Burning Man : Astor Playa
What's Burning Man?
Burning Man is a huge radical arts festival in the desert in Nevada (in the middle of nowhere). This year there were 48,000 people who came together to build a temporary city for a week. It's also the largest "leave no trace" event in the world. Every person who comes is responsible for bringing in all of their food, water & supplies, and are also responsible for taking it out with them, including any used water, trash, food scraps, etc... Port-a-potties are provided. The only commerce is ice (sales go towards local schools) and coffee (sold at cost). There is a lot of "gifting" - whether it's a gift of a handmade piece or jewelry, or a drink or something to eat. But there is no bartering or sales beyond ice or coffee.
The art is big and small -- huge, beautiful installations in the desert, many of them with fire or illuminated at night. Many are interactive. There's also many art cars and art bikes.
For more info (better info) on what Burning Man is, go here and here. Also, a documentary that we watched on the behind the scenes prep was: Burning Man: Beyond Black Rock City. I really appreciated knowing the year round effort that goes into the event when I was there.
The photo below is an aerial photo of Burning Man, 2007:
The group that we went were were New Yorkers, so our theme camp had a NYC theme to it: Astor Place Imagined.
Astor Place is a block in New York that has the potential to be a great pedestrian space, but besides the insane traffic it also has 3 Starbucks, a Kmart, and other chain stores and restaurants - all of which keep it from living up to its potential. It's anchored by a rotating cube sculpture that has been a meeting place for people since it was built, and is easily recognized by all New Yorkers. It's also home to a beautiful subway station. Our theme camp built replicas of these icons, and included other things that make for an ideal urban block- no cars, lots of bikes and pedestrians; park benching; greenery (Ian and I made the flowers); brownstones with comfortable stoops; a tea house (I made the pots for this); street lamps; a cinema; a lounge and more. All of these parts that were built were shipped out to Nevada and assembled in the desert to create this urban oasis that any and all could interact with or just hang out.
Some great pictures of our actual set up is here. (make sure you go to that link!)
We've also been pooling our pictures on Flickr, and people have been putting up links to other photos.
Some blog reactions to Astor Place Imagined:
- SFgate
- From the blog Incoherent Thoughts.
- Tom's blog (who was in our camp), and a follow-up.
- From the blog Living The Romantic Comedy.
- From Gothamist
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Now that you have some sort of image of what Burning Man and Astor Place Imagined is all about, I'll get a little bit more personal about the experience that Ian and I had.
Above is our group shot taken by Erick Leskinen.
We have spent a ridiculous amount of time preparing for the event- you have to be prepared for
And to participate in the experience of gifting, we made tons of ceramic pendant necklaces that had some of the Playa soil rolled into the clay ("the Playa" is the name they use for the desert where the event is every year). My friend Gina had gone to Burning Man two years ago and brought back some of the dusty Playa and shared her stash with me. The Playa soil is a huge part of the experience. It's a dry lake bed that is extremely alkaline. It's completely lifeless. If you let your feet be exposed, they will burn and crack. And if you have a small cut, it has a hard time healing. The necklaces were a little piece of the Burning Man experience that people could take away with them.
Since I make my living selling pots, it was an very different experience to give away my work over the course of the week instead of selling it. I wish I could do it all of the time, but it's not the most practical business model. After spending the last 11 years of my life with Ian, an open
The thing about gifting that really struck me (as a giver and receiver) was giving with no expectation for reciprocation. No expectations, just a warm fuzzy feeling from a kind gesture. It makes it easier as a giver too - you don't have to try to figure out who someone is before you give, you don't have to decide if the exchange or interaction will be worth it, because you know it won't be worth anything really, you don't have to figure the person out because it doesn't really matter. As a receiver, if someone shared their bottle of sunscreen with you, you didn't have to think "should I give them some money for that." It's subtle, but the lack of tension around reciprocation was freeing - a letting go of the question of economics, of valuation, the skepticism you have to constantly maintain in a consumer-oriented environment. The freedom I felt is how I feel about writing this blog. I'm happy to link away and share with you things that I think are fabulous, and if someone decides to link back then that's great, but it should always to up to the individual. I always get a funny feeling when someone emails me asking for reciprocal links - I'm happy to link to neat things, but exchanging links makes it feel disingenuous.
Back to the dust. There are the dust storms, big and small. High winds (65mph), white-out conditions, blowing debris. You have to be careful- take shelter and make sure that your camps are well secured. But they are also really fun. There is something about an intense, slightly scary situation that brings people together. During the first storm we found ourselves taking shelter in another camp that we happen to be next to when the storm hit. They were nice, but their structure seemed a little precarious, and we move slowly back to our camp where everyone was hanging out snacking and drinking under one of the shade structures waiting it out. We were having such a great time that we didn't even notice that the storm had ended!
The group worked like crazy for months and months before Burning Man planning and building our camp. And they pulled it off better than I ever could have imagined! People keep asking me if I'll go again. My immediate answer is YES! But then my next thought is that I can't imagine going with another group.
Once of the many surprises of our camp was the absolutely amazing food that was prepared for us by chef Lacey. I NEVER imagined that we'd be eating better in the desert then the rest of the year. You can get her cookbook here on Amazon.
The week concluded (and started) with the burning of the man. It was spectacular.
The transition into the default world has been surprisingly difficult, but in a really good way. My dreams have been full of Burning Man thoughts for the last 3 weeks trying to process the experience. Getting some of the thoughts down on paper has helped too. Thanks for letting me share.
What I've been up to
I've been busily working away in my studio lately - and I thought I'd share a little. Below are some small teapots that I just fired last week. I usually make larger teapots, but the one-person teapot has won my heart over!
When I'm not making pots, I've been working on my blog. In addition to writing posts this week, I've discovered Google Analytics and I've been having a lot of fun with it.
A little sampling of the information that I've gotten from it this week...
Visitors of Pottery Blog are from:
US, Canada, United Kingdom, Australia, Sweden, Israel, Mexico, Brazil, France, India, Romania, Japan, Switzerland, South Africa, Taiwan, Germany, Denmark, Philippines, Italy, Greece, Turkey, Norway, Poland, New Zealand, Russia, Czech Republic, Slovenia, Singapore, Estonia, Iran, Lithuania, Ireland, Sri Lanka, Finland, Indonesia, Netherlands, Spain, Portugal
A sampling of search phrases:
In addition to the basic phrases and keywords (soda firing, Emily Murphy, pottery blog, ceramics blog) there are some other more in depth searches like:
And some things that I think my blog was probably not helpful with:
I have also been spending time reading other people's blogs. You can see my list of links on the right side of the page (just scroll down a little). Between reading all of these great blogs from around the world, and then seeing where my site visitors are coming from, the world is feeling very small.
