Wednesday, November 30, 2011
Admittadly not the best photo.
So I fired Coleman's Grey Blue Celadon at cone 10 in my electric kiln. I got much better results then expected. The reading I did about firing Celadon's in oxidation said they would be matt, and more then likely have a brown or pink hue. These don't ----
Super excited about the sale this weekend, and now I have some fresh pots to add to the collection.
Tuesday, November 29, 2011
So---- I am glazing so work for the sale this weekend. I am going to fire some Coleman Grey Blue Celadon at cone 10 in my electric kiln. Have had offers for a place to fire in reduction, not enough work to fill a kiln.
Will post results
Monday, November 14, 2011
After a very successful OPEN STUDIO TOUR, a few of my ceramic artist friends, a jewelry designer, and an amazing painter, are holding a HOLIDAY SALE..... Of course just be an excuse to hang out and drink eggnog and eat cookies.
Friday, October 21, 2011
Friday, October 14, 2011
Monday, September 26, 2011
Had a great time in Casper WY. The folks at the Moose were amazing, and the community snapped up my work like it was the next hot trend. Well actually two trends, the Face Mugs and the Desert Landscapes. (the vacuum needed the press).
I am thrilled with the response.
Starting to think of returning to grad school.....
Monday, September 12, 2011
Thursday, September 8, 2011
We are happy to inform you that you have been selected to be showcased at Marriott SpringHill Suites ArtNight theme art exhibition, Black White & Night. The work(s) will be showcased from September 13 – 27, 2011. The juried process gave us a peek, a glimpse, of your artistic talent and we would be proud to showcase it at our event.
Black White & Night Reception event, an evening of entertainment and refreshment, has been scheduled on September 27, 2011 from 4:30 pm – 8:00 pm. It is also on this night that your work(s) is available for purchase. Your attendance is most encouraged.
The following work(s) have been selected:
Gertrude - Lunchbox
All wall pieces, accepted by ThinkArt! and Think & Wonder, Inc. must be prepared properly for hanging. All other work must be ready to be installed. Sculptures must be able to sit sturdy on pedestal or on floor.
Because of space limitations with any given exhibition, not all works that have been accepted will be on display.
Artwork(s) Drop-off/Delivery Deadline:
Saturday, Sept. 10 between 10 am - 6:00 pm
Please drop-off or deliver your work(s) to:
Marriott SpringHill Suites
2989 Paradise Road · Las Vegas, Nevada 89109.
If you need direction to the hotel, please call 702-433-5880.
Thank you once again for your participation in the Black White & Night Exhibition. We are excited to showcase your work(s).
Friday, August 19, 2011
Last night the WEST SARAH LIBRARY ART SHOW opened without a hitch. From my guess we had about 200 people attend - for Vegas that's a great turn out. Thanks to Nevada Clay Guild for helping to spread the word.
I need to run off to the studio. Would like to get three 28" platters thrown today, then off to Aardvark to teach class tonight.
Ill try to post photos of the platters tomorrow.
Thinking about starting a REFER A FRIEND to my blog - if you refer three (?) people to the blog, you are registered to win a piece of my work. This is all still in the mulling around in my scattered brain. Details to be nailed down soon
Tuesday, August 16, 2011
Saturday, August 13, 2011
Cheaper Than a Pack of Cigs
How the maker of the Cosmopolitan’s Art-o-mat provided art lovers with a $5 entry into the art world
By Andreas Hale
July 21st, 2011
If you’ve explored the Cosmopolitan, surely you’ve noticed its scattering of old-school cigarette vending machines, which deliver $5 miniature works of art instead of Marlboro Reds. They’re called Art-o-mats, and they originated as a conceptual art piece by Clark Whittington. Today the Art-o-mat has grown to sell work from 300-400 artists from 10 countries. There are 100 machines in the U.S.A. (and machines in Australia, Canada and Austria), with the Cosmopolitan housing seven. Vegas Seven spoke with Art-o-mat’s founder and creator to discuss its origins, its appeal and how it wound up in a casino.
