Andrew_M_Casto@PROGRESSIVE.COM on fri 22 oct 04
and why these lines need to be crossed (long)
The question of the merit of the MFA to potters and others is BIG.
Especially from the student perspective.
I don't think anyone would dispute Vince's post on the importance of the
degree for
advanced work, and for official credentials for teaching in the university
setting.
I also recall from just a few days ago Mel's post about having your own
studio
I can see the value in both of these perspectives (and I'm not sure they
were intended to, or
do for that matter, oppose each other)
There is a rift here in our field though.
There is a bitterness amongst potters towards the higher education
system...we
all know folks that feel that way. We can discuss the validity of that
perspective, but I think that misses the issue.
I think most of us would also agree that there is growing emphasis on
sculpture
in the university system, with less and less space for functional work. And
if this
isn't true to some, I can tell you that it is at least perceived this way
by many.
As a result, students (the ones that were in my undergrad program at least)
think about 3 options for
their futures...
1. mfa (student wants to teach, or be an artist with a capital "A")
2. apprenticeship, craft center residency, home studio (student wants to be
a potter)
3. give up and be a waiter (student is miffed and doesn't know what to do)
My question is, what if the student loves pots, but wants to be a teacher?
What if the
student isn't sure about what they want to do, and can't find a place they
fit in with our
system? What if the student is a sculptor, but wants to make a living on
their work?
I seriously think we are shooting ourselves in the foot by accepting this.
Potters especially.
I am 27. I work at an insurance company fixing wrecked cars. I can make
good pots.
I have a full studio at home, kilns, wheels, tables, load of clay,
etc...and spent a long time
thinking my only option was to be a studio potter. My role models had
all pounded me with how grad schools weren't interested in potters
anymore...etc.
The problem is that if the elders in the field further this thought
process, then
students like myself will listen (yes we listen), and never even try for
the MFA.
Then there really won't be any pots in the university system.
I don't have any great solutions. What I know is that students who make
pots
are forced out of getting the MFA in many institutions (saw this at Ohio
State as a "special
student") This means in the future, we will have fewer teachers who know,
understand, appreciate, and can teach quality functional work.
Bucking the system and prescribing all interested future potters to just go
start a studio and forget about grad school is not the answer...it may work
for some, but
it fails to address the problem.
I know there are some programs out there that favor pots too...I also know
that most schools
have a potter or 2 around as students..but there are way more potters out
there than are
getting into school right now. I know several...waiters, gas station
workers...what a
waste. I think as potters it's our responsibility to change this. Who else
cares?
I think this list is maybe the best arena to discuss ways to combat this
issue. I believe it is crucial to
our future, the survival of artists in our craft, and to the development
and furthering of
the work we do. Turner talked about this in Clay Times a few months ago -
referenced
my first teacher, Mike Theideman, about our traditions being academic
ones...That will
stop in the future if we don't work to fix it.
I'm applying to MFA programs this year. I'm talking to faculty, trying to
get a feel for what
programs are worth shooting for. It will probably take me
5 years to get in somewhere, but it's what I want to do. I want to teach,
and
I think that potter teachers are what clay needs more than anything right
now.
I want to stake my career in educating others to the value of good hand
made work...craft...process. Yes I know...
idealistic, unrealistic, unlikely...but why do anything you don't believe
in.
I already do in my job now, and I know it's not worth it...I don't sleep as
well.
So I say to potters, go to school...get an MFA. Teach others to love pots.
Yes
we can all do this elsewhere and without the degree too, but we need more
potter professors in schools to be there for the amount of students that
want to make a go at this. Even if you feel the education system is biased
and 1 sided.
Like Mel says..."some will scream at me". I don't care if you're old or
young, you should do what's right and what is in your heart. If it's
unrealistic, then
you should have a back-up plan. But if you don't ever try, then you'll
regret it
forever.
If anyone is still reading at this point, I'd love to hear your thoughts,
advice, opinions.
I think it's important.
Andrew M. Casto
Claims Representative
Progressive Insurance
937-264-5615
Andrew_Casto@Progressive.com
Louis Katz on fri 22 oct 04
and why these lines need to be crossed (long)
>
> I think most of us would also agree that there is growing emphasis on
> sculpture
> in the university system, with less and less space for functional work.
It is hard to tell if this is growing or not. That "art" programs are
more geared towards painting than ceramics is a given. Who ever heard
of a survey "craft" history course followed by 3 other courses in The
History of Craft, rather than the history of Painting as a requirement.
