other down.
Regards,
John
John Hesselberth
www.frogpondpottery.com
"Man is a tool-using animal....without tools he is nothing, with
tools he is all" .... Thomas Carlyle
______________________________________________________________________________
Clayart members may send postings to: clayart@lsv.ceramics.org
You may look at the archives for the list, post messages, change your
subscription settings or unsubscribe/leave the list here: http://www.acers.org/cic/clayart/
Moderator of the list is Mel Jacobson who may be reached at melpots2@visi.com
Tony Ferguson
315 N. Lake Ave. Apt 312
Duluth, MN 55806
...where the sky meets the lake...
Artist, Educator, Photographer, Film Maker, Web Meister
fergyart@yahoo.com
(218) 727-6339
http://www.tonyferguson.net
---------------------------------
Looking for last minute shopping deals? Find them fast with Yahoo! Search.
John Britt on wed 6 feb 08
Jamie,
Nice Work! Don't listen to the naysayers. Do what you got to do baby!
John Britt
www.johnbrittpottery.com
Maggie Jones on wed 6 feb 08
I agree....It is a matter of what you can do with the materials and
equipment you have at hand.
just be sure you call it what it is.....
there are potters here in the south who use an electric "fake ash" on
their face jugs and the customers think the pots have been thru a wood
fired kiln. If the customer knows enough to ask, the potter may tell
them, but ....
M
http://TurtleIslandPottery.com
Maggie and Freeman Jones
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
On Wed, 6 Feb 2008 20:55:17 -0500 John Britt writes:
> Jamie,
>
> Nice Work! Don't listen to the naysayers. Do what you got to do
> baby!
>
> John Britt
> www.johnbrittpottery.com
>
>
_________________________________________________________________________
_____
> Clayart members may send postings to: clayart@lsv.ceramics.org
>
> You may look at the archives for the list, post messages, change
> your
> subscription settings or unsubscribe/leave the list here:
> http://www.acers.org/cic/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
> melpots2@visi.com
>
>
Lee on wed 6 feb 08
On 2/6/08, Hollis wrote:
> I don't quite know why this fake wood-fired thing pisses me off, but I
> felt the same way when Richard Busch's article first appeared in CM
> five years ago. A pot is either fired with wood or it isn't. No amount
> of diddling with the glazes and brushwork will make an electric-fired
> pot into a wood-fired pot.
Hollis,
They are masters of getting various effects in electric
kilns. One of the most autentic ways is firing in saggers in
electric kilns. They are able to do this because they don't use the
skinny coil elements, but rather, thick bar type elements like you
find on your electric range.
At the Mashiko pottery festival, a couple guys on both
sides of me fired reduction in their electric kilns. They achieved
reduction by putting a sagger full of charcoal in the bottom of the
electrick kiln. There is no way you can tell this work apart from
gas or oil fired work. Believe me!
So, Never say never!
--
Lee in Mashiko, Tochigi Japan
http://mashikopots.blogspot.com/
"Tea is nought but this: first you heat the water, then you make the
tea. Then you drink it properly. That is all you need to know."
--Sen No Rikyu
"Let the beauty we love be what we do." - Rumi
Lee on wed 6 feb 08
On 2/5/08, Jamie Yocono wrote:
> written by Richard Busch, and really supplied some wonderful imformation an
> images to get me started.
This isn't fake woodfired. It is his shino inspired glaze, isn't it?
A mix of nutmeg and satin white?
Best way to get something related to wood firing is from
another article in CM on wood ash glazes over albany slip glazes.
--
Lee in Mashiko, Tochigi Japan
http://mashikopots.blogspot.com/
"Tea is nought but this: first you heat the water, then you make the
tea. Then you drink it properly. That is all you need to know."