I'm off now to have a completely different art experience. Ian and I are heading out to Burning Man in Nevada for the next week with a gang of folks from The Opening Planning Project and friends. Most of this will not be clay related, but some is. There is going to be a tea stand/ house at our theme camp that I made teapots and tea bowls for.
Burning Man is known for an event with virtually no commerce, and lots of "gifting." The gifts that we're bringing are necklaces (pendants) that are made out of both porcelain and stoneware, and have some of the soil (playa) from the host land rolled into the clay, and then soda fired. The soil fluxes to a temoku like glaze. Photos to come!
A little sampling of the information that I've gotten from it this week...
Visitors of Pottery Blog are from:
US, Canada, United Kingdom, Australia, Sweden, Israel, Mexico, Brazil, France, India, Romania, Japan, Switzerland, South Africa, Taiwan, Germany, Denmark, Philippines, Italy, Greece, Turkey, Norway, Poland, New Zealand, Russia, Czech Republic, Slovenia, Singapore, Estonia, Iran, Lithuania, Ireland, Sri Lanka, Finland, Indonesia, Netherlands, Spain, Portugal
A sampling of search phrases:
In addition to the basic phrases and keywords (soda firing, Emily Murphy, pottery blog, ceramics blog) there are some other more in depth searches like:
- using shino in soda firing
- ceramic kiln timings
- ceramic wedging boards from plaster
- site:potteryblog.com pottery blog tour part 2
- can i have a signature stamp made of my signature?
- how to throw a pottery mug
- eat his heart out with a spoon (!)
And some things that I think my blog was probably not helpful with:
- how to pronounce "pottery" in korean
- emily murphy "neuroscience"
I have also been spending time reading other people's blogs. You can see my list of links on the right side of the page (just scroll down a little). Between reading all of these great blogs from around the world, and then seeing where my site visitors are coming from, the world is feeling very small.
I'm off now to have a completely different art experience. Ian and I are heading out to Burning Man in Nevada for the next week with a gang of folks from The Opening Planning Project and friends. Most of this will not be clay related, but some is. There is going to be a tea stand/ house at our theme camp that I made teapots and tea bowls for.
Burning Man is known for an event with virtually no commerce, and lots of "gifting." The gifts that we're bringing are necklaces (pendants) that are made out of both porcelain and stoneware, and have some of the soil (playa) from the host land rolled into the clay, and then soda fired. The soil fluxes to a temoku like glaze. Photos to come!
Surface Decoration Techniques: wax resist and underglaze/ slip inlay
I have been creating, soda firing and documenting simple straight sided cylinders with a variety of surface treatments for examples for my classes and this blog. The original idea was to create demos to show students that aren't specifically "my pieces." The fun result of this project has been that it's given me an excuse to return to things long forgotten, or try something new.
Watch out for upcoming tutorials with lots of pictures and slip and glaze recipes.
Wax resist and underglaze/ slip inlay
A great way to make a clean line without too much mess, step by step.
Step 3: Using a small loop tool, carve in your lines.
Step 4: Paint underglaze into the carved lines.
Step 5: Wipe away any excess underglaze.
This is a great way to get make a nice clean, sharp line in the leather hard stage.
The inside of the piece is glazed with a simple matte black glaze, and soda fired to cone 10 in reduction.
Because the line is inlaid, it's protected from the soda and doesn't "bleed" when hit directly.
Some close up images
Watch out for upcoming tutorials with lots of pictures and slip and glaze recipes.
Wax resist and underglaze/ slip inlay
A great way to make a clean line without too much mess, step by step.
Step 1: Paint slip on leather hard piece.
I used several porcelain slips (grolleg mixed with Mason stains) on Lillstreet Soda Clay
Step 2: After the slip dries (no longer tacky), paint wax over entire surface.
I used several porcelain slips (grolleg mixed with Mason stains) on Lillstreet Soda Clay
Step 2: After the slip dries (no longer tacky), paint wax over entire surface.
This is a great way to get make a nice clean, sharp line in the leather hard stage.
Because the line is inlaid, it's protected from the soda and doesn't "bleed" when hit directly.
Ceramics Classes
Soda firing classes with Emily Murphy
at Lillstreet Art Center, Chicago, IL
fall classes begin the week of September 10, 2007
Beth Burkhart
Nancy Pirri
Fred Follansbee
Robert Milanowski
Lalitha Bardalaye
fall classes begin the week of September 10, 2007
_________________________________________
Soda Firing Fundamentals
This class is for the advanced student of ceramics who is interested in exploring a varied and unpredictable surface for their work. Soda firing is an atmospheric firing that produces flashes of color, a textured orange peel surface, and reacts in a variety of ways with different slips, glazes and clay bodies. We'll delve into forms that work well to accentuate the soda process, play with surface decoration with particular focus on slips and textures, and experiment with glazing for the soda process (including the use of the spray booth). Kiln loading will be taught and all students are required to share loading and unloading of kilns on evenings outside of class.
Tuesdays, 6:30pm - 9:30pm
Starts Sept. 11, 2007
LAC Members $340 / Nonmembers $350
Soda Firing Lab Fee: $60
register here
____________________________________________
Advanced Topics in Soda Firing: Surface Decoration
This class is for advanced students with previous experience in soda and atmospheric firing, who are looking to investigate the process more deeply. This class is going to focus on surface decoration in the soda kiln. We'll explore texture from stamping to carving and how to enhance the surface in soda. We'll delve into slips from flashing to porcelain with a variety of application techniques. The ultimate goal is to enhance your forms with surface decoration in the soda atmosphere. Open to students who make both functional and sculptural work. All students are required to share loading and unloading of kilns on evenings outside of class. Prerequisite: permission of instructor.
Wednesdays 12-3pm
Wednesdays 7-10pm
Starts Sept. 12, 2007
LAC Members $340 / Nonmembers $350
Soda Firing Lab Fee: $60
register here
I thought I'd share a sampling of work from some of my student's (past and present) that have come through the soda firing program at Lillstreet over the past couple of years.
