Karen Gringhuis on tue 31 aug 10
Fabienne -=3D20
Like anything else, slip casting is what you make of it. Google Klein-Re=
=3D
id
to see really FANTASTIC CREATIVE slip cast (maybe press molded, I'm not
certain) work. Also Heather Mae Erickson (sp?) currently teaching @ NYSCC=
=3D
Alfred Univ.; Marek Cekula. Also the show of "factory methods" or some s=
=3D
uch
title in the 2010 Phil. NCECA. All of this work is a looong way from
tschochkys. It's status is rapidly rising. You're part of a movement and=
=3D
just didn't know it. (You're probably too young to remember Arlo, Alice'=
=3D
s
Restaurant and the Group W bench, too.)
Pushing this envelope further, google the Gardiner Museum in Toronto and
look for images from a show in the last 5 yrs. which included re-purposed=
=3D
previously made old (?) china - which artists put new decals or decoratio=
=3D
ns
onto.
As for recipes, Cushing's HANDBOOK incl. several. There's also a discuss=
=3D
ion
of how to make one if I recall. (If you need info on how to get a HANDBO=
=3D
OK,
write me back.)
I am about to embark on slip casting myself (following John's store boug=
=3D
ht
slip route at least for now), having spent 6 weeks @ Pottery Workshop in
Jingdezhen China. In JDZ it is possible to make one's "own work" and
virtually never touch the work (NO exaggeration!!!) - you design either v=
=3D
ia
specifications and drawings or prototype (which you may or may not have
made), artisans will make the molds, slip cast the pieces, glaze the
greenware (you have to chose the glaze however - from the vast array
pre-made liquid and ready to use glazes), fire the work. Then they will a=
=3D
lso
apply overglaze enamels or decals (store bought or custom made from your =
=3D
art
or other sources) for you. Voila! Your work. Obviously you can insert
yourself into the process anywhere along the way - or not. Do I hope to g=
=3D
o
back someday? You bet!
With all of this at one's command, many artists have studios there and sh=
=3D
ow
their work internationally - and no one questions that it is "their work.=
=3D
"=3D20
So you keep reading and thinking. My philosophy (which yes, is getting s=
=3D
ome
worried looks from friends) is let's give slip casting a try and see what=
=3D
we
can do. As John Rodgers pointed out, it can be combined w/ pieces formed =
=3D
by
other methods. And many molds can be used for casting or press molding.=3D=
20=3D
IMHO the only thing deserving of stigma is NOT to have asked the question=
=3D
s
and explored some answers.=3D20
Keep in touch please!
Karen Gringhuis
KG Pottery
Alfred NY
Eve Rose on tue 31 aug 10
For me it depends on what you do with the slip cast object once it's
removed from the mold. I never bisque and glaze the object just as it
is from the mold, I always modify the pieces to create something else.
For instance I take a bowl mold a, mold of a large bolt and a saucer
mold. I take two bowl pieces and slip them together to make a fact
hollow flying saucer like object, I turn the saucer upside down to make
a base foe the object an take two of the bolt objects to turn into a
handle, spout and lid to create a teapot.
I made a mold of a Halloween skeleton mask. I cast two pieces from it,
put them together back to back and hand built, resembling roots, a
handle, spout and lid.
I take a slip cast ball, mount in on an upside down slip tumble as a
base and decorate it with cookie cutter cutouts of leaves in different
sizes. Then I blur the outline of the leaves so they now look like
flames crawling up the base.
I made molds of a child's ball, of interesting bottles, press molds of
all sorts of things from jewelery to belt buckles.
Just as none of my kitchen utensils are safe from being gang pressed
into ceramic tools, no object of any interesting shape id safe from
being pressed or cast into plaster.
Eleanora Eden on tue 31 aug 10
When I was at the ceramics dept at UC Berkeley in the late sixties, Ron Nag=
le
was just hitting the big time with his cast cups. Everybody was making mol=
ds
and low fire castings. It was the thing to do. Nobody cared anything abou=
t the
"Marie's Ceramics Shack" prejudices. I think that many potters think it is=
a kind of
cooties that may stick to them if they go near it.
