- adidas - on wed 25 aug 99
First, I'd like to thank those of you who have helped me so far with my
research. But, unfortunately, I've had to change my question a little. I
am now analyzing the impact that raku has had on the ceramic world.
For those of you who'd please help me, I have a few questions to be
answered. The sooner that you could get them back to me, the better, but
take your time.
What got you into pottery and ceramics? [If not raku, then] What
[processes] did you start with?
What attracted you to raku? [And perhaps, why?]
Do you work more with copper glazes or crackle glazes?
What process of raku do you use most commonly? Describe this process in as
much detail as possible, please.
What other processes have you performed? Would you please describe these
processes as well?
When do you prefer to do most of your firings? [as in seasonal or night time
versus daytime] Why is that?
Do you let nature completely control the crazing and colouring of the pot,
or do you attempt to control nature?
What materials do you use for fuel in your postfiring reduction? Why?
Again, thanks in advance,
Stephen
spcarrig@hotmail.com
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Kelley Webb Randel on sat 28 aug 99
Well, Stephen, so many questions. I started with clay
in high school, but got side tracked by motherhood and
jobs, etc. I went back to college at 35, and was
introduced to the raku process. Everything about it is
magic, the fire, glazes, yada yada. . . I am still
fascinated by it five years later.
I am currently trying to finish my studio space and get
started working. I graduated with my BFA from Central
Missouri State U this past spring.
I work with all kinds of glazes, this past spring/summer
I experimented with some raku texture glazes, like "dry
alligator skin" that I got from clay art!
I have an old electric kiln that I gutted, hooked up
propane fueled weed blower, and I fire that, using
newspaper and leaves and basically whatever i can find
for free, for reduction in old metal trash cans with
lids.
I remove my pieces from the kiln with tongs, depositing
them in the reduction chamber, and clapping on the
lids. I no longer use water in the process, as I got so
much breakage. I leave the piece to reduce for 10
minutes or so, letting it cool slightly and then I use
the tongs or gloves to bring it out of the chamber and
let it air cool. I like the copper flashings, but I've
kind of outgrown them, I think.
Most of my work is sculptural, figurative or clay pieces
I've put together with other elements. I love wire and
rebar when it's rusty. I like letting things happen,
the process of raku. I tend to like it uncontrolled to
a large extent.
Last summer I fired on the hottest recorded day of the
year, and I got terribly dehydrated. I don't think I'll
repeat that. I like firing by myself at night if
possible, the fire is so beautifl then. I don't mind
the winter, the welding leathers and kiln keeps you
warm. Fall evenings are about as good as it gets for
me.
By the by, what are you doing all this research for?
Are you in school?
I hope this has helped and finds you well,
good luck,
Kelley Webb Randel
rakugddss@worldnet.att.net
> ----------------------------Original message----------------------------
> First, I'd like to thank those of you who have helped me so far with my
> research. But, unfortunately, I've had to change my question a little. I
> am now analyzing the impact that raku has had on the ceramic world.
>
> For those of you who'd please help me, I have a few questions to be
> answered. The sooner that you could get them back to me, the better, but
> take your time.
>
> What got you into pottery and ceramics? [If not raku, then] What
> [processes] did you start with?
>
> What attracted you to raku? [And perhaps, why?]
>
> Do you work more with copper glazes or crackle glazes?
>
> What process of raku do you use most commonly? Describe this process in as
> much detail as possible, please.
>
> What other processes have you performed? Would you please describe these
> processes as well?
>
> When do you prefer to do most of your firings? [as in seasonal or night time
> versus daytime] Why is that?
>
> Do you let nature completely control the crazing and colouring of the pot,
> or do you attempt to control nature?
>
> What materials do you use for fuel in your postfiring reduction? Why?
>
>
> Again, thanks in advance,
> Stephen
> spcarrig@hotmail.com
>
>
> _______________________________________________________________
> Get Free Email and Do More On The Web. Visit http://www.msn.com
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