You'll see many have their own websites, or albums with more images. Just click on a linked name to see more!
Greg Schultz
This class is for the advanced student of ceramics who is interested in exploring a varied and unpredictable surface for their work. Soda firing is an atmospheric firing that produces flashes of color, a textured orange peel surface, and reacts in a variety of ways with different slips, glazes and clay bodies. We'll delve into forms that work well to accentuate the soda process, play with surface decoration with particular focus on slips and textures, and experiment with glazing for the soda process (including the use of the spray booth). Kiln loading will be taught and all students are required to share loading and unloading of kilns on evenings outside of class.
Tuesdays, 6:30pm - 9:30pm
Starts Sept. 11, 2007
LAC Members $340 / Nonmembers $350
Soda Firing Lab Fee: $60
register here
____________________________________________
Advanced Topics in Soda Firing: Surface Decoration
This class is for advanced students with previous experience in soda and atmospheric firing, who are looking to investigate the process more deeply. This class is going to focus on surface decoration in the soda kiln. We'll explore texture from stamping to carving and how to enhance the surface in soda. We'll delve into slips from flashing to porcelain with a variety of application techniques. The ultimate goal is to enhance your forms with surface decoration in the soda atmosphere. Open to students who make both functional and sculptural work. All students are required to share loading and unloading of kilns on evenings outside of class. Prerequisite: permission of instructor.
Wednesdays 12-3pm
Wednesdays 7-10pm
Starts Sept. 12, 2007
LAC Members $340 / Nonmembers $350
Soda Firing Lab Fee: $60
register here
____________________________
I thought I'd share a sampling of work from some of my student's (past and present) that have come through the soda firing program at Lillstreet over the past couple of years.
You'll see many have their own websites, or albums with more images. Just click on a linked name to see more!
Greg Schultz
Beth Burkhart
Nancy Pirri
Fred Follansbee
Robert Milanowski
Lalitha Bardalaye
A tour of blogs about pottery and ceramics (Part 3)
Here is the next installment of my tour of clay blogs. I can't even begin to tell you how excited I am to see the community of blogging ceramic artists expanding. There are bloggers from all over the world, at different stages of the profession. They're making high-fire and low-fire pottery and sculpture in every type of firing process imaginable. A little something for everyone. I just did a quick count of the total number of clay blogs that I have visited collectively on the 3 tours- and it's 44!
Enjoy!
Enjoy!
Ceramic Focus: Ceramic Arts and technique blog
This is a site to get lost in and end up following link after link and ending up in an exciting place. Lots of images (and links) of work that is on exhibition around the world
Webb Pottery:Anne Webb
You have to check out Anne's clay mixer! Beautiful work and a thoroughly interesting blog.
Ambrosia Porcelain
"We believe in creating beautiful, functional objects that bring happiness to your daily life."
What perfectly named work. These pieces make me happy.
More work that makes me really happy. This blog by Mel Robson and Kenji Uranishi is fantastic. They each have their own personal blogs with really interesting work (click on their names to get to them). There are some exciting things happening with clay in Australia!
Smokieclennell: Tony Clennell
A brand new blog, but already with regular postings. I'm looking forward to reading more!
The Pondering Potter: Renee Margocee
"exploring the life of a clay artisan in the 21st century"
This is another fairly new blog, but I anxiously await Renee's honest and thoughtful posts. I first came upon her as a guest blogger on One Black Bird and I'm happy to see that there is more where that came from!
Strange Fragments: Shannon Garson
Another Australian potter! I'm still digging through the archives finding one great post after another. Right now the line that's hanging in my head is: "Make your work for yourself."
We all need to be reminded of this! (read that post!)
musing about mud: Carole Epp
Anyone who is making work out of clay needs to read this blog! Carole is keeping us all informed about what's going on in the ceramics world from calls for entries to spot lighting new and exciting work from different artists. And her pots are gorgeous too!
Little Flower Designs:Linda Johnson
Linda calls this her "inspiration blog" and I love that idea. It's a great way to share that part of the process.
Peppa Studio: Where Beautiful Things are Made by Hand
More happy porcelain pots! There are some stories of the challenges of working in a community studio. I think there are a lot of people that can relate. I can't wait to see more of the little plump blackbirds.
Colorado Art Studio: CynthiaGuajardo
Cynthia is a super blogger. She has everything here from studio updates, to tutorials, to suggestions of books to read and music to listen to. Thanks Cynthia!
Smokieclennell: Tony Clennell
A brand new blog, but already with regular postings. I'm looking forward to reading more!
The Pondering Potter: Renee Margocee
"exploring the life of a clay artisan in the 21st century"
This is another fairly new blog, but I anxiously await Renee's honest and thoughtful posts. I first came upon her as a guest blogger on One Black Bird and I'm happy to see that there is more where that came from!
Strange Fragments: Shannon Garson
Another Australian potter! I'm still digging through the archives finding one great post after another. Right now the line that's hanging in my head is: "Make your work for yourself."
We all need to be reminded of this! (read that post!)
musing about mud: Carole Epp
Anyone who is making work out of clay needs to read this blog! Carole is keeping us all informed about what's going on in the ceramics world from calls for entries to spot lighting new and exciting work from different artists. And her pots are gorgeous too!
Little Flower Designs:Linda Johnson
Linda calls this her "inspiration blog" and I love that idea. It's a great way to share that part of the process.
Peppa Studio: Where Beautiful Things are Made by Hand
More happy porcelain pots! There are some stories of the challenges of working in a community studio. I think there are a lot of people that can relate. I can't wait to see more of the little plump blackbirds.
Colorado Art Studio: CynthiaGuajardo
Cynthia is a super blogger. She has everything here from studio updates, to tutorials, to suggestions of books to read and music to listen to. Thanks Cynthia!
I love the photos of inspiration and the pieces they inspired. (Like this.) The imagery is stunning throughout this blog. And I'm intrigued by the little snippets of life, like the shot of the Boggle board.
I think this blog wins an award for the best name of a clay blog. Another blog with stunning imagery! It's no wonder that Josie is making the pots that she is making when I see the environment she lives in. I've mentioned this before, but I'm endlessly fascinated by how our surroundings effect our work. I think people are effected by it in different ways, but in general potters (and 3-D makers) are more effected then others. Perhaps because we're thinking not just about the forms - but how they function and interact with the user and live in their new environment.