This necessarily leads towards sculptural emphasis. But, if you want
to learn pottery go to a school where it is taught. It might not be
right next door, but if you want it, do it.
At the same time there is no doubt that learning in a University is
different than a good appreticship. I keep mentioning Daniel Johnson,
who was the apprentice of Hewitt,Cardew/Leach. Great skills beautiful
pots his age is around 22 he has land and a studio and a wood kiln the
size of a hotel room. There is a future down this road.
He says he now has to get out from under the influence of Mark, find
his own voice. I have no doubt he will do it.
Ferguson gave up on the idea of his students making pots for a living
around 1979. He was just wrong. Lots of new potters since then, making
money selling pots, or teaching. Just might not be as hard as getting
an engineering degree and finding a job. I would find the best
situation you can to learn what you think you want or need and be ready
to change if you are wrong. Don't worryy about most schools or
"masters" find your school or your "master" and let the others worry
about themselves.
Craft center residencies are great. Daniel Johnson could use one.
University students do well in them. Some people (many) leave
Universities to become apprentices. There is no single path here.
Louis
Vince Pitelka on fri 22 oct 04
and why these lines need to be crossed (long)
> My question is, what if the student loves pots, but wants to be a teacher?
Andrew -
I appreciate much of your post, but I do not see the problem. Ohio
University, University of Pennsylvania, Edinboro University, University of
Colorado, Rochester Institute of Technology, University of
Tennessee-Knoxville, University of Florida, Arizona State University,
University of Nebraska, Alfred University, Eastern Michigan University,
University of Iowa, Utah State University, University of Minnesota, Southern
Illinois University, UMass-New Bedford - these are all MFA-granting
universities that support the objectives of potters and utilitarian
ceramics.
I hesitate to say it so directly but I will - the bitterness among potters
towards higher education is entirely unsubstantiated paranoia. There is no
reason for it whatsoever. You say there is a growing emphasis towards
sculpture in the university system. I would say that there is a general
increase in obsession with conceptual and installation art in the university
system, and that the schools committed to paying due attention to utiltarian
craft are digging in and bracing themselves, determined to not relinquish a
bit of their commitment. I see very good signs regarding the future of fine
craft in academia. We will all live to see a reversal in trends, as per the
inescapable "leap-frogging" of academic trends. The fine crafts will win
out, because they are timeless and universal. It really is as simple as
that.
Best wishes -
- Vince
Vince Pitelka
Appalachian Center for Craft, Tennessee Technological University
Smithville TN 37166, 615/597-6801 x111
vpitelka@dtccom.net, wpitelka@tntech.edu
http://iweb.tntech.edu/wpitelka/
http://www.tntech.edu/craftcenter/
John K Dellow on sat 23 oct 04
and why these lines need to be crossed (long)
Listen to Vince he has roots in both worlds even if he cones three times :).
John
>
> I hesitate to say it so directly but I will - the bitterness among
> potters
> towards higher education is entirely unsubstantiated paranoia. There
> is no
> reason for it whatsoever.
John Dellow "the flower pot man"
From the land down under
Home Page http://www.welcome.to/jkdellow
http://digitalfire.com/education/people/dellow/
John K Dellow on sat 23 oct 04
and why these lines need to be crossed (long)
Louis Katz wrote:
>>
>> I think most of us would also agree that there is growing emphasis on
>> sculpture
>> in the university system, with less and less space for functional work.
>
>
> It is hard to tell if this is growing or not. That "art" programs are
> more geared towards painting than ceramics is a given. Who ever heard
> of a survey "craft" history course followed by 3 other courses in The
> History of Craft, rather than the history of Painting as a requirement.
In the deploma course I am attending we are getting some of the craft groundin , but yes mostly art history is so far been on the high arts i.e.painting etc. I keep asking my teachers about the need to keep craft skills alive .I intend after getting my MFA ,which will be after the 2 years deploma and 2 years university < to make table ware in the spirit of Warren Mckenzie (spelling ?). Ray Cavell cam back from the wood firing confrence and gave a lecture on his wxperiance which included a visit to Warren's studio. I loved the table of pots put aside for only children to buy. The children are the future.
John
John Dellow "the flower pot man"
From the land down under
Home Page http://www.welcome.to/jkdellow
http://digitalfire.com/education/people/dellow/
Lee Love on sat 23 oct 04
and why these lines need to be crossed (long)
Vince Pitelka wrote:
> I hesitate to say it so directly but I will - the bitterness among
> potters
> towards higher education is entirely unsubstantiated paranoia. There
> is no
> reason for it whatsoever.
