bill edwards on sun 17 apr 05
Many times we have went around and around on this
topic. I have often stated that there will be some
glazes that never meet the criteria being set (we
cannot justify the same parameters for every glaze
without end use being known and that we will never
fully know.) I believe Ron and often John think in
terms of stability and durability and with that, draws
a very complex picture for some.
Durable and stable wares are more often needed for
table service and oven use. But there is minimal
reporting of bacterial death or disease related to
crazing out there on the market. You can easily buy
this very pretty crazed pottery in many stores. some
recommend not using it for food bearing surfaces, some
don't care apparently and the market is covered up
with this stuff from Wally World to many imports
stores. It also hurts those who attempt to do a better
job in the pottery arts because there is no way we can
compete with this stuff and educating those who are
buying it, is very similar to having a conversation
with a sign post. (Unless you technically can provide
them understandable terms they can use?) So is crazing
killing, harming or maiming anyone??? Don't cha just
love all that very low fired reduction looking pottery
that is flooding America left and right with those
bright bold colors and runs? I bet you do!
Artistic pottery still can be made better, more
durable and with added stability for time and duration
or longer term shelf life. I believe that would be the
proper 'Key' to getting where we need to go in this
business. One of the best pieces I built many years
ago was setting in my home, made from an unknown clay
mixture and glazed with whatever materials the studio
chose for me to have. That piece also took on a sound
a year or two latter that sounded like a zip, ping and
major pop and suddenly I had 2 pieces split in half
from a piece I could have sold over and over but held
onto because I favored it. So not knowing was the
problem!!! We can no longer NOT afford, not to know as
much as possible about every potential but we must
keep in mind that some art pottery materials will
remain ellusive in discovery or we can continually
test and challenge ourselves to create a better set of
conditions without losing the original plan. And
again, I will say on record we will never be able to
duplicate some artistic glazes and pots that meet all
those requirements we want everyone to follow for
sanitary wares. We can look at making them a little
better and I honestly believe thats exactly what Ron,
John and countless others are trying to achieve.
Manufacturers will and have been known to play tug of
war when it comes to changes because there are
expenses and additional problems that arise from these
shifts. I know, I have been there and done that! I
also wouldn't ask a clay manufacturer to start
attempting to set conditions for variables that might
or might not happen, I see the impossibility in
advance of it!!! They could list known issues, not
perceived potential problems. This clay here likes
reduction or does this, that or the other when reduced
or oxidized or not recommended for certain uses.
I believe the on-going discussion should remain just
where it is. People need to talk, no sense in getting
bent out of shape, see where it goes. If you alienate
a person you will lose that persons gift of knowledge
and this has been done on here more times than I want
to remember. I have yet to see a perfect potter create
the perfect pot and never make a mistake. If there is
such a beast on here, please stand up so I can bow to
the machine!
Bottom line is; Is crazing going to be the master or
will the potter master it? What allowances are you
willing to give because some of these artistic
approaches are rather stubborn and are fixed through
the years of already done experimentation to get that
exact look on purpose such as a crawl glaze and
materials, well...they do occasionally change. I
suppose I would have to end this ramblin song of mine
on this note. Lets continue looking, discussing and
making attempts to get better on all levels. Let's not
fool ourselves that we will perfect artistic glazes
that mimmick old stand-by's into prefectly suitable
sanitary wares and oven ware. Crackle on a small
surface area might work for a mug (Then we have
varying COE's outside/inside issues) perhaps or a rim
of a plate where the central area for cutting and
drinking would have a great well made glaze. Artistic
meets functional. But common sense and using the least
harmful materials possible that are known via
toxicology and good potting practices should weigh in.
E.B., our local toxicologist on here often goes
un-heard, yet I have looked at his history, his
background and his efforts and everyone should be
extremely thankful we have him at all giving any FREE
advice. (I also applaud many, many others the same) I
can add 10 of you together and I would have my very
own dream team who could produce the most outstanding
pieces ever in the history of pottery and glaze. So
listening and loving our art, clayart and all the up's
and down's is vital and your mistakes are getting
thinner while your output is gaining momentum and your
knowledge base has increased the cranial area and you
moved up a hat size or two.
