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A couple of weeks ago we had a dumptruck load of clay delivered from the new clay deposit. I guestimated the pile was around 5 tons or so, but as it turns out, our neighbor, who drives for the same kind of truck, told me one of those trucks heaped up with clay like it was, holds something closer to 27 tons (or more?)!! All 27 tons, just for the cost of trucking it to our studio not 15 – 20 miles away. (If you have bought commercially prepared clay, you can probably do the math for what the equivalent would be).
We’ve left the dumped clay uncovered and open to the elements now for two weeks or so, in order for the rain to wash away a little of the residual sand off that was picked up in the dump truck onto the clay’s surface. The mound is already starting to turn from a reddy orange to more of a amethyst-y pink clay color. Yesterday I broke apart a clump to reveal a piece of nice, clean, sandless solid clay. Since the time the of the delivery, three or four batches of clay have been mixed. I have thrown some of it, and the rest I have left to age a little more. ..well, until tomorrow, at least, when I start my throwing cycle again.
Before it was time to mix the second batch, though, Lowell took me out to the new deposit site for the first time to help gather some dryer clay for the mix, since the clay we already had at the studio was still a little too damp to crush to a powder. So off we went..
We drove for about 20 minutes down familiar roads and around familiar turns, when all of the sudden Lowell turned into a little dirt driveway entrance. It was a lot closer than I thought it would be.
Well! I thought the truck load that was delivered was a lot, but I saw where it was excavated from and it took barely a dent out of the mountain that lay before me. Here is a picture of what I first saw. It stands about 20 feet high and is at least 60 feet long . Its mostly pink clay, though there are layers of white, and red, and a layer further in the middle of some dark shale-like material which I assume is the remnants of decomposed vegetation .
I was chipping away dry surface clay and filling up my bucket, as the fog gradually cleared. It was almost like a dream. Off to my right, was another clay mountain .. and yet another further on.
Here is a photo of a hillside that had been excavated with a backhoe. Sorry, I couldn’t get the entire hill in the shot but you can get an idea of the various strata. This layer starts down about 6 feet from the surface and, in this spot, is about 4-6 feet thick.
I’ll try and post more pictures as I can.
Several years ago, when I was *very* new to clay, I attended my very first clay conference. It was really my first introduction to the clay community. I remember it being a wonderful and unforgettable experience. I got to try rakuing for the very first time at the preliminary workshop hosted by Ottawa Valley artist Leta Cormier in her, as I remember, extremely immaculate studio. I also got to take part in my first mug exchange in which I remember receiving a lovely salt-glazed mug by potter Jackie Seaton. My name was even drawn and I won some nice oriental brushes. But that was not all (and this was the pinnacle for me), John Leach, of Muchelney Pottery, was the main presenter. His pots were like nothing I had seen before (I told you I was new to clay) and I was impressed by what a real person he was … very gracious, generous, and down to earth. He left a lasting impression on me.
I recently discovered John’s brother Simon Leach has posted a series of videos on YouTube over the last year or so, showing demos, kilns, visits back to England and to friends’ studios, his philosophies, etc etc. What I like is he presents things face on and shares his victories and disappointments, the good and the bad, taking it all in stride. I don’t think a lot of people are aware how hard it can be to be a potter and that things, quite beyond your control, can go extremely wrong after many, many hours of hard work, and all for naught. Here is the 2nd of 2 of Simon’s videos taken while unloading Seth Cardew‘s kiln:
As potters, we subject our hands to a good deal of abuse. Prolonged handling of clay and loading kilns, seems to just suck the moisture right out of my hands, sometimes to the point of being quite painful, especially if a crack develops. If your hands are out of commission, you can’t make pots. I thought I would share some of the things I personally like to use to help maintain and protect my hands and fingers.
I have tried many kinds of hand creams to keep my hands from drying out and cracking over the years, but not very many actually penetrate the skin or do much good. The two ones I’ve had the best luck with are Corn Huskers Lotion and Bee Balm Lotion (BeeBalm is actually my favorite). Both can be bought at my local pharmacy, and the Bee Balm can even be bought through at least one of my pottery suppliers.
Its also unavoidable sometimes to get abrasions, cuts, scratches, hangnails, etc.. While an adhesive bandage works great under normal conditions to protect and keep a cut clean, it has a tendency to just be cumbersome and usually won’t hold up or even stay on after a few minutes of throwing, let alone continue to keep bacteria out once it gets wet. And clay has bacteria.
Several years ago I was reading about a new product on the market called New Skin. It was a new kind of waterproof, flexible liquid bandage that you could just brush on like nail polish. As soon as I tried it, I was sold. While I don’t think its recommended for big deep cuts, it seems to work great on scratches, minor cuts, etc., and is quite unobtrusive.