I don't think this attitude is present amongst potters to a large
degree. Actually, I think it is more related to the general
"anti-intellectualism" that has creeped into our society in the last 20
or so years. America seems to me anti-intellectual, compared to Europe
or what I have seen here in Japan.
I do think there are hazards a functional potter
can run into in a studio arts program, especially for the young and
impressionable. But they can be overcomed if people believe in what
they are doing. Someone who has been a potter in his own studio for
some time before going back to school should be able to keep true to his
roots. The important point is to find a program that respects
functional work.
--
Lee in Mashiko, Japan http://mashiko.org
http://www.livejournal.com/users/togeika/ WEB LOG
http://public.fotki.com/togeika/ Photos!
Harry Peery on sat 23 oct 04
and why these lines need to be crossed (long)
Andrew,
I think you're right. This is my first post to the group, so hello to all.
I'm a 54 year old female potter, and an unhappy health care worker - a
nurse. I'm burned out, generally unhappy with the healthcare system, and
working on an ulcer. I'm also a potter. If one can define what one is by the
joy obtained in doing what feels is their life's purpose, then I'm a potter.
I've taken university courses in fine art (no ceramics available at this U,
but plenty of sculpture courses), and I've taken several handbuilding and
throwing classes. The part that seems to be missing is the part I want the
most- glazing and firing. Even at the community art classes I attend now,
very little attention is paid to glazing and there is no instruction on
firing. You're given a class session in which to glaze all your pots and
what should be a time of introspection and thought for a very important part
of the ceramic process is turned into a free-for-all with 15 people trying
to get at the same glaze bucket. I'm becoming very frustrated.
We are moving to a large city area in January and I'm looking to apprentice
myself to a potter just to get the needed experience. If you don't live near
a university that offers a ceramics major (or even minor), you're out of
luck. We definitely need the MFA potters to teach others in university art
courses. Please don't misunderstand. I am learning a lot at my present
community school, but there is so much more to learn. I want to learn to mix
my own glazes and the chemical properties and inherent dangers of what I'm
using. I want to know the correct way to stock a kiln, what firing temps to
use, and the *reasons* for doing what I'm doing. This type of instruction
seem to be available only in the educational system; the university systems,
unless you're lucky enough to find someone who'll take you under their wing
and teach you the ropes that way. Does this really happen very often?
You said, "I don't care if you're old or young, you should do what's right
and what is in your heart". Very true. I feel I'm just learning what I want
to be when I grow up. ;-) If I have to get an MFA in order to do it, then
that's what I'll do - somehow. The good thing is that I've lived long enough
to know what is worth pursuing. That that makes me happiest and allows me
to sleep the best is worth trying for with all my might.
I love this list!
Sue Peery
----- Original Message -----
From:
To:
Sent: Friday, October 22, 2004 12:58 PM
Subject: the MFA vs studio potters, and why these lines need to be crossed
(long)
> The question of the merit of the MFA to potters and others is BIG.
> Especially from the student perspective.
> I don't think anyone would dispute Vince's post on the importance of the
> degree for
> advanced work, and for official credentials for teaching in the university
> setting.
> I also recall from just a few days ago Mel's post about having your own
> studio
> I can see the value in both of these perspectives (and I'm not sure they
> were intended to, or
> do for that matter, oppose each other)
>
> There is a rift here in our field though.
> There is a bitterness amongst potters towards the higher education
> system...we
> all know folks that feel that way. We can discuss the validity of that
> perspective, but I think that misses the issue.
>
> I think most of us would also agree that there is growing emphasis on
> sculpture
> in the university system, with less and less space for functional work.
And
> if this
> isn't true to some, I can tell you that it is at least perceived this way
> by many.
>
> As a result, students (the ones that were in my undergrad program at
least)
> think about 3 options for
> their futures...
>
> 1. mfa (student wants to teach, or be an artist with a capital "A")
> 2. apprenticeship, craft center residency, home studio (student wants to
be
> a potter)
> 3. give up and be a waiter (student is miffed and doesn't know what to do)
>
> My question is, what if the student loves pots, but wants to be a teacher?
> What if the
> student isn't sure about what they want to do, and can't find a place they
> fit in with our
> system? What if the student is a sculptor, but wants to make a living on
> their work?
