Ellen Currans on sat 19 jun 04
I thought when the "brown celadon" posts came on that it had to do with that
luscious plate by Elaine Coleman in the latest Geil Ad in Ceramics Monthly.
It was so unexpected to see her work in another color when we are used to her
wonderful celadons or whites. I didn't even notice that the usual glaze
formula was missing until I went back the third time to look at it, thinking it
was a glaze that I could use on my textured slab plates.
If you notice in the Geil Ad she doesn't call it Brown Celadon but
Butterscotch Transparent, and it was fired to Cone 10 in reduction, not oxidation as
some of you have suggested would get a brown celadon. So how did they do it? (I
say "they" because I know Tom and Elaine collaborate on glazing and firing
and throwing.)
I think it is for us to figure out for ourselves. Start out with the
possible transparent glazes and test and test until we find the oxide or stain mix
that works. I think that when a potter comes out with some marvelous new glaze
or form that it is only fair for them to keep it to themselves for awhile. It
is what makes their work unique and special and they deserve to profit from
their hard work. Eventually other people figure it out and by that time the
originators have moved on to something new.
Tom and Elaine have been wonderfully sharing of their glaze formulaes and
techniques. I have three of their books to prove it.
Isn't it interesting that a simple transparent glaze used unexpectedly in a
color we haven't seen much lately can be so pleasing, and can start many of us
off in another direction.
Ellen Currans
Dundee, Oregon
Christy Pines on sun 20 jun 04
One of the things that I am investigating, in my
*under-two-years-in-clay-but-determined-to-learn-a-lot* way, is to
find/create glazes that let me see that there is clay under
that-thar-thang. I want to know/see/feel the substance that this thing
is made of. Maybe that's why salt/soda appeals so. I like the
transparancy of the *butterscotch/brown celedon* for that as well- that
you don't cover up the clay with lots of color, lots of opacity (is that
a word? oh well, it seems right).
Brian Gartside and Ababi have been my guides, set my on this path that
seems to indicate that I can do anything I want, try any combination I
want, and see what happens. Brian I met in Ithaca, Ababi I met online.
Fortunately, Brian is still here and able to guide me. I rely on the
many saved emails from Ababi to guide me in this quest since he has
moved on. I miss Ababi already and am so thankful for the time he gave
to me, through ClayArt. It's an amazing thing, this place, these people,
this work.
christy in connecticut, where a perfect June day was only darkened by
the knowledge of a funeral half a world away
cpines at ix.netcom.com
Ellen Currans wrote:
>
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>Isn't it interesting that a simple transparent glaze used unexpectedly in a
>color we haven't seen much lately can be so pleasing, and can start many of us
>off in another direction.
>
>
>
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