--Sen No Rikyu
"Let the beauty we love be what we do." - Rumi
Donna Kat on thu 7 feb 08
On Tue, 5 Feb 2008 15:12:13 -0500, Hollis
wrote:
>I don't quite know why this fake wood-fired thing pisses me off, but I
>felt the same way when Richard Busch's article first appeared in CM
>five years ago. A pot is either fired with wood or it isn't. No amount
>of diddling with the glazes and brushwork will make an electric-fired
>pot into a wood-fired pot. There's nothing wrong with electric pots;
>lots of great pots come out of electric kilns. But it seems to me that
>if you want a pot to look like it's been fired with wood ... you find a
>wood kiln somewhere - or build one yourself - and go through the labor
>and sweat and woodcutting and long nights and everything else that
>comes with the various kinds of woodfiring. You don't even have to
>spend a week firing a big anagama; you can bring a smaller fast-fire
>kiln to temperature in a matter of hours. But when those pots come out,
>they will truly look wood-fired. And for the best reason - because they
>WERE wood-fired.
>Hollis Engley
>Hatchville Pottery
>E. Falmouth, MA
>hatchvillepottery.com
>
Unfortuneately many of us do not have the luxury of being able to do a
wood/gas firing. We are limited to using an electric kiln. Many of us
have previously worked with the flame in one way or another and have
developed a fondness for certain colors or textures or simply want a
palette that is covers a certain range. It is easy to say - I'm looking
for the color you get when you do this with wood or gas firing and most
experienced potters will know what we mean. If I tell you I want an
orange/rust glaze that is almost matt but with a creamy white where thick
you may offer me all sorts of suggestions that come no where near to what
I mean. If I tell you I'm looking for a glaze for an electric kiln that
is similar to a shino with in the orange/cream range it communicates
exactly in my minds eye what I'm trying to put on my palette. You cannot
get a pot out of an electric kiln that is going to look wood fired but
that doesn't mean that you can't try to find a similar color.
There are far more important things to get pissed at IMO than other
people's way of doing their work especially when it has no impact on you.
One of my favorite parts in 'Goodwill Hunting' follows
Sean: My wife used to fart when she was nervous. She had all sorts of
wonderful little idiosyncrasies. She used to fart in her sleep. I thought
I=92d share that with you. One night it was so loud it woke the dog up. She
woke up and went =91ah was that you?=92 And I didn=92t have the heart to tel=
l
her. Oh!
Will: She woke herself up?
Sean: Ah...! But Will, she=92s been dead for 2 years, and that's the shit I
remember: wonderful stuff you know? Little things like that. Those are the
things I miss the most. The little idiosyncrasies that only I know about:
that's what made her my wife. Oh she had the goods on me too, she knew all
my little peccadilloes. People call these imperfections, but they're not.
Ah, that's the good stuff.
//////////////////
You can let other people's differences piss you off or you can enjoy
them. I can tell you which is more healthy for you if you can't guess.
Joseph Herbert on thu 7 feb 08
John Hesselberth wrote: I find most wood fired work to be fairly ugly.
Ah, John. You have fallen in to the trap of assuming the appearance and
utility of the resulting work actually matters. It is obviously the process
that matters, not the product. Indeed, there seems to be some aspects of
morality ascribed to the wood firing process so that followers of lesser
techniques are lost lambs to be saved or sinners to be spurned. My favorite
demonstration of Woodfirianism is the moment when the Initiate in the
process isolates a portion of a pot, usually by covering the uninteresting
bits with cupped hands, and becomes rapturous about that spot on the pot.
Yes, it would indeed be fabulous if all the pot looked like that and wasn't
so dry and rough elsewhere that one could hardly stand to pick it up. But
this pot has come from the sacred process, it must be blessed.
I have some of the same feelings about some practitioners of the American
Raku process. The process and the product are both potentially dangerous
but the excitement and dazzling colors sweep all consideration away. The
colors fade, the vessel will not hold water, and anything eaten off it has a
curious tangy taste. Again, the process is vastly more important than the
result.
Could grass firing, where one uses straw or other annual plant material as
fuel, be as blessed as wood firing or does one have to kill really large,
old plants for it to be righteous?
Joe
Joseph Herbert
Technical Writer
Irving, Texas
214-725-8305 (Cell)
No virus found in this outgoing message.
Checked by AVG Free Edition.
Version: 7.5.516 / Virus Database: 269.19.21/1263 - Release Date: 2/6/2008
8:14 PM
John Hesselberth on thu 7 feb 08
Thanks Joe! You put your finger on it way better than I could have.