What was the inspiration behind Art-o-mat?
My art has always been conceptual. I would base a lot of my work on things that I observed. I came up with the idea of putting art in a vending machine based on a friend’s reaction to snack wrappers. When he’d hear the crinkle of cellophane, he’d always go and buy something for himself. When I moved to North Carolina in 1997, cigarette machines were being banned and thrown away. That became the foundation of the first Art-o-mat machine. The idea of art in cellophane was to take art that wasn’t marketable and repackage it into something consumer friendly.
Are people purchasing the art simply for the experience of using a cigarette machine?
It’s the experience at first. Repeat purchases are based on the fact that they enjoyed their first experience. Some people keep coming back and amass a huge collection. We’re reaching this middle ground of people that have been alienated by all of the pretentiousness of the art world. We are introducing people to art who may not have bought art before in an affordable manner. The whole art of buying something out of Art-o-mat is sort of like a piece of art, anyway.
Did you anticipate having so many machines?
No way! My art has always been pretty much a flop. The first Art-o-mat was one of 13 pieces I had at a show in a coffee shop that featured my own art in there for a dollar a piece. I expected to get rid of the machine after the 30-day show ended. At the end of the month the coffee shop owner said that I couldn’t take it because it was “too cool.” But I couldn’t keep it filled with my own art, so we invited other artists to sell their art.
How did you connect with the Cosmopolitan?
As crazy as the Cosmopolitan can be about pushing the envelope, they are very normal people that understand how to make connections with people. One of [director of content and entertainment at the Cosmo] Chris Burns’ buddies was an Art-o-mat artist. He mentioned the machines to Chris and got him intrigued with the concept. He contacted us directly, I met with him and he was very approachable. I wanted to start with one machine, they wanted more and we took it from there.
How do you select your artists?
They select us. It sounds cheesy, but I never want anyone to be a part of this because they felt pressured to do it. I want people to approach us naturally. It’s cool because you can get your work literally into the hands of people. Any artist out there—and we need artists—go to our website Artomat.org, follow the guidelines. We do have some Vegas artists that have signed on recently [Kelly Murphy, John Gregg, Stephanie Ford, Lisa Fields Clark, Thomas Bumblauskas, Christopher Ralph Vasquez and Alyssa Risley]. That’s kind of cool because we want each city and machine to be a resource for local artists.
Wednesday, August 10, 2011
Having a crazy week, again.
Teaching two days at Pottery West, and two days at Aardvark Clay and Supply. This week I am focusing my demonstrations in teapots and pitchers.
It seem to be making all of the students happy. I'll try to remember to photo the pieces was are creating in class. Better then the ones I have posted.
Wednesday, August 3, 2011
Last weekend I was at the Howard Alan show in Park City UT - not to be negative, but what a stinker. I think we saw about 300 people, really. Saturday night we went for a ride around town to see why this might be. First we only saw one poster, secondly the construction in front of the show as terrible. One lane in each direction. Needless to say I was not thrilled about the this show.
This week I am working on the Tom Coleman gas soda firing workshop at Pottery West. So far lots of fun!!!!
Monday, July 18, 2011
Remember I am in Vegas; most of the weekend was in the mid-90's - it was great! Here is our firing schedule. We held about 4 hours, that should be enough time to develop some great color and give is some good sparkly pots.