>
> I seriously think we are shooting ourselves in the foot by accepting this.
> Potters especially.
> I am 27. I work at an insurance company fixing wrecked cars. I can make
> good pots.
> I have a full studio at home, kilns, wheels, tables, load of clay,
> etc...and spent a long time
> thinking my only option was to be a studio potter. My role models had
> all pounded me with how grad schools weren't interested in potters
> anymore...etc.
> The problem is that if the elders in the field further this thought
> process, then
> students like myself will listen (yes we listen), and never even try for
> the MFA.
> Then there really won't be any pots in the university system.
>
> I don't have any great solutions. What I know is that students who make
> pots
> are forced out of getting the MFA in many institutions (saw this at Ohio
> State as a "special
> student") This means in the future, we will have fewer teachers who know,
> understand, appreciate, and can teach quality functional work.
>
> Bucking the system and prescribing all interested future potters to just
go
> start a studio and forget about grad school is not the answer...it may
work
> for some, but
> it fails to address the problem.
>
> I know there are some programs out there that favor pots too...I also know
> that most schools
> have a potter or 2 around as students..but there are way more potters out
> there than are
> getting into school right now. I know several...waiters, gas station
> workers...what a
> waste. I think as potters it's our responsibility to change this. Who else
> cares?
> I think this list is maybe the best arena to discuss ways to combat this
> issue. I believe it is crucial to
> our future, the survival of artists in our craft, and to the development
> and furthering of
> the work we do. Turner talked about this in Clay Times a few months ago -
> referenced
> my first teacher, Mike Theideman, about our traditions being academic
> ones...That will
> stop in the future if we don't work to fix it.
>
> I'm applying to MFA programs this year. I'm talking to faculty, trying to
> get a feel for what
> programs are worth shooting for. It will probably take me
> 5 years to get in somewhere, but it's what I want to do. I want to teach,
> and
> I think that potter teachers are what clay needs more than anything right
> now.
> I want to stake my career in educating others to the value of good hand
> made work...craft...process. Yes I know...
> idealistic, unrealistic, unlikely...but why do anything you don't believe
> in.
> I already do in my job now, and I know it's not worth it...I don't sleep
as
> well.
>
> So I say to potters, go to school...get an MFA. Teach others to love pots.
> Yes
> we can all do this elsewhere and without the degree too, but we need more
> potter professors in schools to be there for the amount of students that
> want to make a go at this. Even if you feel the education system is biased
> and 1 sided.
> Like Mel says..."some will scream at me". I don't care if you're old or
> young, you should do what's right and what is in your heart. If it's
> unrealistic, then
> you should have a back-up plan. But if you don't ever try, then you'll
> regret it
> forever.
>
> If anyone is still reading at this point, I'd love to hear your thoughts,
> advice, opinions.
> I think it's important.
>
>
>
> Andrew M. Casto
> Claims Representative
> Progressive Insurance
> 937-264-5615
> Andrew_Casto@Progressive.com
>
>
____________________________________________________________________________
__
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.
Bonnie Staffel on sat 23 oct 04
The problem between the university professor and self employed potter may be
that the latter feels the university professor has little or no overhead,
where many SE potters experience a considerable expense. Probably the old
conceptions do not exist as much in the present time but the memory lingers
on.
Warm regards,
Bonnie Staffel
http://webpages.charter.net/bstaffel
http://www.vasefinder.com/
Potters Council member
Vince Pitelka on sat 23 oct 04
and why these lines need to be crossed (long)
> Listen to Vince he has roots in both worlds even if he cones three times
> :).
I'm just a good ol' Southern cone-head eeeeehaaaawwww . . . . .
- Vince
Vince Pitelka
Appalachian Center for Craft, Tennessee Technological University
Smithville TN 37166, 615/597-6801 x111
vpitelka@dtccom.net, wpitelka@tntech.edu
http://iweb.tntech.edu/wpitelka/
http://www.tntech.edu/craftcenter/
Lee Love on sun 24 oct 04
Bonnie Staffel wrote:
>The problem between the university professor and self employed potter may be
>that the latter feels the university professor has little or no overhead,
>where many SE potters experience a considerable expense. Probably the old
>conceptions do not exist as much in the present time but the memory lingers
>
>
I really don't think so Bonnie. I can't figure why some folks are so
caught up in what other people do. If you are confident in your path
and are internally motivated, what others are doing shouldn't really
matter to you.