Your post goes into my "saved" file so I can savor it from time to
time when the "woodies" go on parade. But you will probably be
branded as "shallow" too. I hope you're ready.
John
On Feb 7, 2008, at 8:55 AM, Joseph Herbert wrote:
> John Hesselberth wrote: I find most wood fired work to be fairly ugly.
>
> Ah, John. You have fallen in to the trap of assuming the
> appearance and
> utility of the resulting work actually matters. It is obviously
> the process
> that matters, not the product. Indeed, there seems to be some
> aspects of
> morality ascribed to the wood firing process so that followers of
> lesser
> techniques are lost lambs to be saved or sinners to be spurned. My
> favorite
> demonstration of Woodfirianism is the moment when the Initiate in the
> process isolates a portion of a pot, usually by covering the
> uninteresting
> bits with cupped hands, and becomes rapturous about that spot on
> the pot.
> Yes, it would indeed be fabulous if all the pot looked like that
> and wasn't
> so dry and rough elsewhere that one could hardly stand to pick it
> up. But
> this pot has come from the sacred process, it must be blessed.
>
> I have some of the same feelings about some practitioners of the
> American
> Raku process. The process and the product are both potentially
> dangerous
> but the excitement and dazzling colors sweep all consideration
> away. The
> colors fade, the vessel will not hold water, and anything eaten off
> it has a
> curious tangy taste. Again, the process is vastly more important
> than the
> result.
>
> Could grass firing, where one uses straw or other annual plant
> material as
> fuel, be as blessed as wood firing or does one have to kill really
> large,
> old plants for it to be righteous?
>
> Joe
>
>
> Joseph Herbert
> Technical Writer
> Irving, Texas
> 214-725-8305 (Cell)
>
>
> No virus found in this outgoing message.
> Checked by AVG Free Edition.
> Version: 7.5.516 / Virus Database: 269.19.21/1263 - Release Date:
> 2/6/2008
> 8:14 PM
>
>
John Hesselberth
www.frogpondpottery.com
"Man is a tool-using animal....without tools he is nothing, with
tools he is all" .... Thomas Carlyle
lyla_kaplan on thu 7 feb 08
good pots are what matter in the end. glad to see jamie wasn't shut
down by the criticism. sounds like she's working within the
boundaries presented to her and having fun, and experimenting, which
is so important. experimentation and sharing that knowledge openly
is what is so appealing to me about the pottery culture - as it was
(and still is, really) an oral tradition. emails in particular can
so easily come across as much more harsh than they would if people
were discussing face-to-face matters that are important to them...
to sort of change the subject, i like how hollis breaks down the
categories on his webpage, pots for drinking, for eating (although
should it say drinking 'with' ?) etc (and your green celadon is one
rockin glaze, btw). i heard willi singleton speak recently where he
said that functional pottery shouldn't be judged within the context
of the fine art world, but rather it is more helpful to use FOOD as
the point of reference to evaluate pots.
food for thought....
lyla in PA
--- In clayart@yahoogroups.com, Lee wrote:
>
> On Feb 6, 2008 2:32 PM, Hollis wrote:
> > I stand corrected, Lee. Thanks for that. "Never say never" is a
good
> > thing to live by, though I think the saggar process is not what
the
> > Busch method is about. And thanks for the Valium offer, Jamie.
I'm fine
> > without it.
>
> Busch's nutmeg and satin white ares fine glaze. I have
> thought of using the combo in my flue channel, where the temps are
> about cone 6. Only problems there, is a lot of ash. Maybe just
the
> Nutmeg would work well with the ash?
>
> Someone recalculated it to be more durable. Check the
> archives. Keep the tests coming! Please includes the recipes
> with the images. Remember, recipes cannot be copyrighted!
>
> Jamie, I'll take the wine if Hollis doen't want
it! I
> am thinking of going low carbo when I get back to the States and dry
> wine is recommended. ;^)
>
> --
> Lee in Mashiko, Tochigi Japan
> http://mashikopots.blogspot.com/
>
> "Tea is nought but this: first you heat the water, then you make the
> tea. Then you drink it properly. That is all you need to know."
