Aebersold, Jane F on thu 22 mar 01
Hi Alisa,
I'm just glad that you said "despite Jane, I was unhappy at Bennington at
the time. But I have a lot =
of cone 9 glazes, mostly called super secrets," instead of "because of Jane,
I was unhappy...etc."
At any rate, that Jane is me--i've been on this thing since the beginning
although I don't post much.
The AP Green in your Bennington notes is AP Green fireclay--all those other
formulas are bodies that were in some sort of use at the time; many of the
clays aren't the same now, or are not available anymore. So I think of
these as historical working notes. The "super secret" may refer to a
dynamite white cone 9/10 glaze that was very white/opaque with a gorgeous
crackle pattern that could be stained. It was seductive looking but a
little dicey in firing--the crackle really had to do with the glaze/clay
body fit. I put it together way back when--when glazes were still coming
out of the secretive cloister--so if it didn't work, people would often
think I had left out an ingredient, or changed it somehow--thus the name
"super secret".
And, on another thread-- Biz Littell and I were at Alfred doing clay and
glass 1969-71and ended up using stannous chloride fuming over
lustres--stannous from fuming/striking glass--just a natural move to the
lustres. I have worked with lustres and fuming since, over a variety of
matte, gloss and textured glazes--mostly c 9/10 and then multifired at lower
temps. The lustre takes on the surface of the glaze underneath. The
stannous fuming shifts the color and tonality of the lustre. I'm sure that
any method of application I used was unsafe, and I recommend none--but the
basic idea was to open the (front loading) kiln at dull red heat (on the way
down--cooling mode) and drop a bit of stannous chloride crystals onto a
pre-oranized hot spot, with baffling set up to deflect the fumes Then, one
could shuffle the door back and forth to promote draft. In the beginning I
just held my breath. Then I got smarter and used a good mask and held my
breath. So far, so good--but, I don't recommend ANY of those methods as
safe, and I don't have a mask that I recommend for this particular
operation.
oh, and as I think Louis said--run for the door.
Alisa, I have enjoyed reading your notes and your comments, and your
occasional mention of Bennington--a fabulous if somewhat erratic place.
Best, Jane
Jane Ford Aebersold
Professor
School of Art
and
Curator of Ceramics
Fred Jones Jr. Museum of Art
The University of Oklahoma
405-325-8787
jane@ou.edu
Date: Wed, 21 Mar 2001 11:39:53 +0100
From: Alisa og Claus Clausen
Subject: A.P. Green
Dear Nicole,
A.P.Green is burning in my head like a name of somebody I cannot =
remember, but someone I used to know. Then I looked up my University =
notes, and in my Bennington studio notes, I have written Jane's White =
grolleg body cone 9
Grolleg 40
Ball 20
Goldart 15
AP Green 15
Sand 5-10 %
Flint 5 for salt
AP Green is fire clay I think.
In other notes I have
Jane's White Raku
100 Pine Lake or AP Green
30 Tennessse Ball
30 Talc
15 Sand
Peter's White Stoneware
40 Grollegg
20 Ball
20 Goldart
15 AP Green Missouri
5 Spar Custer
Bennington Studio Stoneware cone 9
Cedar Heights:
20 Gold art
20 Bonding
A.P. Green:
20 Fire clay
4 PBX Caly
12 Ball clay
4 Talc
5% grogg
The last is a total mystery to me. I was there in 1980, and things you =
think you will always remember because you were so involved, get =
forgotten when you do not use them any longer. I cannot remember Jane's =
last name. Well know ceramist and I cannot remember, probably because =
despite Jane, I was unhappy at Bennington at the time. But I have a lot =
of cone 9 glazes, mostly called super secrets, in my notes as well.
See if any of this you can make sense of.
Best regards,
Alisa in Denmark=20
| |
|