Have had several visitors this weekend (here for the Matsuzaki
workshop) and again, they have stretched me. I work like a hermit mud
monk, so visitors help me stick my head out of my shell.
Tsukamoto has opened a new museum in an old Minka
(farm house) and it contains many wonderful works. My favorites were
the work of Goda (Kamoda Shoji's teacher) , Wood block prints of Shiko
Munakata and also paintings by the fabric artist Serizawa.
This little town of 25,000 people is jam packet with
museums. The quality seems to keep getting better.
--
in Mashiko, Japan http://mashiko.org
http://www.livejournal.com/users/togeika/ WEB LOG
http://public.fotki.com/togeika/ Photos!
David Beumee on sun 24 oct 04
and why these lines need to be crossed (long)
Andrew wrote:
> As a result, students (the ones that were in my undergrad program at least)
> think about 3 options for
> their futures...
>
> 1. mfa (student wants to teach, or be an artist with a capital "A")
> 2. apprenticeship, craft center residency, home studio (student wants to be
> a potter)
> 3. give up and be a waiter (student is miffed and doesn't know what to do)
Did you catch Tony Clennell's post a few days ago that talked about taking the money you would have spent on graduate school and setting up your own studio? It sounds in your case that you already have a good studio, so you're prepared to do the unthinkable; screw that academic world and their pretentions about what is art and make the pots that are in your heart to make. With some decades of your own experience you'll find up and coming potters who will seek you out as a teacher, and by then you will have something to teach.
David Beumee
Earth Alchemy Pottery
Lafayette, CO
> The question of the merit of the MFA to potters and others is BIG.
> Especially from the student perspective.
> I don't think anyone would dispute Vince's post on the importance of the
> degree for
> advanced work, and for official credentials for teaching in the university
> setting.
> I also recall from just a few days ago Mel's post about having your own
> studio
> I can see the value in both of these perspectives (and I'm not sure they
> were intended to, or
> do for that matter, oppose each other)
>
> There is a rift here in our field though.
> There is a bitterness amongst potters towards the higher education
> system...we
> all know folks that feel that way. We can discuss the validity of that
> perspective, but I think that misses the issue.
>
> I think most of us would also agree that there is growing emphasis on
> sculpture
> in the university system, with less and less space for functional work. And
> if this
> isn't true to some, I can tell you that it is at least perceived this way
> by many.
>
> As a result, students (the ones that were in my undergrad program at least)
> think about 3 options for
> their futures...
>
> 1. mfa (student wants to teach, or be an artist with a capital "A")
> 2. apprenticeship, craft center residency, home studio (student wants to be
> a potter)
> 3. give up and be a waiter (student is miffed and doesn't know what to do)
>
> My question is, what if the student loves pots, but wants to be a teacher?
> What if the
> student isn't sure about what they want to do, and can't find a place they
> fit in with our
> system? What if the student is a sculptor, but wants to make a living on
> their work?
>
> I seriously think we are shooting ourselves in the foot by accepting this.
> Potters especially.
> I am 27. I work at an insurance company fixing wrecked cars. I can make
> good pots.
> I have a full studio at home, kilns, wheels, tables, load of clay,
> etc...and spent a long time
> thinking my only option was to be a studio potter. My role models had
> all pounded me with how grad schools weren't interested in potters
> anymore...etc.
> The problem is that if the elders in the field further this thought
> process, then
> students like myself will listen (yes we listen), and never even try for
> the MFA.
> Then there really won't be any pots in the university system.
>
> I don't have any great solutions. What I know is that students who make
> pots
> are forced out of getting the MFA in many institutions (saw this at Ohio
> State as a "special
> student") This means in the future, we will have fewer teachers who know,
> understand, appreciate, and can teach quality functional work.
>
> Bucking the system and prescribing all interested future potters to just go
> start a studio and forget about grad school is not the answer...it may work
> for some, but
> it fails to address the problem.
>
> I know there are some programs out there that favor pots too...I also know
> that most schools
> have a potter or 2 around as students..but there are way more potters out
> there than are
> getting into school right now. I know several...waiters, gas station
> workers...what a
> waste. I think as potters it's our responsibility to change this. Who else
> cares?
> I think this list is maybe the best arena to discuss ways to combat this
> issue. I believe it is crucial to
> our future, the survival of artists in our craft, and to the development
> and furthering of
> the work we do. Turner talked about this in Clay Times a few months ago -
> referenced
> my first teacher, Mike Theideman, about our traditions being academic
> ones...That will
> stop in the future if we don't work to fix it.