> --Sen No Rikyu
> "Let the beauty we love be what we do." - Rumi
>
>
______________________________________________________________________
________
> Clayart members may send postings to: clayart@...
>
> You may look at the archives for the list, post messages, change
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> subscription settings or unsubscribe/leave the list here:
http://www.acers.org/cic/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
melpots2@...
>
Hollis on thu 7 feb 08
Absolutely, Lyla, good pots come from any number of kiln-types. I used
to work a lot with Dan Finnegan in Virginia, whose workshop was titled
"Good Pots for Good Food." And I think Willi's right about functional
pots. Interestingly, Willi used to (and as far as I know, still does)
fire most of his pots in saggars inside his wood kiln. So his surfaces
were more about his natural glaze ingredients than they were about ash
and flashing from the wood. And that green celadon liner of most of my
pots is Phil Rogers' "Standard Ash" glaze.
Hollis
On Feb 7, 2008, at 9:34 AM, lyla_kaplan wrote:
> good pots are what matter in the end. glad to see jamie wasn't shut
> down by the criticism. sounds like she's working within the
> boundaries presented to her and having fun, and experimenting, which
> is so important. experimentation and sharing that knowledge openly
> is what is so appealing to me about the pottery culture - as it was
> (and still is, really) an oral tradition. emails in particular can
> so easily come across as much more harsh than they would if people
> were discussing face-to-face matters that are important to them...
>
> to sort of change the subject, i like how hollis breaks down the
> categories on his webpage, pots for drinking, for eating (although
> should it say drinking 'with' ?) etc (and your green celadon is one
> rockin glaze, btw). i heard willi singleton speak recently where he
> said that functional pottery shouldn't be judged within the context
> of the fine art world, but rather it is more helpful to use FOOD as
> the point of reference to evaluate pots.
>
> food for thought....
> lyla in PA
>
> --- In clayart@yahoogroups.com, Lee wrote:
>>
>> On Feb 6, 2008 2:32 PM, Hollis wrote:
>>> I stand corrected, Lee. Thanks for that. "Never say never" is a
> good
>>> thing to live by, though I think the saggar process is not what
> the
>>> Busch method is about. And thanks for the Valium offer, Jamie.
> I'm fine
>>> without it.
>>
>> Busch's nutmeg and satin white ares fine glaze. I have
>> thought of using the combo in my flue channel, where the temps are
>> about cone 6. Only problems there, is a lot of ash. Maybe just
> the
>> Nutmeg would work well with the ash?
>>
>> Someone recalculated it to be more durable. Check the
>> archives. Keep the tests coming! Please includes the recipes
>> with the images. Remember, recipes cannot be copyrighted!
>>
>> Jamie, I'll take the wine if Hollis doen't want
> it! I
>> am thinking of going low carbo when I get back to the States and dry
>> wine is recommended. ;^)
>>
>> --
>> Lee in Mashiko, Tochigi Japan
>> http://mashikopots.blogspot.com/
>>
>> "Tea is nought but this: first you heat the water, then you make the
>> tea. Then you drink it properly. That is all you need to know."
>> --Sen No Rikyu
>> "Let the beauty we love be what we do." - Rumi
>>
>>
> ______________________________________________________________________
> ________
>> Clayart members may send postings to: clayart@...
>>
>> You may look at the archives for the list, post messages, change
> your
>> subscription settings or unsubscribe/leave the list here:
> http://www.acers.org/cic/clayart/
>>
>> Moderator of the list is Mel Jacobson who may be reached at
> melpots2@...
>>
>
> _______________________________________________________________________
> _______
> Clayart members may send postings to: clayart@lsv.ceramics.org
>
> You may look at the archives for the list, post messages, change your
> subscription settings or unsubscribe/leave the list here:
> http://www.acers.org/cic/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
> melpots2@visi.com
>
lyla_kaplan on thu 7 feb 08
yes, good point about willi's saggars!!!! i just stumbled on an old
ceramics monthly article by jane herold called 'wood fired apologia,'
its about why she fires with wood when she doesn't go for that "flash
and ash." we all have to do what feels right and true...
going to look up dan finnegan....