Christa Assad
A fairly new blog by Christa, currently documenting her latest adventures: starting a new job, moving to a new city, and setting up a new studio. I'm looking forward to what's coming up next.
A fairly new blog by Christa, currently documenting her latest adventures: starting a new job, moving to a new city, and setting up a new studio. I'm looking forward to what's coming up next.
Clean Mud: Jeffrey Guin
Most potters have at least a touch of pyromaniac in them, and I think that Jeffery has a little more than most! He's self described as "unfocused," but for readers it just means that there's a little bit for everyone. If you wanted to learn about raku, this is the blog to read! He also has an offer to trade a pot for $20 that's go towards food in the local food pantry. Take a look and maybe take him up on it.
Anne Murray:
"Currently studying design and ceramics at Glasgow School of Art"
Another new blog with an interesting and different perspective - that of a design and ceramics student. Anne is already posting regularly and I hope it continues.
Firing Log: Ancient Kiln / 21st Century Logbook
Yet another great ceramics blog that I cannot believe that I didn't know about! I'm diving into the archives and loving it. The title of the blog is fantastic, and I can't wait to listen to the podcasts. Again, something that I can't believe I didn't know about. I spend much of my day in the studio listening to podcast after podcast - but they aren't usually clay-centric because there aren't too many of them out there.
Most potters have at least a touch of pyromaniac in them, and I think that Jeffery has a little more than most! He's self described as "unfocused," but for readers it just means that there's a little bit for everyone. If you wanted to learn about raku, this is the blog to read! He also has an offer to trade a pot for $20 that's go towards food in the local food pantry. Take a look and maybe take him up on it.
Anne Murray:
"Currently studying design and ceramics at Glasgow School of Art"
Another new blog with an interesting and different perspective - that of a design and ceramics student. Anne is already posting regularly and I hope it continues.
Firing Log: Ancient Kiln / 21st Century Logbook
Yet another great ceramics blog that I cannot believe that I didn't know about! I'm diving into the archives and loving it. The title of the blog is fantastic, and I can't wait to listen to the podcasts. Again, something that I can't believe I didn't know about. I spend much of my day in the studio listening to podcast after podcast - but they aren't usually clay-centric because there aren't too many of them out there.
That's enough for today!
I hope you enjoyed this tour, and don't forget to check out the previous tours:
Tour of blogs about ceramics and pottery (Part 1)
Tour of blogs about ceramics and pottery (Part 2)
And as always, let me know what else is out there if I've missed something.
If you're new to reading blogs, or if your regular sites to visit have expanded out of control, I suggest some sort of reader like Google Reader, which is what I use.
I hope you enjoyed this tour, and don't forget to check out the previous tours:
Tour of blogs about ceramics and pottery (Part 1)
Tour of blogs about ceramics and pottery (Part 2)
And as always, let me know what else is out there if I've missed something.
If you're new to reading blogs, or if your regular sites to visit have expanded out of control, I suggest some sort of reader like Google Reader, which is what I use.
How to: Mix two different clays
This is a problem that comes up all the time- two different clays that need to become one. Maybe you have some clay that's too hard and some clay that's too squishy. Or you have some stoneware and some porcelain (a great mix in the soda kiln!). It's really hard to just wedge them together, and it's a lot of trouble to put it through the pugger- especially if it's just a small batch.
This will save your wrists from some stress and get out any aggravation that you might have at the same time.
Slam down onto your table (or wedging board) one type of clay on top of the other.
Then slice it in half through the middle.
And stack on top. (slam it down!)
And slice and stack (slam!).
Watch the clay mix together! It's very satisfying to see the two different color clays mix like this.
Keep mixing until the slices of clay are really small (even smaller than this).
Once it's mixed through the slice and slam process, then wedge.
It's much easier to slam the clay down then wedge the big hunk that well. This method is really great for clay that's too hard and too soft. It's nearly impossible to wedge those two consistencies together. And as I mentioned above, a porcelain-stoneware mix is great for the soda kiln (or any other atmospheric firing). 50-50 is my favorite mix. Through a little extra sand in for extra orange peel.
Maybe this how-to will make your wrists a little happier.
This will save your wrists from some stress and get out any aggravation that you might have at the same time.
It's much easier to slam the clay down then wedge the big hunk that well. This method is really great for clay that's too hard and too soft. It's nearly impossible to wedge those two consistencies together. And as I mentioned above, a porcelain-stoneware mix is great for the soda kiln (or any other atmospheric firing). 50-50 is my favorite mix. Through a little extra sand in for extra orange peel.
Maybe this how-to will make your wrists a little happier.
How to: Make a Foam Bat
A foam bat is endlessly helpful for trimming large pieces, and having a soft surface to work with altered pieces on.
You will need:
*A new clean bat. I used a 22" Hydra Bat from Continental Clay.
*High density foam (it won't flatten out when you put a heavy piece on it).
*A can of spray adhesive.
*An electric knife.
*A Sharpie or any permanent marker.
Take the bat outside and spray the bottom of it with spray adhesive.
Spray one side of the foam with spray adhesive. Put the adhesive sides together and press evenly.
Put the bat, bat side up on a banding wheel and cut off excessive foam with the electric knife. This will give you a nice clean edge.
Place the bat on your wheel using bat pins to ensure it's perfectly centered. Use your marker and ruler to make concentric circles.
Until you get to the outside edge.
Then trim away!
You will need:
*A new clean bat. I used a 22" Hydra Bat from Continental Clay.
*High density foam (it won't flatten out when you put a heavy piece on it).
*A can of spray adhesive.
*An electric knife.
*A Sharpie or any permanent marker.
Tour of blogs about pottery and ceramics (Part 2)
This is an update (a long overdue update) to a previous post about clay blogs. When I first wrote about blogs that focused on ceramics, there weren't too many out there. I am so happy to find this time around that there are a lot more now! I didn't include ones that I listed before. And these are in no particular order. Enjoy- and please let me know if there are more out there for the next time around!
one black bird by Diana Fayt
A wonderful blog that I just discovered. (I don't know how I've missed it all this time!) Great posts by Diana and guest bloggers. It's been a lot of fun reading through the archives.
The Pottery Blog by Jennifer Mecca
Jennifer writes about her day to day life in her studio, balancing her family life with her clay life. This is why blogs are great- you can share your personal experience in a way that you can't through a book or a more formal publication.
