Duff bogen on tue 4 mar 08
Lee
Here's a clip of an old potter- http://archives.cbc.ca/IDC-1-68-2389-14053/arts_entertainment/crafts/clip4
He had a soft spot for earthenware after years making stone ware. His paradigm was some mid-fire earthenware pots from Fukien(?) that had the softness of slip ware and stonewares hard glaze.
In the clip he talks about becoming more cunning in his old age (80's). When I visited in '69 he would get into black moods (age 68) about not being able to throw like he did in his youth. Age seems to have taken the edge off and give him delight in being able to play in the mud at his age.
Lee wrote:
On 2/25/08, tony clennell wrote:
> Lee: I'm excited about your enthusiasm for your return to America with
> a new look of Cone 1 soda. One word of advice if I may? You're no
> longer a young hunter and chasing too many rabbits will not put a meal
> on the table at night...
Thanks Tony. I just finished a wood firing (4:30am) before I
leave for A-mare-re-kay. ;^)
I am sure you heard similar advice when you started thinking about
an MFA.. If you knew me better, you'd know I don't choose my
processes lightly, or on a whim.
> Making a living always gets in the way of life.
I am fortunate in having the McKnight residency at NCC and
the monetary award that goes with it. The whole point of a residency
is to do stuff that you can't when you are caught up in putting food
on the table.
I arrive a month before the residency starts and plan on
making work in my basement studio so I can start the first day of the
residency off with a firing, rather than piddling around.
Let me quote you something from the translation of
the Hamada essay in the back of the 77 tea bowl book. Please keep an
eye open for the whole article that will appear in Ceramic Art and
Perception, commemorating 30 years since Hamada's passing:
"I would like to try my hand at raku but due to the low
temperature, the pots retain their original shape and therefore, I
would like to wait until I am able to make any shape confidently.
Despite having said that I would make raku when I turned seventy, I am
still putting it off (he was 77 when he wrote this.)... .... Last
year while viewing an exhibit of Nara two-coloured ware, I was
fortunate to see a wonderful bowl glazed all over with an amber glaze.
That was when I realized that I should think of it not as raku ware,
but simply low-fired ware."
All the great teachers I have met have always known their
abilities/limitations, and have possessed the virtue of humility like
Hamada.
Hamada died before he got around to making
"earthenware." There is a lesson in that, I think. Which I would
put: "If you ain't a young hunter, get the rabbit while you can."
So, for his 30th anniversary since his passing and in my 55th
year, I am going make earthenware for him. I am also considering a
55 tea bowl exhibit. But am not so certain about that. Will know
by the end of my residency.
--
Lee in Mashiko, Tochigi Japan
http://mashikopots.blogspot.com/
"Let the beauty we love be what we do." - Rumi
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Lee on wed 5 mar 08
On Wed, Mar 5, 2008 at 4:32 AM, Duff bogen wrote:
> Lee
> Here's a clip of an old potter- http://archives.cbc.ca/IDC-1-68-2389-14053/arts_entertainment/crafts/clip4
Thank you Duff. Someone post this sometime back. I never met him,
but feel lucky for the technology that provide us glimpses like this.
I always enjoyed Leach's slipware. He wrote to friends in Japan,
that he switched to stoneware for commercial reasons. I wonder if he
ever thought of firing the earthenware a little hotter, to make it
non-porous?
I saw a photo article on woodfired French Jaspe. I liked
what I saw, because the slip was allowed to be mat and had some
evidence of being fired in wood. I would like to do something related
to this in the soda kiln.
Will buy clay today. Need to figure out cone 1 slips.
Wrote John Kantar http://www.handmadepots.com/ to see what he might
suggest. Looking at Continetal's web site, I see, that though their
earthenware is vitreous at cone 1, it can fire to cone 4.
I was taken by Conrwall when I visited a couple years ago.
Friends live there now, in the North near Wales, where there are
many Arthurian spots in the countryside. Next visit, I would like to
visit Ireland.
--
Lee, a Mashiko potter in Minneapolis
http://mashikopots.blogspot.com/
"I would love to live like a river flows, carried by the surprise of
its own unfolding." -- John O'Donohue
Lee on thu 6 mar 08
On Thu, Mar 6, 2008 at 3:03 PM, Duff bogen wrote:
> I wonder if he
> ever thought of firing the earthenware a little hotter, to make it
> non-porous?
Yes. My clay supplier's lowfire clays vitrify at cone 1 and
can fire up to cone 4, but the terracotta isn't good in reduction.
It is what I am going to do in soda.
>
> When I was their he was working on getting more Fremington clay into his stoneware .>body but it tended to slag out in reduction.