|WOOD SODA||July 15-17 2011||Cone pack|
|010; 06; 8;9;11|
|Crew||Time||upper temp||lower temp||notes|
|Marc R||Cleaned Kiln|
|John G||Vacuum, kiln wash shelves, wadding|
|Thom B||Split wood, grind bag wall, wadding|
|Donna/Brian (son)||Split wood, brought personal chain saw...|
|Thom\John||Purchased 13 new shelves (last firing purchased 8)|
|John Thom Beth ||2pm – 7:30p||Load (planned 8am start – had to finish prep)|
|Thom B John Beth Morgan||730||96||96||Start Fire|
|Thom Beth (Morgan)||830||18||18||Probe wrong|
|Thom Beth (Morgan)||930||Probe wrong|
|Thom Beth (Morgan)||1030||245|
|Thom Beth (Morgan)||1130||300|
|John Beth (Morgan)||1230||364|
|John Brian (son)||200||324||356||Probe Died Pulled new probe |
|John Brian (son)||300||550||390||moving to box|
|John Brian (son)||400||650||516|
|John Brian (son)||500||900||690|
|John Brian (son)||600||1100||812|
|Thom John Brian (son)||700||1301||1030|
|Thom John Brian (son)||800||1490||1229|
|Thom John Brian (son) Donna||900||1775||1500||Reduction|
|Thom John Brian (son) Donna||930||1600||1400|
|Thom John Brian (son) Donna||1000||1800||1600||fire box full:coal bed high – open 2 passive (high)|
|Thom John||1100||1962||1819||switch to pine only|
|Thom John Marc Mary||1130||2118||stirring ash every 10 to 15|
|marc Mary||100||2145||50/50 pine/mahogany|
|marc Mary||125||2175||bed still high|
|marc Mary thom||145||2180||2157|
|marc Mary thom||215||2170||2180||c8 bending middle|
|marc Mary thom||250||2186||2179||coal bed nice – one passive out|
|marc Mary thom||315||2180||2150|
|marc Mary thom||335||2211||2195|
|marc Mary Thom||420||2208||2200|
|marc Mary Thom||445||2220||2250||c8 down, c9 starting to bend (bottom/middle)|
|marc Mary Thom||500||2245||2208|
|Thom B John||600||2260||2240||c9 bending all over|
|Thom B John Donna||700||2250||2250||Added soda as sawdust – bury box only|
|50/50 mix (5lb total) over 3 stokes(flutter damper)|
|Thom B John Donna||830||2201||2190||high ash bed|
|Thom B John Donna||930||2250||HOLDING|
|Thom B John Donna||1030||2267||2226||c11 bending C11 down in middle|
|Thom B John Donna||1130||2350||2270||HOLDING|
|Thom B John Donna||1200||Closed – temp dropped to 2100 in 8 minutes|
|Opening July 21 – 3pm||Note: Firing of Refrigerator with Mr. Alyiss took|
|took place 6am to 5pm on 7/17|
|Total wood used 2.5 cords.|
|Need to look at termites and carpenter bees in pile|
Friday, July 15, 2011
Glazed the "Bento Boxes" using a combination of flashing slips and glaze. They should be amazing! I decided to try using a latex wax and Aluminum Hydrate on the "lids" for the forms. Off to Aardvard Clay and Supply to teach class....
Monday, July 11, 2011
Playing with the idea of "Lunch Boxes" -- Would have loved to open my locker at school or work to find one of these dudes with my lunch in it.... Now that they are to this point, firing, should prove to be a wadding nightmare.
The box scooter arrived in....Scooter -- YEAH
Thursday, July 7, 2011
Just got an email that my face mug "SPIDEY DUDE" was featured on a new artist blog; http://etsianartists.blogspot.com/2011/07/wonderful-wednesdays.html
Check it out.
Tomorrow I start splitting wood --- who's idea was it to wood fire when its 110 outside; oh it was mine.
Thursday, June 30, 2011
Found a open to interpretation, the theme, “To Go,” hopes to inspire both vessel and sculpture creation, from the obvious flasks, thermoses, car cups, lunch boxes, things with lids, wheels… to the more outrageous or unpredictable. The possibilities are endless – surprise us!
I think this is a fun idea, even if I don't enter the show.
process photos soon
Monday, June 20, 2011
For the last two weekends I have been in north of Salt Lake City selling pots. The first show was in Ogden UT, a great one day art show. The weather was amazing and the folks there ate up the new product.
Last weekend I was in Logan UT, it was a three day show called LOGAN SUMMERFEST. It was interesting. I did sell one of my favorite pieces from the Soda Fire. I was told told by the women who bought it was going to be a Father's Day gift. Her dad is a collector...