Lurearts Ceramics by Pam McFadyen
A fairly new blog- but I think there will be some interesting things on the horizon, like her new Tool Talk series. Keep 'em coming!
Douglas Fitch Blog
Maker of "country pots." When you see the beautiful photographs on his Douglas' blog, you can see how the landscape effects his pots. Something that I think about a lot as an urban potter.
A wonderful blog that I just discovered. (I don't know how I've missed it all this time!) Great posts by Diana and guest bloggers. It's been a lot of fun reading through the archives.
A Potter's Journal by Ron Philbeck.
Great photos of Ron's work in progress. I love the how-to posts as well as the studio updates.
Great photos of Ron's work in progress. I love the how-to posts as well as the studio updates.
The Pottery Blog by Jennifer Mecca
Jennifer writes about her day to day life in her studio, balancing her family life with her clay life. This is why blogs are great- you can share your personal experience in a way that you can't through a book or a more formal publication.
Davistudio: Modern Table Art by Mary Anne Davis
"Seeking to stretch ideas about peace, art, design, function, value, culture and making." And lots of happy pots!
"Seeking to stretch ideas about peace, art, design, function, value, culture and making." And lots of happy pots!
Lurearts Ceramics by Pam McFadyen
A fairly new blog- but I think there will be some interesting things on the horizon, like her new Tool Talk series. Keep 'em coming!
This Week @ St. Earth
A weekly update for what's going on at St. Earth Pottery in Fillmore, IN. I love reading about other potter's work cycles. And I think one of my favorite parts is listing the music and podcasts of the week.
A weekly update for what's going on at St. Earth Pottery in Fillmore, IN. I love reading about other potter's work cycles. And I think one of my favorite parts is listing the music and podcasts of the week.
Douglas Fitch Blog
Maker of "country pots." When you see the beautiful photographs on his Douglas' blog, you can see how the landscape effects his pots. Something that I think about a lot as an urban potter.
Bluegill Pottery by Vicki Liles Gill
A nice (and fairly new) blog that has a lot about the business side of pots, and some how-to's and other studio updates.
A nice (and fairly new) blog that has a lot about the business side of pots, and some how-to's and other studio updates.
Sister Creek Pottery by Gay Judson
"The occasional musings of an overly-enthusiastic-senior potter who recently found her way to the potters wheel."
One thing that I really like this blog is that Gay writes abouts the ups and the downs of making pots!
"The occasional musings of an overly-enthusiastic-senior potter who recently found her way to the potters wheel."
One thing that I really like this blog is that Gay writes abouts the ups and the downs of making pots!
Design Realized by Julie Rozman
A new blog by a Lillstreeter (def: someone who works at Lillstreet Art Center in Chicago) which documents her thought process and her new ventures into selling her work. Keep it up Julie!
Jeanette Harris: A Clay Engineer's Blog
Jeanette's blog is hilarious! In addition to the humor she has some great info including documentation on her glaze testing, and reviews of books and videos.Wirerabbit Pots by Taylor H
Taylor has great tutorials - directions on how to make things like plaster bats and terra sigillata. Great information illustrated with helpful photos.Soderstrom Pottery Blog
"A Minnesota potter, trained in Japan"
Check out his wind powered kiln :)this artist's life - day to day in the clay studio
by Whitney Smith
Most recent posts have been about Whitney's residency in Japan. An unusual perspective and thoughtful posts.
Karin's Style Blog - Looking at the world with a designer's eye
I love this blog! Karin's work is beautiful and she has endless links to other makers and designers from around the world.Whip-up: handcraft in a hectic world
This is a group submission site that is about all things handmade. A must visit often site!
See this page to learn more.
Tara Robertson Pottery
A great photo tutorial on pit firing. I'm also enjoying reading about Tara's venture into Etsy.
Well, I think that's enough for now... I hope you have enjoyed this tour. I have thoroughly enjoyed researching this. I have discovered some really exciting new blogs to subscribe to!
My friend
My friend Brian Boyer took this gorgeous photo of Michigan plums in one of my bowls, and it was just posted on Slashfood. Yay Brian!
My friend Brian Boyer took this gorgeous photo of Michigan plums in one of my bowls, and it was just posted on Slashfood. Yay Brian!
Show your love of clay to the world
Cafe Press has some interesting products for people who want to proclaim their love of clay to everyone around. The first time that Cafe Press got my attention was when John Norris put up a "soda fired" mug.
Below are some designs that you can get as t-shirts, hoodies, aprons, magnets, bumper stickers, hats, mouse pad, boxers, tank top, coasters and even a throw pillow. I prefer the more subtle ones that only another potter would understand. Something where we can identify ourselves to one another out in the world.
Below are some designs that you can get as t-shirts, hoodies, aprons, magnets, bumper stickers, hats, mouse pad, boxers, tank top, coasters and even a throw pillow. I prefer the more subtle ones that only another potter would understand. Something where we can identify ourselves to one another out in the world.
Guest Blogger: Jordan Taylor
When I've been firing for a long time the boundary between nighttime wakeful stoking and feverish fitful sleeping is thin.
Several firings ago I had a dream and I can't be sure now whether I was awake and stoking or asleep and dreaming I was stoking. I dreamt that I had put up all my wood for two years and decided to burn it all in one firing. The wood ran out but somehow the work needed a little something more: the ember bed wasn't lined up on the belly of a jar just so or the like. So I began dumping wheelbarrow loads of brick into the kiln. Several palettes of brick later (all that I had, again) I looked in and the kiln still seemed empty. I couldn't see the work. So, left with nothing else in the kiln yard I opened an incision and, one by one, began stoking my internal organs. (As is often the case with this sort of dream, there was no hint as to what the work looked like after such efforts.)
After unloading a firing that looked nothing like I'd hoped a friend reminded me that “Clay will break your heart every time. Her's was one of a litany of such thoughts that creep in on me during my week of “unloading funk . Most of the thoughts begin with “Why…? and many get no further. One of my favorite comic lines from the glitzy mega-cinema of my adolescence is, after hearing of a particularly foxy heist by Costner as Robin Hood, the prince declares to his cousin the Sheriff of Nottingham: “I'm going to cut his heart out with a spoon . Sheriff: “Why a spoon cousin? Prince: “Because it's dull you twit, it'll hurt more.
