Craig Martell on fri 14 nov 97
At 06:14 PM 11/13/97 EST, Cameron Harman wrote:
>----------------------------Original message----------------------------
>The reactions inside the kiln ,for the most part, don't know
>or care if the energy source is fuel, electricity or the sun
>for that matter. If a chemical needs oxygen for a reaction
>and *must* have it, it will take it from the oxides of the
>nearby ceramics. That is where common black coring comes
>from. The only reason this occurs more readily in an
>electric kiln is because the atmosphere is relatively still
>and there is little fresh oxygen coming into the area of the
>particular piece.
>The same thing can, and does, happen in gas
>kilns.
Isn't black coring MORE likely in a gas kiln, where there is a possibility
of reducing iron oxide too early in the firing. How does this happen in an
electric kiln? Local reduction from carbonates being burned out? Isn't the
composition of the claybody being fired the important issue here, as in more
iron in the clay, the greater the chance of black core and structural breakdown?
> Herein lies one of the main
>differences between an art potter and a production potter.
>While both are artists, the production potter often has a
>need to produce ware having a very similar appearance time
>after time. This requires more control and more careful kiln
>design. The art potter is often interested in a certain
>effect, but is not terribly bothered when something
>interesting occurs that was unplanned.
>
>If you have a customer demanding a certain thing, you need
>to be sure you are going to get it, hence the need for
>better design and better control. It is neither a good
>thing nor a bad thing, it is simply a realization of a
>subtle, but important difference that exists.
Jeez Cameron, this is a gross and inaccurate generalization. One needs to
consider ceramists on an individual basis in regard to their technical
skills. There are lots of "Art" potters who really know their stuff and lots
of "production" potters who don't. What about "studio potters"? Where do
they fall in the technical caste system?
I know a lot of potters that have no formal knowledge of combustion
engineering and kiln design but are still able to produce consistent,
durable ware year after year in their drafty, uncontrollable kilns. They
work hard, learn a lot about what they do, and sometimes get very little
credit for all the time they spend outside of production, learning the
technical stuff they need to know.
I don't totally disagree with you on some of your points here but I don't
think you can pidgeon hole people as art or production potters and shove
them in a tidy little bag by stating that one group produces consistent
results and these other guys don't.
regards, Craig Martell-Oregon
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