Thursday, May 26, 2011
We will be starting to load this Saturday (5/28) early in the day, and hope to start the fire by 8pm. I think we will be doing a 30hr firing, we could do it much faster, like 18 hours, but who wants broken pots, and non-developed color. The plan is 100 degrees pr hour for the first 800, then a bit faster to 1250. After that we can let it rip. Of course there is reduction at 010, and reduction again at cone 9.
I would really like the kiln to get to cone 11 bending, and keep it in that area for for four hours or so. Talking with Tom Coleman the other day, he said four hour hold should be fine, he would rather it be about six to get the best color development. We will see where our energy and labor force is..... I am already planning on DENNY'S very early Monday morning.
Some photos from the last wood soda fire in February....
What better way to kick off the summer heat in Las Vegas then an old fashion Wood Soda firing - we a Japanese smokeless design. So John Gregg, Mark Rosenthal and Myself (and some great students at Pottery West in Las Vegas) have been splitting wood, grinding shelves and furniture, kiln washing all the parts and glazing like mad.
We will be starting to load this Saturday (5/28) early in the day, and hope to start the fire by 8pm. I think we will be doing a 30hr firing, we could do it much faster, like 18 hours, but who wants broken pots, and non-developed color. The plan is 100 degrees pr hour for the first 800, then a bit faster to 1250. After that we can let it rip. Of course there is reduction in there, and again at cone 9. But I would really like the kiln to get to cone 11 bending, and keep it in that area for for four hours or so. Talking with Tom Coleman the other day, he said four hour hold should be fine, he would rather it be about six to get the best color development. We will see where our energy and labor force is..... I am already planning on DENNY'S very early Monday morning.
Some photos from the last wood soda fire in February....
Wednesday, March 30, 2011
These three cups were glazed with B's Shine over Laguana's Soda Fire body. Not sure the reason for the orange peel. Candled for for 4 hours at 250; two days after glazing... Love it, but confused.
This little dude is a porcelain cup that was a re-fire. I he was fired in the wood fire soda kiln a few months back, but had a huge dingus in the handle. A little grinding and a shot of glaze, and some more time in the kiln, he is good to go. (He needs a name..)
This small tea bowl has the same issue as the first three cups. But boy oh boy did the warmth of the Death Valley clay body come through.
Off to post a piece on Etsy.
Sunday, March 27, 2011
So I have been back from my East coast adventure for about 3 weeks; I leave next week for Columbia Missouri to design a production THE MERRY WIDOW. While in Vegas i've been throwing, teaching classes, carving, and loading kilns. I have also been applying to shows and compilations, its great to be back.
Last night John Gregg and I were firing the "Refrigerator Kiln". It is a aprox 45 square foot propane reduction down draft. We fired it to cone 10 in 20 hours. Long time candling, something like 7 hours, as it was rainy and damp the day prior.
While firing I worked on 10 face cups... here is one of them.
Tuesday, March 1, 2011
Thursday, February 3, 2011
I had the great fortune to travel to Baltimore before the snow-mageddon 2011 and participate in a great workshop with Debra Fritts at the Baltimore Clayworks. The workshop revolved around creating a hand built head with attention to proportion and human anatomy. Super fun and made me leave the comfort zone of my face jug creations.
Day 1: Creation of the shell.
Create Chin and Head: Tapper Neck
Setting placement for features
Ears, Jaw, Cheeks....
Closing the head
I didn't take any photos of the altering and adding of the parts pieces and shoulders. I did take a few of the piece after the AMACO under glazes and englobes were applied. AMACO provides the underglazes for the workshops.
Debra showed us how to apply layers of dry clay to create a interesting surface texture that will crackle when it is fired. Wonder if it will work at cone 10?
I think the one of the things that Debra reminded to be a painter. I spent years painting for theatre and film, and I do not think I have ever tried those techniques with glaze. You don't always need to spray an even coat of glaze, perhaps I need to think of it as colored gesso.