As far as I understand neuroscience, we are not wired to remember pain. I have memories that I felt pain but I have difficulty recreating the sensation simply by recalling the painful incident (the exception for me is the pain of embarrassment, which I will torture myself with for any minor faux pas at a party). Alternately I can remember moments of pleasure, culinary or otherwise, quite well, and will replay such moments with even more enthusiasm than when I torture myself with my own embarrassment. Pain, similarly, is present only as an abstract concept, if even that, in my dreams. The evisceration stoking was pain free without anesthesia. In dreams, as in memory, we are blessed with the ability to remember what causes us pain, but not the pain itself.
Not only did my evisceration not cause me pain, it felt liberating. Risking “new ageism , I would go so far as to say that my placing my liver in the firebox was an experience of feeling nurtured by the kiln. “Why...?
Both of my last two firing have happened since my daughter Greta was born (our first, at the time of this writing she is nine weeks old). The feeling I get when my wife is on shift and I bring Greta out to her to nurse by the kiln is echoed by watching a field mouse scamper up to a stone ledge in my kiln buttress to eat from a bowl of raw honey I've placed there as an offering. The combination of a being so small and vulnerable in such unknowing proximity to temperatures catastrophic to their state of being, going about the daily ritual of sustenance, moves me in a way that I would prefer not to try and put words to.
Psychologists (armchair and otherwise) reading this may already see where I am going with this: that I repeatedly return to the source of my grief and pain hoping it will heal and nurture me anew. Like an infant, I can't say why I need what I do, just that I need it. Unlike an infant I can say a word or two about what risk in my studio life does for me: it sets me free. It sets me free from simply executing expectations, each risk allowing for, requiring, another layer of developmental growth.
The author trained as a traditional potter, serving a three year apprenticeship, before establishing his own studio in 2002. He has, despite his own best efforts to the contrary, begun making forms that are purely sculptural. Each paragraph of this piece was written in between stokes of his third multi day kiln firing in the month of April, one in which the kiln reached temperatures three cones hotter for a full day longer than it had in any previous firing … and during which he hosted twenty-five of his most important collectors for a fundraiser dinner. www.jordantaylor.us
Artist Statement, April 2007
Looking back and moving forward.
Clay is one of the oldest materials used by humans, and its place in the lives of humans has changed and evolved as we have. It's had a central place in a community as vessels that store water and grains. Today we most often see clay in the form of toilets, sinks, heater elements, and our molded dishes. With modern manufacturing we have personal spaces which we can easily fill to overflowing with things, so that few people can really say they lack any quantity of items. We store water in disposable plastic bottles, we store our food in layers of boxes and plastic bags, and once we've used these up we store the garbage in more layers of plastic until they can be taken away in the metal boxes on wheels. Things just flow through our hands, from factory to landfill, each item indisguishable from the next and inevitably forgotten once sealed in the earth.
So the place that clay has in our world today is much different than it's been before. Clay is still plentiful, but it's never been disposable. And clay as art still has the intention and purpose behind it that long ago would have been present in every vessel. It can be something to stop our busy lives for a few moments in the morning to meditate over our morning coffee out of our favorite mug. It can be a vase that with or without flowers, we can stop to think about how it is one of the few objects in our lives that are hand made and individual.
Each and every piece that I make is one of a kind. I often make pieces in a series, but because they are hand crafted and fired in a soda kiln no two pieces are identical. I'm drawn to the pieces with a depth that you can explore, with subtle nuances in the texture and patterns in the glaze. A piece where you can always look a little closer and see something new. You aren't going to see that in a mass produced plate from Target, or a ceramic mug from Ikea. Our lives are busy and we often don't allow ourselves to slow down and take a moment to reflect. I see clay/pottery/ceramics as a way to feel a connection with another person, and an excuse to slow down for a moment.
Clay is a material that has a long and rich tradition. I try to reference that history, but in the context of our contemporary world. This is why I love the process of soda firing, also a contemporary adaptation of an older process.
In the 14th century potters began using a technique called salt firing. By adding salt into a kiln, the pieces would be glazed without having to individually apply glaze to each piece. This was great for the very utilitarian pieces like sewer pipes and whiskey jugs. But by the 1970's there were problems with the technique – black smoke comes from the chimneys, and it wasn't very friendly to the environment or your neighbors. So another technique was developed, using soda ash and baking soda. The kiln is gas fired and this soda mixture is added to the kiln near the end of the firing (around 2200°F); the soda vaporizes and is carried on the flame throughout the kiln. The soda reacts with the pieces, changing their color and texture. The variations you see on the pieces come from the variations in the kiln – how close a piece is to the burner, how much room there is for the flame to flow across the piece, even the temperature outside or the humidity can effect the outcome. Even after firing soda kilns hundreds of times there are still surprises to be found in how the pieces react. The pieces that I have created for this exhibition are tributes to the unpredictable and unique effects of this process.
Emily Murphy
Clay is one of the oldest materials used by humans, and its place in the lives of humans has changed and evolved as we have. It's had a central place in a community as vessels that store water and grains. Today we most often see clay in the form of toilets, sinks, heater elements, and our molded dishes. With modern manufacturing we have personal spaces which we can easily fill to overflowing with things, so that few people can really say they lack any quantity of items. We store water in disposable plastic bottles, we store our food in layers of boxes and plastic bags, and once we've used these up we store the garbage in more layers of plastic until they can be taken away in the metal boxes on wheels. Things just flow through our hands, from factory to landfill, each item indisguishable from the next and inevitably forgotten once sealed in the earth.
So the place that clay has in our world today is much different than it's been before. Clay is still plentiful, but it's never been disposable. And clay as art still has the intention and purpose behind it that long ago would have been present in every vessel. It can be something to stop our busy lives for a few moments in the morning to meditate over our morning coffee out of our favorite mug. It can be a vase that with or without flowers, we can stop to think about how it is one of the few objects in our lives that are hand made and individual.
Each and every piece that I make is one of a kind. I often make pieces in a series, but because they are hand crafted and fired in a soda kiln no two pieces are identical. I'm drawn to the pieces with a depth that you can explore, with subtle nuances in the texture and patterns in the glaze. A piece where you can always look a little closer and see something new. You aren't going to see that in a mass produced plate from Target, or a ceramic mug from Ikea. Our lives are busy and we often don't allow ourselves to slow down and take a moment to reflect. I see clay/pottery/ceramics as a way to feel a connection with another person, and an excuse to slow down for a moment.