Of course I wasn't interested. I learned how to do it but throwing high fi=
re pots
was my thing and I stuck to it.
So, years later, it always is pretty funny to me that I am defending mold-m=
aking
and have found my own way to low fire.......
Eleanora
>
>
>Like anything else, slip casting is what you make of it. Google Klein-Rei=
d
>to see really FANTASTIC CREATIVE slip cast (maybe press molded, I'm not
>certain) work. Also Heather Mae Erickson (sp?) currently teaching @ NYSCC
>Alfred Univ.; Marek Cekula. Also the show of "factory methods" or some su=
ch
>title in the 2010 Phil. NCECA. All of this work is a looong way from
>tschochkys. It's status is rapidly rising. You're part of a movement and
>just didn't know it. (You're probably too young to remember Arlo, Alice's
>Restaurant and the Group W bench, too.)
--
Bellows Falls Vermont
www.eleanoraeden.com
Paul Haigh on wed 1 sep 10
I throw, slab, handbuild or whatever to make what I dream up in the
shower. My niece was a pottery major and brought some slipcast pieces
over for a woodfire. If they neglected to teach slipcasting in her
program, I would have thought it a deficiency in curriculum.
One thing she brought over was a porcelain cast of a plastic gallon milk
jug that was slightly crushed in on one side. It was absolutely
hillarious, and looked great with some ash and flash. She loves
slipcasting- especially with somewhat unexpected objects. She also
brought slumped sinks and thrown bowls.
Where am I going with this? I dunno- just pondering. It doesn't seem
that slipcasting necessarily represents a lazy method of mass
production, sometimes it opens up other avenues of creativity. She was
an ambitious college student- and was pretty jazzed about slipcasting.
Paul Haigh
Wiley Hill Mudworks
Eric Hansen on fri 3 sep 10
I was in school at KCAI in 1970-72 and this young woman named
Charlotte was the best at slip cast, she scoured the second hand shops
and found numerous old plastic dolls and made a major porcelain event
out of them - she was just the best - Kansas City was great in those
days, I scored pleated formal shirts and tweed jackets from the same
stores - nobody here frowns at slipcast
- h -
On Wed, Sep 1, 2010 at 8:24 AM, Paul Haigh wrote:
> I throw, slab, handbuild or whatever to make what I dream up in the
> shower. =3DA0My niece was a pottery major and brought some slipcast piece=
s
> over for a woodfire. =3DA0If they neglected to teach slipcasting in her
> program, I would have thought it a deficiency in curriculum.
>
> One thing she brought over was a porcelain cast of a plastic gallon milk
> jug that was slightly crushed in on one side. =3DA0It was absolutely
> hillarious, and looked great with some ash and flash. =3DA0She loves
> slipcasting- especially with somewhat unexpected objects. =3DA0She also
> brought slumped sinks and thrown bowls.
>
> Where am I going with this? =3DA0I dunno- just pondering. =3DA0It doesn't=
see=3D
m
> that slipcasting necessarily represents a lazy method of mass
> production, sometimes it opens up other avenues of creativity. =3DA0She w=
as
> an ambitious college student- and was pretty jazzed about slipcasting.
>
> Paul Haigh
> Wiley Hill Mudworks
>
--=3D20
Eric Alan Hansen
Stonehouse Studio Pottery
Alexandria, Virginia
americanpotter.blogspot.com
thesuddenschool.blogspot.com
hansencookbook.blogspot.com
"To me, human life in all its forms, individual and aggregate, is a
perpetual wonder: the flora of the earth and sea is full of beauty and
of mystery which seeks science to understand; the fauna of land and
ocean is not less wonderful; the world which holds them both, and the
great universe that folds it in on everyside, are still more
wonderful, complex, and attractive to the contemplating mind." -
Theodore Parker, minister, transcendentalist, abolitionist (1810-1860)
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