Studio Update: Slip and Slippin'

Not sure if I can blame it on the moon, my overactive imagination or some kind of freak hormonal imbalance, but this week tested my ability to put on a happy face. Though there is nothing directly wrong with me, it just seems like bad news here and there put a damper on the blissful high my friends and I experienced after celebrating the marriage of dear, dear people within our circle. I'm carrying a heavy heart...and I can't quite put my finger on why. At the risk of being too punny, I feel like I'm slippin'.

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And the wheel goes round and round.

For the first time in my relatively young ceramic arts existence, I've got holiday orders coming in at a pretty exciting pace!

Because my "real-life" career is very different from my "if I never had to worry about another bill in life" career, my work days are getting busier and busier. I am happy and grateful for that in this ugly economy, but as a result, my in-studio time has suffered. Whatever I'm working on has to be handled during the weekend, so this Sunday I spent 10 hours in my happy place to compensate for the loss.

We've introduced a lot of new glazes as well, so in between completing orders and learning some incredible new techniques (more on that later), I'm learning how to marry some of the amazing new colors and finishes we have to work with. 

I'm going back to texture, because it's my way of really adding a personal touch to more traditional items like bowls and lidded pieces. It's also a great way to test the depths and subtleties of some of the more iron laden glazes.

I'm also working on weights. Lately I've been obsessed with making items as light as I possibly can without sacrificing a piece's ability to withstand a bump, a trip through the dishwasher or a clink against another item. The bowl series I'm working on right now I'm happy to say is light as a feather, without sacrificing in form or accents. We'll see how they make it through glazing and firing. The set I'm working on already has a happy home, but I'm looking forward to some additional requests now that I've finally found what I think is the perfect combination. 

There's lots of work to be done in the next few weeks. Serving bowls, chalices, canisters and more. In the "cool technique" category, I recently learned interesting ways to blend light and dark bodied clays to get an incredible spiral or marbled look. If I can find some videos, I'll post them soon. 

Until then, happy wedging!

Studio day: 4/11/10

Today was a very good day in the studio. Last week I threw these pieces, two taller vases with the last of my balcones white clay and then the four tumblers with gruene butter. 

I haven't worked with that very supple, darker body clay in about two years and as soon as I started centering the first ball of clay, I was reminded how different a groggy clay can be from these softer bodies. I found myself using too much force as I was building my wall...and what do you do when you're struggling to get the feel of a new clay?

You go back to basics. I'll probably use the rest of this bag to make some cups and smaller items until I resume my comfort level with the soft, grog-free bodies. 

Fun tumblers though, huh? 

Grog: bisque-fired clay that has been pulverized and re-added to clay to minimize shrinkage in firing. Very "groggy" clays feel a bit like mud with granules of sand in it. Gruene has virtual;y no grog. Porcelain is a clay body that also has no grog and handles like practically melted butter. 

Getting cultured.

It's that spinning time of year, again. Not the wheel. Me. Thankfully, the vertigo has been mild so far this allergy season, but in the studio it's especially rough. I've got a pretty obnoxious looking mask I was advised to wear when I'm working and it does a pretty good job of keeping me silica-free. Something tells me it will be even less comfortable when the temperature starts steadily climbing. 

The main event, the big event this week, is Project ClayPlay's first fundraiser. We're excited about this first venture into event fundraising for the mobile ceramic arts program for Austin, TX. The play is at the Austin PlayHouse and we're hoping for a good turnout. I've got my eye on a few silent auction items...but I'm not sure if my budget is recession proof enough for me to think about fun spending just yet. 

The event is Thursday night and I hope to have lots of fun pictures to share. 

The brand statement.

nurture gaia.
Pottery is one of the most organic hobbies you can find. Historically relevant for centuries, pottery is the embodiment of creating something functional and beautiful from earth. I'm not much of a success with gardening but I like the magic inspired by the mud slithering and slipping between my fingers. Every day in the studio reminds me to be grateful for the basic provisions mother nature provides that cost us nothing.

create balance.
Ever tried to center a piece of clay on a pottery wheel? That critical first step in wheel thrown ceramics can be one of the most difficult. I love the practice of it because it requires an odd mix of total focus and complete intuition. Proper hand movements and form are mandatory, but so is complete relaxation. When I am centering my clay, I am centered within. When I find myself struggling to sort out my personal 'right side up,' a trip to the studio for a few hours reminds me that my personal balance is just a matter of form and practice.

exist unbound.
Creative process blooms best when you get out of your own way. I do my best work when I get out of my conventional mind and into my intuitive mind. And yet, to stay in that space can be difficult when you fear the outcome of your next brave step into the unknown. More than ever in this stage of my life, it is so important to me not to limit myself with my own fears, doubts and examples of previous dreams gone terribly wrong. You are not free until you can face your greatest fears, unbound.