>
> I'm applying to MFA programs this year. I'm talking to faculty, trying to
> get a feel for what
> programs are worth shooting for. It will probably take me
> 5 years to get in somewhere, but it's what I want to do. I want to teach,
> and
> I think that potter teachers are what clay needs more than anything right
> now.
> I want to stake my career in educating others to the value of good hand
> made work...craft...process. Yes I know...
> idealistic, unrealistic, unlikely...but why do anything you don't believe
> in.
> I already do in my job now, and I know it's not worth it...I don't sleep as
> well.
>
> So I say to potters, go to school...get an MFA. Teach others to love pots.
> Yes
> we can all do this elsewhere and without the degree too, but we need more
> potter professors in schools to be there for the amount of students that
> want to make a go at this. Even if you feel the education system is biased
> and 1 sided.
> Like Mel says..."some will scream at me". I don't care if you're old or
> young, you should do what's right and what is in your heart. If it's
> unrealistic, then
> you should have a back-up plan. But if you don't ever try, then you'll
> regret it
> forever.
>
> If anyone is still reading at this point, I'd love to hear your thoughts,
> advice, opinions.
> I think it's important.
>
>
>
> Andrew M. Casto
> Claims Representative
> Progressive Insurance
> 937-264-5615
> Andrew_Casto@Progressive.com
>
> ______________________________________________________________________________
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at melpots@pclink.com.
claybair on sun 24 oct 04
Bonnie,
Per my experience about 6 years ago
One of my first workshops was with a
well known professor at a well know college.
He admitted his survival did not depend on production.
He worked on one small piece for hours.......
it was an exercise in anal retentiveness.
He worked painfully slowly making the workshop
torturous....... my eyeballs literally rolled and I
almost fell out of my chair.
I had to pinch myself to stay alert.
I was used to working with a studio potter who
was a live wire ....ever so knowledgeable, funny,
very hard working and generous to a fault.
It was shocking for me to see this guy plodding along.
Now in spite of my reaction to his very dull presentation I
did learn a lot.
I think I would have bailed if I had to work with him in a
college setting.
Gayle Bair - whew... my son turns 21 tomorrow....... time flies!
Bainbridge Island, WA
http://claybair.com
-----Original Message-----
From: Bonnie Staffel
The problem between the university professor and self employed potter may be
that the latter feels the university professor has little or no overhead,
where many SE potters experience a considerable expense. Probably the old
conceptions do not exist as much in the present time but the memory lingers
on.
Warm regards,
Bonnie Staffel
http://webpages.charter.net/bstaffel
http://www.vasefinder.com/
Potters Council member
Bonnie Staffel on tue 26 oct 04
Sue, with all your questions about learning about mixing glazes, there are
books and books filled with this information. What fun you can have
experimenting from what you have learned from them as well as from the
Clayart forum. No need to wish for classes. If you will be in a big city,
the libraries probably stock many of the books you need or can have them
transferred from a main library. Or a good book store or places like the
Potters Shop owned by Steven Branfman who has an amazing array in his
catalog of all kinds of books for potters.
Another plus about educating yourself, you can work any time of day or night
without the constraints of traveling to class or the class hours. You might
also be able to find a buddy to share your interest and learn together.
You don't need to invest in a lot of chemicals. You first purchase a kiln,
can be small at first, then choose the temperature of the clay/glazes you
want to fire to. Then look up glaze recipes in that temperature. You will
notice that the same chemicals are used in a lot of glazes. Invest in the
common ones and go for it by making test tiles or whatever. You are in
control of your kiln. You will be learning that process along with
developing a glaze palette. When you have a problem, then come to Clayart.
Even setting up the necessary equipment and chemicals can be learned from
the potters on Clayart.
If you want to learn to tweak your glaze formula and learn the basics, there
are books on that process as well. There are computer programs that are
available to make this process simpler.
As for safety in the studio, just wear a mask for every glaze mixing job
that involves the dry ingredients. Follow the safety suggestions in the
books. Then after firing you can use the vinegar/lemon test for permanence.
I would not be concerned over making the perfect pot yet. Just focus on
learning the use of the materials. It is a wonderful adventure. However,
if the degree means a lot to you, then you will have to search for the
school that will supply your needs.
Happy exploring.
Bonnie Staffel
http://webpages.charter.net/bstaffel
http://www.vasefinder.com/
Potters Council member
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