ivor & olive lewis on thu 23 jul 09
Vince,
I can see where Lee is coming from, though I think his generalisation
misrepresents the facts.
Oil and gas firings, recent additions to the technology in the history of
our craft , do not mimic wood firings. Nor do coal or coke fuels.
Perusal of the writings of Jos Wedgwood, Alex Brongniart and Llewellynn
Jewett might throw light on the topic and reveal the point at which Studio
Potters and Ceramic artists adopted oriental kiln designs in order to
achieve a specific aesthetic.
Best regards,
Ivor Lewis,
Redhill,
South Australia
Lee Love on thu 23 jul 09
On Thu, Jul 23, 2009 at 1:04 AM, ivor & olive
lewis wrote:
> Vince,
> I can see where Lee is coming from, though I think his generalisation
> misrepresents the facts.
> Oil and gas firings, recent additions to the technology in the history of
> our craft , do not mimic wood firings. Nor do coal or coke fuels.
That was my point. The reduction you get from these are not
cyclical, and therefor, are nothing like traditional firing.
> Perusal of the writings of Jos Wedgwood, Alex Brongniart and Llewellynn
> Jewett might throw light on the =3DA0topic and reveal the point at which =
St=3D
udio
> Potters and Ceramic artists adopted oriental kiln designs in order to
> achieve a specific aesthetic.
>
I know very few kilns of "oriental" design in the USA. We
tend to make them our way.
--
Lee Love, Minneapolis
"The tea ceremony bowl is the ceramic equivalent of a sonnet: a
small-scale, seemingly constricted form that challenges the artist to
go beyond mere technical virtuosity and find an approach that both
satisfies and transcends the conventions." -- Rob Sliberman
full essay: http://togeika.multiply.com/journal/item/273/
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