June Nerikomi Workshop Pots

It was a delightful workshop this year.  Thanks to all who came with their good ideas and energy.  Here’s some of the results of the workshop:

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Paulus Behrenson

This summer’s classes at Milkhouse Studio began with a session on Pinch Pots.  Slowing down, caressing the balls of clay in our hands, quietly pinching an intimate pot, thinning the walls, imprinting our fingers into the clay as a permanent record of our connection to this piece of our earth.

pit firing

Quite naturally our conversation turned to Paulus Berenson.  We read passages from his book, “Finding One’s Way With Clay,” and were again inspired by his approach to art and clay.

We were shocked to hear of his death on June 15th; he’s been so present in our hearts as we made our pinch pots. Thank you, Paulus, for your guidance and generosity of spirit.  We celebrate your life and work. https://vimeo.com/62126411

Start with pleasure

 

 

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David Shaner

Taken from  Utilitarian III at Arrowmont School of Arts and Crafts:

Celebrate the Object.

Two Native American Quotes

“God gave to all people a cup of clay and from that cup they drank their life”

“Clay remembers the hands that formed it.”

Nevica Porject

“Throughout history, pottery has been a signature of man.  It is an interpretation of material, form, and process.  It is a lens that provides an aperture into the soul of the man and the times in which he lives.  Each vessel shares a moment in the life of an artist and reflects the magical act of creation.  What we do with clay identifies who we are.”

                                                                                                    -David Shaner

Woodfiring

This past year I’ve done several group firings in the Norborigama Wood kiln at Chester Springs Studio .- a ridiculous amount of work for this old bod, but the results are certainly lively and seductive.  I put a bunch of my porcelain ware, both in the wood chamber and salt chamber.  The surface of the pots shimmer with life, and kept me coming back to this process, despite the labor intensity.

The firing lasts close to 24 hours, and all the participants help to load the kiln, fire in shifts, unload, and prepare the shelves and kiln for the next firing.  Matt Wren guides the firing process, and we all benefit from his experience with the kiln, and judgement about the process.

Some results:

Nerikomi Workshop Results

Thanks to everyone in last weekend’s Nerikomi Workshop for the beautiful designs, good company, and good food!

During the workshop, I demonstrated making canes and using the canes to make a fabric.

Here’s the demonstration fabric I made:IMG_1282

 

The participants used the fabric to make plates,  vase forms, and even a lampshade. (images of some of the forms to follow after firing.)

I used my fabric after the workshop to make bowls that I will fire next weekend.  I began by cutting the fabric into strips

nerikomi

and then applied the strips to a fresh slab of porcelain

Makings of a slab bowl
Makings of a slab bowl

 

Here’s the bowls waiting to be fired:

Bowl with flower strips and cobalt stripes
Bowl with flower strips and cobalt stripes

 

bowl-strippednerikomi-threesome

bowls-nerimkomistripped-threesome.

 

Images of the fired pots will appear in a few weeks

 

Nerikomi

I’ve been working with Nerikomi for the past 5 years, adding this disciplined design process to my work. Hopefully, sharing the methods I learned through the years will interest others in this process.

I’ve been very inspired by Curtis Benzle, Vince Patelka, and Dorothy Fieblemann.  There is much information about their process on the internet.  Their generosity in sharing their process on the internet has fueled a strong interest in adding color and design to my typically “quiet” pots.

My personal exploration working in colored clay began, though,  years ago at the Clay Studio in Philadelphia, admiring the work of Cate Fetterman.  Cate made plates, and tables, lampshades and other forms in cone 6 porcelain.  Cheerful, dynamic color work.

nerikomi plate
Plate, Cate Fetterman

My 4 year old son and I made modest plates using her methods.

nerikomi plate
mom and son plate

Reaquainting myself with colored clay, 5 years ago, and using Cate’s process of applying sliced colored clays to a slab of porcelain, and forming the slab into pots, ignited once again, a joy of colored patterning.

Morning glory platter
Morning glory platter
Dessert Set
Dessert Set

 

I then began to make colored slabs of clay, cutting the clay using pattern templates and constructing them onto plaster forms with dart and tuck techniques to make round vessel forms like teapots and vases.

nerikomi teapot
Rose teapot
Plaster mold and template for teapot
Plaster mold and template for teapots

 

 

Using methods I discovered from Vince Pitelka’s instructions on the internet, I began to make thin slices of nerikomi and apply them directly onto thrown forms.

large blue saurerkraut bowl
Large bowl with nerikomi
large-nerikomi-bowl
Serving bowl
porcelain-nerikomi-teapot
Nerikomi Teapot

Adding nerikomi porcelain designs to stoneware fired in the wood kiln has created a new dimension for this type of work.  The warmth of wood firing combined with the delicacy of nerikomi is a path I want to continue to explore.

bowl-woodfirednerikomi-quilt
Nerikomi Plate, woodfired
blue bowl
woodfired nerikomi bowl

Reclaiming Personal Experience

Reclaiming personal experience: experiencing something rather than just looking at a digital image. The Chris Staley teapot pictured below is so beautiful. How different the experience would be if I could use it:  feel the smoothness of the handle, the weight as you lift it,  and the warmth of the body of the teapot holding tea.

Slide62large1-150x150

From Chris Staley: The Hegemonic Eye

“Certainly in ceramics a photograph of a pot can have profound implications. Often it is slide transparencies or digital images that determine what art schools we go to, what jobs we get, or where we sell our work. And yet we know a functional pot isn’t really appreciated until it is used. As a young potter I was told that the quality of a 4×5 transparency was more important than the pot itself simply because more people would see the photo. When the eye solely experiences art, in this case pottery, we become an audience of viewers, which is much different than the full sensory experience of using a favorite cup. By using a cup we reclaim personal experience.”

 

Making pots

“It took me into my hands, to creating something real.”

pots drying 2

Something I think potters can share is the pleasure received from seeing a shelf of finished pots waiting to be fired, or a kiln opening brimming with pots still warm from that fire.   I work for weeks, and can hold the tangible product of my labor in my hand. There’s no ambiguity,  the process of my work is visible as objects in space.

My table full of pots drying is an exhilarating sight for me. At this stage of the process, I usually don’t want to stop the making- it’s a time when I have more ideas for the forms that I’ve just finished, but it’s time to glaze and fire, and complete this cycle.

“It took me into my hands, to creating something real,” is a statement by Terry Tempest Williams on the program, “Being.”

 

 




 

Knots and Pots Exhibit

Next Friday, June 5th,  the “KNOTS and POTs” Exhibit at the Phoenix Village Art Center will open, and run till June 29th.  I’ll be showing Nerikomi pottery and Kathryn Keegan will be showing her nerikomi work.  Join us on First Friday for the opening.  6-9pm

 

June Postcard front

 

Kathryn is a wonderful artist who works in many materials.  This show will primarily exhibit her intricate knot work.  Hundreds of hours of careful work are needed to create her beautiful necklaces and sculptures.  Also in this exhibit she’ll have floor cloths, wall weavings, and a delightful “recycled” sculpture.    Take a look at a few of the pieces that will be in the show:

 

knotted jewelry

 

 

keegan_redbead

 

keegan_pillars

 

 

woven wall hanging