--- In clayart@yahoogroups.com, Hollis wrote:
>
> Absolutely, Lyla, good pots come from any number of kiln-types. I
used
> to work a lot with Dan Finnegan in Virginia, whose workshop was
titled
> "Good Pots for Good Food." And I think Willi's right about
functional
> pots. Interestingly, Willi used to (and as far as I know, still
does)
> fire most of his pots in saggars inside his wood kiln. So his
surfaces
> were more about his natural glaze ingredients than they were about
ash
> and flashing from the wood. And that green celadon liner of most of
my
> pots is Phil Rogers' "Standard Ash" glaze.
> Hollis
>
>
>
>
>
> On Feb 7, 2008, at 9:34 AM, lyla_kaplan wrote:
>
> > good pots are what matter in the end. glad to see jamie wasn't
shut
> > down by the criticism. sounds like she's working within the
> > boundaries presented to her and having fun, and experimenting,
which
> > is so important. experimentation and sharing that knowledge
openly
> > is what is so appealing to me about the pottery culture - as it
was
> > (and still is, really) an oral tradition. emails in particular
can
> > so easily come across as much more harsh than they would if people
> > were discussing face-to-face matters that are important to them...
> >
> > to sort of change the subject, i like how hollis breaks down the
> > categories on his webpage, pots for drinking, for eating (although
> > should it say drinking 'with' ?) etc (and your green celadon is
one
> > rockin glaze, btw). i heard willi singleton speak recently where
he
> > said that functional pottery shouldn't be judged within the
context
> > of the fine art world, but rather it is more helpful to use FOOD
as
> > the point of reference to evaluate pots.
> >
> > food for thought....
> > lyla in PA
> >
> > --- In clayart@yahoogroups.com, Lee wrote:
> >>
> >> On Feb 6, 2008 2:32 PM, Hollis wrote:
> >>> I stand corrected, Lee. Thanks for that. "Never say never" is a
> > good
> >>> thing to live by, though I think the saggar process is not what
> > the
> >>> Busch method is about. And thanks for the Valium offer, Jamie.
> > I'm fine
> >>> without it.
> >>
> >> Busch's nutmeg and satin white ares fine glaze. I have
> >> thought of using the combo in my flue channel, where the temps
are
> >> about cone 6. Only problems there, is a lot of ash. Maybe
just
> > the
> >> Nutmeg would work well with the ash?
> >>
> >> Someone recalculated it to be more durable. Check
the
> >> archives. Keep the tests coming! Please includes the
recipes
> >> with the images. Remember, recipes cannot be copyrighted!
> >>
> >> Jamie, I'll take the wine if Hollis doen't want
> > it! I
> >> am thinking of going low carbo when I get back to the States and
dry
> >> wine is recommended. ;^)
> >>
> >> --
> >> Lee in Mashiko, Tochigi Japan
> >> http://mashikopots.blogspot.com/
> >>
> >> "Tea is nought but this: first you heat the water, then you make
the
> >> tea. Then you drink it properly. That is all you need to know."
> >> --Sen No Rikyu
> >> "Let the beauty we love be what we do." - Rumi
> >>
> >>
> >
______________________________________________________________________
> > ________
> >> Clayart members may send postings to: clayart@
> >>
> >> You may look at the archives for the list, post messages, change
> > your
> >> subscription settings or unsubscribe/leave the list here:
> > http://www.acers.org/cic/clayart/
> >>
> >> Moderator of the list is Mel Jacobson who may be reached at
> > melpots2@
> >>
> >
> >
______________________________________________________________________
_
> > _______
> > Clayart members may send postings to: clayart@...
> >
> > You may look at the archives for the list, post messages, change
your
> > subscription settings or unsubscribe/leave the list here:
> > http://www.acers.org/cic/clayart/
> >
> > Moderator of the list is Mel Jacobson who may be reached at
> > melpots2@...
> >
>
>
______________________________________________________________________
________
> Clayart members may send postings to: clayart@...
>
> You may look at the archives for the list, post messages, change
your
> subscription settings or unsubscribe/leave the list here:
http://www.acers.org/cic/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
melpots2@...
>
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