Lee Love on wed 30 jan 02
Information, unlike other forms of "natural" resources, multiplies
exponentially when it is allowed to move freely. It can't be "used up." If
you are stuck in "the novelty" factor, you totally miss he point of the Muse.
I agree with Joyce, that the important issue is to give credit to
he source.
I shared some glazes here a few years back and I attributed them to
their sources. They later appeared in a ceramic magazine article and were
not attributed. That really ticked me off because the one glaze was from a
Minnesota potter, Jim Gritner, and the other was a recaculation from the
Japanese source that John Reeve gave me at a workshop at Northern Clay. I
felt fortunate that year, to attend a workshop by John and another by MacKenzie,
both at NCC.
Here is John Reeve's "synthetic" Mashiko Kaki (AK5) ^10:
OM4 11.5
china clay calc'd 11.3
Kona f4 31.4
Bone Ash .5
Talc 5.2
Wollastonite 6.5
Silica 27.0
Spanish Iron 6.4
Ti02 .5
Mn02 .2
100.5%
John says he likes to use Wollastonite for some of the silica to
give variation to the particle size. This glaze suspends better than the
"real" stuff because of he clay content. Mashiko Kaki is just ground stone.
This works well over a limestone clear or celadon glaze, with wax resist.
Make this glaze. Use it. It will never look the same as what John does wih
it or what I do.
At the group show I was in here in Japan in '98, I had a Kaki and
resist decorated Jizo vase.(Jizo statues are seen at temples and roadsides all
around Japan.) The guy who bought it, (I attended the opening), asked me to
sign the bottom with a Sharpie. I felt like I was bringing "coal to
Newcastle." ;^)
--
Lee In Mashiko, Japan Ikiru@kami.com
"We can only wait here, where we are in the world, obedient to its processes,
patient in its taking away, faithful to its returns. And as much as we may
know, and all that we deserve of earthly paradise will come to us."
Wendell Berry , Full Quote: http://www1.ocn.ne.jp/~ikiru/berry.html
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