mel jacobson on sun 13 sep 09
clay, and the culture of making has evolved into
a CIA like atmosphere.
it will not change in our life.
it is like screaming at the moon.
there is a feeling that if they give out the
recipe, everyone will copy it, and they will
go out of business.
what is in B mix? clay.
what kinds of clay's are there?
fire, stoneware, kaolin, ball, earthenware, red, white
and some silica and feldspar. not a big secret.
i have never seen anyone at a clay making facility
add plastic or organics. no need. (it would also add
a layer of expense that they would shudder at.)
i have been in the back room at continental clay
dozens of times. i have seen them dumping clay
into a mixer, out comes clay. if you walk the back room
you see common bags of clay like goldart, fireclay, ball clay
om, kentucky etc. no big secret. same at minnesota clay,
same at laguna. in my view, the secret to B bodies is the
addition of a good ball clay. gives it stretch.
i have watched the process of making clay with howard
axner at his facility in florida. not really too complex.
just bags of clay going into a mixer. they would have
the open bags counted out, some half bags, in all
about 8 or 9 bags to a batch.
not too complex.
one of the best clay bodies i have ever used in a
school is what vince has for his students.
it is the old mackenzie recipe. it has sand...and
that helps. a bit of ochre.
but, it throws well, dries well, and fires like a dream
at cone 10.
vince can post that recipe if he wishes...about a thousand
potters have it hanging on the walls of their studios.
it is basically what i use.
i have beaten the pug mill spots by adding my own.
in fact, how would i know if the spots were from my pug mill
or what i throw in. i do the same for porcelain. i add some
lake superior iron sand, very fine...and it gives the white
clay some life. tiny dark specs on a pure white background.
i also use lots of ball clay in my white body...adds throwing
quality. still is white. but, white clay bores me. so, i use
it for a few pots, then go back to iron bearing clay with lots
of fine grog and sand. (by the way, my 50 year old walker
is clean as can be. it shines inside. the blades are bent to
hell, but they are sure clean.
i know i use a rough body, but it is mine. i like it, it makes my
pots and my loss ratio is almost zero. if i don't reduce heavily,
it will go to cone 13...and does not warp or crack. it takes a
beating, and keeps on ticking. it is the only way i can work.
getting water out of clay is the big secret. get your pots dry.
use fans, stack pots on your bisque kiln while it fires, fire slow in the
early stages. use your kitchen oven if need be. take out
the grates and that really nice sculpture will fit fine.
set it at 200 for ten hours. do what you must to get
the work through the process.
by the way, what ever happened to that `ice body`. you know,
the one that would warp 40 degrees as the pot dried. we thought
that would take over the world of clay...it did not.
as i have said many times, if you are going to stay with clay, make
it your life...you need to make/or modify your clay, you have to make or
modify your own glazes, you have to take control of your firing. it just
makes sense. you are in charge of the process of making what you make.
if you turn it over to others, it no longer is yours. i know all the
arguments...`mel, i don't have time, i don't know how to make clay,
i hate that sort of work, i work at an art center, they do it for me..i jus=
t
show up and make stuff, that is all i want..`
and, that is fine, but remember, it is still not your work. others are doin=
g
it for you. it becomes `institutionalized`. you are just a part of the
picture. if that is what makes you happy, then continue. but in the
long run, the more you control, the more it becomes your own, and
the more your level of satisfaction rises.
i know the level of frustration and labor increases, i know the loss is
great, and expense increases...for a bit. but, if you try to sell
pots at an art fair, and you pay someone to fire them for you, and you
buy your clay and use their glazes.....what are you selling? and for
how much profit...zero. in fact, it costs you money to sell.
i do not try to tell folks how to make pots, or where to fire, but i do
encourage folks to take charge of their craft...all of it. the level of lo=
ve
and self worth rises fast. the best kiln in the world is the one you own.
use it, learn it and depend on it to make `your work, your voice, your self=
`.
i saw a boat this summer, total re/build of a 1948 chris craft. the guy
was proud as can be...and then i said, `did you do this work?, he said
`yes`...i said, how about the engine? `no, i had that done at a shop.`
how about the varnish and finish?` `no, i had that done at a shop`, how
about the seats and upholstery`, ` no, i had that done at a studio`.
`well what did you do?` he said...`i paid for it.`.
fine craft..hmmmmmmmmmmmmmmm.
mel
from: minnetonka, mn
website: http://www.visi.com/~melpots/
clayart link: http://www.visi.com/~melpots/clayart.html
new book: http://www.21stcenturykilns.com
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