Hank Murrow on sat 28 may 05
On May 27, 2005, at 11:31 PM, Eric Hansen wrote:
> Hank Murrow invited me to go
> dig weathered andesite with him which
> we did this week. The quiet works he showed me made
> with select native Oregon materials
> were of such superior quality my
> mind is still reeling. We discussed
> David Stannard's trail blazing efforts
> on linking Oregon geology with Southern
> Song Dynasty wares - a kind of local search
> for the Holy Grail, a match made in heaven
> in my opinion, and one which is completely
> possible.
Some of the works I showed Eric were David's Pacific Rim Petuntse-
based porcelains. These are nearly identical with 12th century Song
from Jingdezhen. Others were pots I made with Petuntse first prospected
by David near Roseburg OR.
> Hank is very interesting to talk to;
> he is a primo potter and gave credit to ClayArt for
> a changing perception of his work as a
> metaphorical use of representational imagery
> wedded to his unique and innovative technical aptitude.
What I meant to convey was way the members of a Listserve may alter and
enrich their perception of a person's 'voice' over time and exposure.
> I had to broach the topic of my bad attitude
> towards ClayArt and I am having serious doubts
> about my initial generalzations - so I guess
> an online connection can serve to liberate
> and nurture artists after all, its not just
> the nose to the grind stone like I presumed.
> Well, grindstone could my way, but may not be for
> everyone. So I will have to keep a more open mind;
> evn though I once read about how online communication
> can give a false sence of intimacy and tends to
> lead the reader and writer into certain errors, still
> I made those mistakes anyway. My apologies to
> those bummed out by my rude posts.
I found Eric to be quiet, attentive, and an enthusiastic fellow
'prospector'. I hope I did not bend his ear too much. We had a lovely
visit, and Eric may have another trout steam to try before he leaves
for the right coast.
Cheers, Hank
www.murrow.biz/hank
Eric Hansen on sat 28 may 05
Hank Murrow invited me to go
dig weathered andusite with him which=20
we did this week. The quiet works he showed me made=20
with select native Oregon materials=20
were of such superior quality my=20
mind is still reeling. We discussed
David Stannard's trail blazing efforts
on linking Oregon geology with Southern
Song Dynasty wares - a kind of local search=20
for the Holy Grail, a match made in heaven
in my opinion, and one which is completely
possible. Hank is very interesting to talk to;=20
he is a primo potter and gave credit to ClayArt for
a changing perception of his work as a
metaphorical use of representational imagery
wedded to his unique and innovative technical aptitude.
I had to broach the topic of my bad attitude=20
towards ClayArt and I am having serious doubts
about my initial generalzations - so I guess
an online connection can serve to liberate=20
and nurture artists after all, its not just
the nose to the grind stone like I presumed.
Well, grindstone could my way, but may not be for
everyone. So I will have to keep a more open mind;=20
evn though I once read about how online communication
can give a false sence of intimacy and tends to
lead the reader and writer into certain errors, still
I made those mistakes anyway. My apologies to
those bummed out by my rude posts.
Seven Times Down - Eight Times Up
H A M B O N E
--=20
_______________________________________________
NEW! Lycos Dating Search. The only place to search multiple dating sites at=
once.
http://datingsearch.lycos.com
Ann Brink on sat 28 may 05
Well put, Eric. Feeling a part of this group may be only "cyber-intimacy"
but valid and worthwhile anyway. When we write to Clayart , with either a
question, opinion, or sharing work, we can be sure we are speaking to people
who are interested and don't have to be filled in on the background. This
would be true of any specialized group or profession.
Family members and friends may be supportive as all get-out, but their eyes
will glaze over when you start talking about some of the technical details
of glaze-making, surface finishes, etc, etc, and why not? But bring up a
new twist to some technique on Clayart, and you can be sure someone is
interested. Not just techniques, but ideas and motives about claywork are
often discussed here. I look forward to further letters from you, since you
are a person whose opinions are not set in stone, but open to input and
change.
Your closing line, "Seven times down, eight times up"....I seem to remember
that's what is symbolized by the Japanese "Daruma" doll, right? ....
Ann Brink in Lompoc CA
Eric H. wrote: "----- Original Message ----- .
I had to broach the topic of my bad attitude
towards ClayArt and I am having serious doubts
about my initial generalzations - so I guess
an online connection can serve to liberate
and nurture artists after all, its not just
the nose to the grind stone like I presumed.
Well, grindstone could my way, but may not be for
everyone. So I will have to keep a more open mind;
evn though I once read about how online communication
can give a false sence of intimacy and tends to
lead the reader and writer into certain errors, still
I made those mistakes anyway. My apologies to
those bummed out by my rude posts.
Seven Times Down - Eight Times Up
H A M B O N E
Louis Katz on sun 29 may 05
An interesting post in light of my relationship with a village in
Thailand, its wares, the place I live in and a recent conversation with
Taylor about local materials.
We have a variety of natural materials available to us in Corpus.
Sand, mostly silica but some deposits a quite high in calcium
carb(shells)
A few coral rocks that wash up on the beach.
Silty clay well infused with calcium
A few deposits of clay apparently wind blown that seem to have less
calcium.
Salt water, I probably should convert from soda.
Tar balls, many of them from natural seeps.
Since seeing slides of a village in Thailand in 1982 or so I have been
pursuing these surfaces and ones like them. The village Dankwean is a
classic case of arrested ceramc development. Like other places in NE
Thailand there is a great need for water storage especially during the
long dry season. this means water tight jars, non porous. In Dankwean
they traditionally fired water jars until vitreous, around cone 9 in
Anagam kilns. The pots had no glaze although glazes are easy to make at
cone8- 9. They had no glazes because there were no convenient
ingredients to make them from, There were numerous attempts to make
glazes from wood ash, they were not very successful because of variable
kiln temperatures and wood ash nearly devoid of alkalis from firing in
their hot fire boxes. The local soil is mostly limestone free. Sand,
clay, silt, petrified wood. Silica nodules.
I am working on soda surfaces some surfaces from epsom salt washes, I
am involved in this 111 CaAlSi glaze. It is definitely not part of my
plan but there is a consitency here that is hard to ignore.
Gonna be a scorcher down here. Hit body temperature here yesterday.
Louis
http://www.tamucc.edu/~lkatz http://www.tamucc.edu/wiki/Katz
On May 28, 2005, at 10:14 PM, Hank Murrow wrote:
> On May 27, 2005, at 11:31 PM, Eric Hansen wrote:
>
>> \ linking Oregon geology with Southern
>> Song Dynasty wares - a kind of local search
>> for the Holy Grail, a match made in heaven
>> in my opinion,
| |
|
