Eric Hansen on tue 22 feb 05
Thanks Gary Navarre for the info on the ash cooker with the name of a very =
important artist. Not too many of them among us. The rumor I have heard aro=
und here is that local fern ash is supremo. I notice that bracken ash is li=
sted as a major material in Leach's book. I would like to try some horsetai=
l ash since horsetail is higher in silica than any other victual. Some type=
s are poisonous however. I would hope the poison burns out. I wonder if use=
of raw horsetail would leave marks the way high silica rope leaves marks o=
n Bizen ware? I keep looking at pinecones and wondering what to do with the=
m. Gary does this mean you've mastered Koie's Oribe Green? Two artists I wo=
uld love to meet are Koie and Kumano Kurouemon, they are both "off the hook=
".
Not being able to find a good moist stoneware at the EMU Craft Center, I re=
vised and mixed up a batch of Studio Stoneware/via Louis Katz/via KCAI, mo=
stly out of curiosity (how hard can this be?): actually I omitted the varia=
ble % of sand, 2.5% EPK, and optional 2.5% Red Art. I'm looking for the fee=
l and workability of a shorter clay. This seems okay, it is kind of rubbery=
and I can still wrap a 1/4 inch diameter coil around my finger with no maj=
or cracks or breakages. Now I remember that was the drill.=20
S.S.Rev. - cone 10 body
A.P Green 50
Greenstripe 50
Kentucky Stone 25
Custer 15
+ 20 mesh brick grog wedged in
Subbing out OM4 was because I was going to use Lincoln 60 in place of the A=
PG but Georgies here in Oregon didn't have small bags of the Lincoln. I fig=
ured they would not have much APG but plenty of Lincoln but it worked the o=
ther way. I can try this later. The smell was nostalgic, must be the A.P.Gr=
een. I mixed it dry, added just enough water to absorb the mixture, stirred=
it with a spoon and let it set for 2-3 days. Then I began wedging it. The =
test is not complete as I have to make shrinkage bars, warpage bars, and a =
few pots, and fire. I'm mostly working without a studio, no access to clay =
mixer or pugger. To avoid the "nostalgic smell" mixing dry materials I thou=
ght maybe I should instead just use a single ingredient. This would make we=
dging and mixing less crucial. Then later I could increase the scale to 10 =
gallon bucketfulls at a time. Here are a few single clay recipes that have =
been suggested to me by Joe Zeller when I was at KU, and Dave Root (formerl=
y of Bracker Ceramics in Kansas). I would like some feedback prior to testi=
ng these, has anyone done this? What are the implications? How is this stuf=
f going to glaze up I wonder?
Hawthorn Bond Body - cone 9/10(?)
Hawthorn Bond 100
+ grog=20
Heino Salt Body - (what cone? 10 or 12?)=20
XX Saggar 100
Gold Art Body - cone 6 oxidation
Gold Art 100
I did this one, talk about visually butt ugly. Maybe I shoud try it with lo=
ts of grog or something to offset the fact that it already has a strong tex=
ture. Works great for making pots. Probably keep it in oxidation.=20
Red Art Body - cone 2
Red Art 100
E R I C=20
--=20
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Gary Navarre on fri 25 feb 05
Ya Eric, Hay Crew,
Thanks for reminding me of that special smell of the clay room.
On Tue, 22 Feb 2005 14:02:42 -0500, Eric Hansen wrote:
>Thanks Gary Navarre for the info on the ash cooker with the name of a very
important artist. Not too many of them among us. The rumor I have heard
around here is that local fern ash is supremo. I notice that bracken ash is
listed as a major material in Leach's book. I would like to try some
horsetail ash since horsetail is higher in silica than any other victual.
Some types are poisonous however. I would hope the poison burns out.
That's an interesting thought, I wonder if the smoke would be toxic too,
like "don't burn poison ivy", ya know?
I wonder if use of raw horsetail would leave marks the way high silica rope
leaves marks on Bizen ware? I keep looking at pinecones and wondering what
to do with them.
My thoughts with pinecones I don't sell for Christmas decorations is to put
them in with the lose stacked pots under my secondary stoke holes to see
what happens.
Gary does this mean you've mastered Koie's Oribe Green?
No, I have my own greens that kinda looks like Oribe sometimes. I'm not so
much into replicating a particular glaze from a person, place or time. I
use a few simple recipes with a couple of materials and oxide I've found
over time and call it good. From there it's a matter of application and the
fire. If a glaze has a name I leave the way it is.
Two artists I would love to meet are Koie and Kumano Kurouemon, they are
both "off the hook".
I'm not familiar with Kumano yet but Koie was fun to "un-cork and go off
the hook" with at the time but I can't handle it any more. That's why about
all I remember from the workshop at Western Michigan University is how and
why to build the cooker.
So thanks for reading my stuff, man, I appreciate it cause when I get a
little feedback I get something to think about and I'm too skinny to go
roofing. Keep going and stay in there!
G in Da U.P.
Navarre Pottery
Norway, Michigan, USA
http://public.fotki.com/GindaUP/
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