I also found these handy dandy little First Aid Cots in the bandage section of the pharmacy, right by the New Skin, bandaids, etc… They roll on like little finger condoms and can even go over a bandage, keeping your digit dry and clean. Much more localized coverage than a latex glove, although just as effective. They work great.
I also like to keep some little nail clippers at hand and around the wheel. They’re handy for trimming bits off fast-growing nails when they get too long and start to gouge the clay, and are perfect for nipping off hangnails before they get out of hand.
My pottery teacher of years ago once told me (warned me, actually, when I expressed interest years ago in potting full time) “Pottery is a hard way to make a living”. It is very true. A potter needs to be a skilled artist, technician, manufacturer, marketer, administrator, and sales person, among other things, as well as being physically able and have a thick skin.
Throwing pots on the wheel, in reality, only represents a small portion of what goes into producing a finished pot. For every two three days of throwing, there are four or 5 days of doing other tasks. Pots still need to be trimmed, have handles attached and decoration applied, and patiently monitored as they dry slowly before they are loaded into the bisque kiln. If they survive the bisque firing , they are then glazed and loaded into the gas kiln. Because our shelves are so badly warped we also “wad” the bottoms of our pots before the final firing (wadding: dry china clay and alumina hydrate mixed and formed into balls which are strategically stuck to the bottom of the pots to evenly support the base of the pot on the kiln shelf).
A few examples of other tasks we do involve: clay preparation (digging clay, pounding/sifting/”slaking” it down, mixing it, moving it back to the drying area, pugging it (if you have a pugmill, we dont) wedging/kneading it for right consistency); Glaze preparation (measuring out raw materials and mixing glazes in 5 gallon batches; testing of new recipes or color variations also done in smaller batches; doing glaze chemistry); Kiln building/maintenance; Lifting/Carting bags of raw materials & clay; Loading/unloading the kiln; Shipping; Setting up web site / online sales; assembling and maintaining a sales display to take to shows, for example; preparing for and traveling to shows; Find ways to market work (new shows, online marketing, wholesale & consignment opportunities, etc.); etc
When things go wrong with pottery, they tend to go really wrong. Its very disheartening & demoralizing when you have lost half or more of a kiln load of pots that you have worked weeks to produce, due to some glaze, clay, or firing problem. Its even more disheartening when equipment is inevitably going to conk out when you most need it (usually in the last stretch toward a show). Things can go wrong even when you do things right.
We just had a string of bad firings where some of our usually most reliable glazes, thanks to an ingredient problem, not only came out unrecognizable, but fluxed out and ran all over and destroyed shelves. (Raw materials used in pottery are different clays and minerals all mined from the earth, are only as pure as the mine, and can change over time and according to the mine.) The problems are still not quite resolved. I lost I would say at least 1/3 if not more of the work I’ve made this fall due to one thing or another, but mostly due to these glaze problems. Its not just the financial loss, but the emotional strain that hits hard, and doubly so when you have to cancel that show that you were counting on the income from. When you make pots you’re not just manufacturing; you are so connected to your product in every aspect of production, its a lot more, well, personal. For a while there I didn’t want to see clay.
A friend of mine similarly had some very bad luck with some commercial clay (for which, incidentally, the shipping cost more than the clay) she made all of her pots out of for her fall show season. A week after her big fall sale, a customer brought back $300 worth of pots, then another customer did the same. All or most of the pots had quarter-cent sized hunks of the side of the pot popping off. Lime pop-outs apparently, which can take up to 3 months after the firing to appear. Months of work, large financial commitments (show fee, natural gas, clay, etc), and possibly her reputation tarnished, all because of a faulty raw material or the clay not being mixed properly by the supplier. The supplier was very gracious to replace the clay, but the propane has been burned, the pots have been sold, the money has already been spent, and the remainder of her inventory is questionable… and her pride bruised.
We keep making pots because there is always something that pulls us back. Art for arts sake? Bull. Working artists still have to eat and still have expenses like everyone else. Its not impossible to survive off of one’s work but making pots for a living (or any art full time) takes commitment, perseverance, and drive, it is not for the faint hearted.
The other day, after a chat with my friend in Manitoba, I went to searching the CBC broadcast archives and this one on Michael Cardew came up. Michael Cardew, in case the name doesn’t ring a bell, is an internationally well-known and well-respected British potter who, as I discovered after watching this clip, was actually the first student of Bernard Leach. Nicely presented on this video.
The description from the CBC site about this video:
“After a lifetime at the potter’s wheel, making a bowl is second nature for Michael Cardew. He starts by kneading a hunk of brown clay to remove air bubbles, then positions it on the spinning wheel. He drives his thumbs into the clay, creating a depression in the centre. With intense concentration, Cardew pulls the sides up and out to create a bowl shape. The process, known as throwing, is the focus of this clip from the CBC series Hand and Eye.”
Video link: “How to throw a pot” with Michael Cardew