Clay is a material that has a long and rich tradition. I try to reference that history, but in the context of our contemporary world. This is why I love the process of soda firing, also a contemporary adaptation of an older process.
In the 14th century potters began using a technique called salt firing. By adding salt into a kiln, the pieces would be glazed without having to individually apply glaze to each piece. This was great for the very utilitarian pieces like sewer pipes and whiskey jugs. But by the 1970's there were problems with the technique – black smoke comes from the chimneys, and it wasn't very friendly to the environment or your neighbors. So another technique was developed, using soda ash and baking soda. The kiln is gas fired and this soda mixture is added to the kiln near the end of the firing (around 2200°F); the soda vaporizes and is carried on the flame throughout the kiln. The soda reacts with the pieces, changing their color and texture. The variations you see on the pieces come from the variations in the kiln – how close a piece is to the burner, how much room there is for the flame to flow across the piece, even the temperature outside or the humidity can effect the outcome. Even after firing soda kilns hundreds of times there are still surprises to be found in how the pieces react. The pieces that I have created for this exhibition are tributes to the unpredictable and unique effects of this process.
Emily Murphy
New Soda Fired Work by Emily Murphy
Here is a virtual tour of the exhibition that I'm currently having at Haus in Chicago through May 6. It is a body of work that I have been working on for months, and had in my head for the last year or so. It is really excited to have the group of work finished and exhibited together. Click on any of the images to see them larger. I hope you enjoy your visit to the gallery...
This is the front of the gallery with my large bottle forms on display in the window.
Here are some images of the installation of the show.
I have taken the idea of my surfaces being canvases one step further. I have made a series of wall pieces. These are forms that I have been playing with for a while, but this is the first time that I have exhibited them.
The show will be up until May 6, 2007 if you'd like to see it in person. There is going to be a "Wine Walk" in the Andersonville neighborhood (where Haus is located) on May 6th. We're going to take this opportunity to have a closing party. If you'd like to participate in the Wine Walk, you can purchase a special wine glass for $20 and you can wander the neighborhood and taste 40 different kinds of wine. For information on this event, visit In Fine Spirit's website.
The previous post is my artist's statement for this show.
This is the front of the gallery with my large bottle forms on display in the window.
Here are some images of the installation of the show.
I have a series of squared platters that I really see as canvases. The surfaces are a combination of layered slips, sprayed glazes and the soda kiln.
I have taken the idea of my surfaces being canvases one step further. I have made a series of wall pieces. These are forms that I have been playing with for a while, but this is the first time that I have exhibited them.
And here are some mugs that echo the grid of squares above...
Chicago artist Amy Lemaire designed floral arrangements in my low oval vases. These are pieces that stand alone as sculptural forms, but come to life with greens, branches and flowers in them. This is just a selection of the pieces. I took these photos on a white piece of paper so you could see them a little bit better.
The show will be up until May 6, 2007 if you'd like to see it in person. There is going to be a "Wine Walk" in the Andersonville neighborhood (where Haus is located) on May 6th. We're going to take this opportunity to have a closing party. If you'd like to participate in the Wine Walk, you can purchase a special wine glass for $20 and you can wander the neighborhood and taste 40 different kinds of wine. For information on this event, visit In Fine Spirit's website.
The previous post is my artist's statement for this show.
Chicago Clay
I am going to be working on a project over the next couple of months and I'd like your help.
I am going to creating a guide (on this blog) to clay in Chicago. It'll be illustrated with photos, and linked to maps- and it will be all things ceramic. Galleries, art centers, studios, etc... (all things open to the public).
If there is something out there that you think should be included or that I should know about, just write a comment to this post.
I'm going to start going to 1 place a week (or more) to document the world of clay in the windy city. I'll keep you updated on my progress.
I am going to creating a guide (on this blog) to clay in Chicago. It'll be illustrated with photos, and linked to maps- and it will be all things ceramic. Galleries, art centers, studios, etc... (all things open to the public).
If there is something out there that you think should be included or that I should know about, just write a comment to this post.
I'm going to start going to 1 place a week (or more) to document the world of clay in the windy city. I'll keep you updated on my progress.
The future of this blog about ceramics...
I know that I have been a little neglectful of this blog lately. I really enjoy writing and keeping it up to date- but it's been a busy year. When I ask myself : should I make pots today, or write a blog post today? Usually the clay wins out, as it should. Making pots as well as working on a website can be solitary tasks. Sometimes it can feel like no one else is out there.
About a month ago I went to NCECA and got to meet many people in person that I have met through this blog and through my pots. It was a nice reminder that the words and pots are being received on the other end.
I am going to be doing do reorganization of this site so the archives are easier to get to. I also have a lengthy list of topics that I am going to be tackling, and I'd like your input on it.
Some of the topics that I'm going to be writing about:
-a tour of ceramics in Chicago
-pottery/ clay tool reviews
-guest bloggers
-online pottery videos
If you have anything that you'd like me to blog about, just shoot me an email. Or if you come across a link that you think would be interesting to me, let me know.
I look forward to hearing from you!
About a month ago I went to NCECA and got to meet many people in person that I have met through this blog and through my pots. It was a nice reminder that the words and pots are being received on the other end.
I am going to be doing do reorganization of this site so the archives are easier to get to. I also have a lengthy list of topics that I am going to be tackling, and I'd like your input on it.
Some of the topics that I'm going to be writing about:
-a tour of ceramics in Chicago
-pottery/ clay tool reviews
-guest bloggers
-online pottery videos
If you have anything that you'd like me to blog about, just shoot me an email. Or if you come across a link that you think would be interesting to me, let me know.
I look forward to hearing from you!
New work by Emily Murphy
A show of my new work is opening on Friday, April 6, at Haus in Chicago. All of the work is soda fired (surprise surprise!), with a vivid palate of colors. The show include some new wall pieces, oval centerpiece vase (like you see below), large square platters and more.
I have been wanting to do this work since last summer, and when the opportunity came up to have a show at Haus, I was really excited to have a place to exhibit the vision that was in my head. I've been working intensely on this new body of work through the coldest and darkest days of the winter- with a longing eye looking towards spring.
I'll give you a little sneak peak of some of the work here on this entry and after the opening I will post some installation images of the show.
I'll give you a little sneak peak of some of the work here on this entry and after the opening I will post some installation images of the show.