Let me add a short P.S. here.. After many years in all
this, working with glaze calculations, dealing with
countless people....I have often been re-trained in
some process from a beginning potter who see's things
through a different set of eyes. I am refreshed each
time that happens, I wish for it more often! It means
my mind is apparently still open to some suggestions
even though I wince on occasion and have to think a
little harder occasionally. I am the most greatful
person I know when it comes to clayart and our list of
inhabitants living in here. You are all very special
people with great talents.
Some might even notice I have quit (mostly) glaze
speak terms and now some are really wondering why?
Because common sense finally over-took me and carried
me in a new direction. Speak two languages, one for
the technical protocol and the other for the norms
within our clayart home so all can take advantage of
this great news list. I am no longer challenged with
fear of the unkown, I just work harder and believe for
every minute lost in argument a greater deed could be
had with much quicker end results by getting in with
the mix and hanging on for the spin of a life-time. I
suppose whats been good for you has been extremely
good for me! :)
Bill Edwards
Edmar Studio and Gallery
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Jonathan Kaplan on sun 17 apr 05
Thank you Bill for your erudition and putting this entire crazing thing
into a much more sane perspective!
I have tried to stay out of this but here is my 2 cents for what its
worth.
Its important for those making useable functional pottery to have
glazes that will perform in the market place. What this means to me is
that they be durable, non-crazing, show no cutlery markings, and be
dishwasher and microwave safe. They need to resist chipping and look
good as well function beyond our expectations.
It is that simple.
Potters selling this type of pottery need to take responsibility not
only for what they make but also whatever the consequences are, implied
or otherwise, for their work. Its not only important as a liability to
them, but it also reflects on our entire "industry" as well. All of us
must see the big picture and find ways to work within these very simple
parameters. And they are simple really, when you think about it. With
all the information and expertise on this list, how easy is it? With
the affordability of glaze calculation software, its easier. But you
have to know what you are doing, why you are doing it, and educate
yourself into it. We are all not chemists, glaze experts or gurus, nor
can we expect to be. But with a little knowledge and spending so money,
you could have glazes that fit (no pun intended) the necessary criteria
for functional ware.
My take is that many potters are too set in their ways and don't take
to change easily. Acerbic for sure, but it is true.
Crazing is one of the easiest glaze defects to work with and correct.
I'll not get into the debate on on the health issues surrounding it
because I don't know enough about it and kind of think its really a
non-issue. But what I will mention is that having been in the market
place selling useable functional pottery for many many years, it has
always been important for my work to last. Making functional pots that
are technically sound and technically correct let's me sleep at night.
I have often wondered what all the bruhaha is about. Take some
responsibility for your wares. Do the work and educate yourself. Makes
sense to me, IMHO.
Respectfully,
Jonathan
Jonathan Kaplan
Ceramic Design Group
PO Box 775112
Steamboat Springs CO 80477
(970) 879-9139
(please use this address for all USPS deliveries)
Plant Location:
1280 13th Street Suite K
Steamboat Springs CO 80487
(please use this address for all UPS, courier, and common carrier
deliveries only!!)
info@ceramicdesigngroup.net
www.ceramicdesigngroup.net
Lee Love on mon 18 apr 05
bill edwards wrote:
>Artistic pottery still can be made better, more
>durable and with added stability for time and duration
>or longer term shelf life.
>
Bill, If you recall, the original subject was "Is crazing ALWAYS
undesirable." Of course, it is not. You just need a minimally
historic perspective to know this. I like Hamer's term for purposely
made crazing: "Cranquelle."
What is going to give your work"long term shelf life" is
its aesthetic value. Somehow, we need to balance technical mastery
with aesthetic sensibilities. We need to help people think for
themselves if they are going to make their best work.
Check out this Ido tea bowl Kizaemon. A 400 year old
Korean rice bowl, thought by many people, to be one of the most
beautiful pots ever made. It exhibits every glaze fault you can think of:
http://hankos.blogspot.com/
--
Lee in Mashiko, Japan http://mashiko.org
http://hankos.blogspot.com/ Visual Bookmarks
"We can make our minds
so like still water
that beings gather about us
that they may see,...
....their own images, and so live for a moment with a clearer,
perhaps even with a fiercer life
because of our quiet." -- W. B. Yeats
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