At higher temps, the terracotta becomes very dark. It
doesn't need reduction. I will fired neutral/oxidation in soda, with
slips.
>same articles list terra-cotta as ^2-7, I'm working with Lincoln
fireclay for a cream slip >levigated to get rid of grit mixed by wt
90/10 with soda ash looks good in tests at ^5
Continental lists their coarse white lowfire as being
available dry. If the smooth white is avalable, I will try that.
Could flux it just a bit to help with flashing in soda.
--
Lee, a Mashiko potter in Minneapolis
http://mashikopots.blogspot.com/
"I would love to live like a river flows, carried by the surprise of
its own unfolding." -- John O'Donohue
Duff bogen on thu 6 mar 08
I wonder if he
ever thought of firing the earthenware a little hotter, to make it
non-porous?
When I was their he was working on getting more Fremington clay into his stoneware body but it tended to slag out in reduction.
I would like to do something related to this in the soda kiln.
references to old tech journals I've seen mention fuming terra-cotta with zinc- this raises pollution questions, maybe why its not done now...
Will buy clay today. Need to figure out cone 1 slips.
Wrote John Kantar http://www.handmadepots.com/ to see what he might
suggest. Looking at Continetal's web site, I see, that though their
earthenware is vitreous at cone 1, it can fire to cone 4.
same articles list terra-cotta as ^2-7, I'm working with Lincoln fireclay for a cream slip levigated to get rid of grit mixed by wt 90/10 with soda ash looks good in tests at ^5
--
Lee, a Mashiko potter in Minneapolis
http://mashikopots.blogspot.com/
"I would love to live like a river flows, carried by the surprise of
its own unfolding." -- John O'Donohue
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June Perry on fri 7 mar 08
Lee,
I don't know what kind of slip you want. Here's one that you might try that
works from Cone 04-6
40 Ball clay
20 EPK
15 Neph Sy
15 Talc
10 Flint
Works wet to leather and probably dry or bisque if thinned.
Regards,
June
_http://www.shambhalapottery.com_ (http://www.shambhalapottery.com/)
_http://shambhalapottery.blogspot.com_
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_http://groups.yahoo.com/group/sodasaltfiring_
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Lee on sat 8 mar 08
On Sat, Mar 8, 2008 at 12:06 AM, June Perry wrote:
> Lee,
>
> I don't know what kind of slip you want. Here's one that you might try that
> works from Cone 04-6
>
> 40 Ball clay
> 20 EPK
> 15 Neph Sy
> 15 Talc
> 10 Flint
Great!
If it is good from 04 to 6, maybe it will be dry at cone 1 and
pick up soda nicely.
I once saw some wood fired French Jaspe ware that was
really interesting. A little like Ruggles and Rankin high fire, but
more casual. I saw that work back around '85 and always said I
would like to try it if I ever get a chance. It will be a good
vacation from high fired Japanese ware.
Steve will make work to put in the soda kiln too. he has been
doing terracotta at cone 5 in electric with a white liner glaze and he
sometimes introduces feldspathic inclusions. He uses the terracotta
really thick as trays, and also for containers that hold porcelain
pieces. The contrast is interesting. So, cone 1soda won't be a
big jump for him.
--
Lee, a Mashiko potter in Minneapolis
http://mashikopots.blogspot.com/
"I would love to live like a river flows, carried by the surprise of
its own unfolding." -- John O'Donohue
June Perry on sat 8 mar 08
I don't think this is flashing slip formula. Mgo, Cao, Bao and B2o3 repel
soda. The best flashing clay will have little Cao and Mgo and some Na, like the
old Avery.
The formula I sent you is more of slip to use for oxide additions for
colors. If you want a flashing slip you might test one of the Avery type slips with
a lot of soda ash added. Some of them work fine at cone 6; but I don't know
how they'd be at
cone 1. You'd have to run a bunch of tests.
This is what I sent you
40 Ball clay
20 EPK
15 Neph Sy
15 Talc
10 Flint
It will be good to create a nice shiny, colored slip, but probably won't
flash much, if at all because of the silica and magnesia.
For a flashing slip you might try:
something like:
60-65 kaolin. One of the following or a mixture: Helmer, EPK or Grolleg
25 or more Neph sy.
and some soda ash
I remember you saying you can get a Korean kaolin that is very similar to
Avery. Lucky you! If so you can use the Avery recipes as starting points and
just add more neph sy and some soda ash.
If you want you can check out my salt/soda group on yahoo. The url is in my
signature. You have to join to access the files and photos. I have a lot of
flashing slip and other soda/salt recipe in the files section and I add more
all the time.
I think it's an exciting project and I'm eager to follow your progress!
Warmest Regards,
June
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