Holiday Shows, 2006
Due to what I can only explain as time passing more quickly than ever before, the holiday season is upon us. The opening night for various exhibitions and shows that I am participating in is this Friday, December 1st.
Visit my studio at Lillstreet Studios in Chicago throughout the month for our holiday extravaganza. Browse the wares in my studio while I continue to produce work. New work will be showing up throughout the month!
Opening Reception:
Friday, December 1, 6pm - 9pm
4401 N. Ravenswood
2nd floor- 205 west
Chicago, IL 60640
Saturdays, 10am - 6pm
Sundays, 10am - 5pm
Weekdays, 12 noon - 6pm
On weekends, 12 noon - 3pm, you can "drop and shop." You can drop off your kids in the kids rooms on the 1st floor of Lillstreet Art Center while you shop the gallery and 35 artists studios.
You can travel a little ways from my studio to Haus, a beautiful gallery focusing on hand crafted items for the home from dinnerware to handmade furniture. They also have a great selection of jewelry. The work that I have there, of course, is the dinnerware and other pots.
Haus
5405 N. Clark
Chicago, IL 60640
Tues - Thurs, 11am - 7pm
Fri - Sat, 11am - 8pm
Sun, 12 noon - 5pm
Mon, closed
The Evanston Art Center's Art + Craft Expo opens with a Preview Party on Friday, December 1, 6pm - 9pm, tickets are $25. I have a wide array of work there, from vases to mugs to soap dispensers. There are over 80 participating artists. An event not to be missed!
Evanston Art Center
2603 Sheridan Road
Evanston, IL 60201
December 1 - December 16
Sat - Sun, 11am — 5 pm
Mon – Thur, 12 — 6 pm
Fri, 12 — 8 pm
Woman Made Gallery is hosting their Annual Holiday Bazaar Nov 24 - Dec 23. If you've never been to this space before, you should make sure to get there this month!
Woman Made Gallery
685 N Milwaukee Ave.
Chicago, IL 60622
Wed - Fri, 12 noon - 7pm
Sat - Sun, 12 noon - 4pm
Mon - Tue, closed
Opening Reception, Friday, Dec. 1, 6pm - 9pm.
Opening Reception:
Friday, December 1, 6pm - 9pm
4401 N. Ravenswood
2nd floor- 205 west
Chicago, IL 60640
Saturdays, 10am - 6pm
Sundays, 10am - 5pm
Weekdays, 12 noon - 6pm
On weekends, 12 noon - 3pm, you can "drop and shop." You can drop off your kids in the kids rooms on the 1st floor of Lillstreet Art Center while you shop the gallery and 35 artists studios.
You can travel a little ways from my studio to Haus, a beautiful gallery focusing on hand crafted items for the home from dinnerware to handmade furniture. They also have a great selection of jewelry. The work that I have there, of course, is the dinnerware and other pots.
Haus
5405 N. Clark
Chicago, IL 60640
Tues - Thurs, 11am - 7pm
Fri - Sat, 11am - 8pm
Sun, 12 noon - 5pm
Mon, closed
Evanston Art Center
2603 Sheridan Road
Evanston, IL 60201
December 1 - December 16
Sat - Sun, 11am — 5 pm
Mon – Thur, 12 — 6 pm
Fri, 12 — 8 pm
Woman Made Gallery
685 N Milwaukee Ave.
Chicago, IL 60622
Wed - Fri, 12 noon - 7pm
Sat - Sun, 12 noon - 4pm
Mon - Tue, closed
Opening Reception, Friday, Dec. 1, 6pm - 9pm.
Soda, Clay and Fire: a new book on soda firing
Also, in my neglect of my blog recently, I have not mentioned on here that 500 Pitchers came out in the spring. I was lucky enough to get another 2 images published in the latest publication from Lark Book's 500 series.
A Study of Continental Clay Bodies
I have recently done a little study of the high fire clay bodies from Continental Clay in Minneapolis. I made teabowls out of each of the clay bodies, and fired one in c. 10 reduction and one in soda (also c. 10 reduction). They are both glazed in a luster shino glaze which shows off the differences in the clay bodies beautifully. The c. 10 pots are glazed both inside and out with the shino glaze (left). The soda pots are glazed on the inside, and on the rim (right). There are 9 clays that I tested in total- so keep scrolling down... Enjoy!
**be sure to click on the images to see a much larger image and really see the details.**
Soda Firing Workshop with Emily Murphy
with Emily Murphy
Interested in soda firing?
This workshop is the whole soda firing process packed into
one weekend at Lillstreet Art Center.
This workshop is for intermediate and advanced students, amateur potters, and professional ceramic artists who want to have an introduction to soda firing or to expand their soda firing knowledge. Workshop students will learn how to load the soda kiln: no kiln loading experience necessary!
Soda firing is an atmospheric firing that produces flashes of color, a textured orange peel surface, and reacts in a variety of ways with different slips, glazes and clay bodies. The “soda in soda firing is a combination of baking soda and soda ash. The soda mixture is introduced into the kiln near the end of the firing. The soda vaporizes and is carried on the flame throughout the kiln. Wherever the flame travels, the soda travels and reacts with the pieces in the kiln to create a glazed or flashed surface.
Come to the workshop with an assortment of bisqued pieces. Variety is best. Please come with 6 – 10 pieces. You're not guaranteed to get every piece into the kiln, but we'll try to get in at least 6 pieces, depending on size. The more variety of forms, sizes, shapes and clay bodies, the better for loading! The clay must be rated to Δ10. If you'd like to purchase some of Lillstreet's special soda clay body ahead of time, you can make arrangements for that. You will be contacted via email prior to the workshop with suggestions of commercially available clay bodies, as well as some slip recipes that you can mix to use on your greenware.
Friday, April 21, 11am-6pm
We will meet to get an introduction to soda firing, glaze, slip and wad pieces. When the pieces are glazed, we will load the soda kiln with everyone's work.
Saturday, April 22, 5-7pm
Saturday is firing day. This timing is approximate- we will be mixing up the soda and putting it into the kiln around this time (Δ9).
Monday, April 24, 3-6:30pm
Unloading time! We'll unload the kiln and examine our results from the soda kiln.
Lillstreet Members $135 / Nonmembers $140
Soda Firing lab fee: $30
To sign up for this workshop, go online to lillstreet.com, or call: 773.769.4226
For more information about the workshop, or to learn more about Emily's work,
please visit: sodafired.com or email: [email protected]