Mea Culpa

I've been driving by this huge pile of clay ever since we moved to Florida. The pile has been going down a little at a time, but they haven't made even a small dent in the size of the pile. Finally I couldn't resist any longer. When I got home, I got an empty yogurt container and drove back to get a small sample to make some slip to test it.


Gary estimated the pile at about 300 tons. That's a lot of clay. I figured one little yogurt container wouldn't matter much, would it? It does have a really nice color and a great feel to the texture. I can't wait to try it out.


Then I realized I needed to take a photo of the pile so you could see how big it really is. The pile is so big I couldn't get it all in the shot with my camera. As I was leaving I saw one of the construction guys. So I stopped and asked him what they were going to do with the pile of clay. He said they paid to have the clay brought in as a base. Oops. Mea Culpa! I had no idea the pile was brought in; I thought it was dug on the site. I guess clay is in short supply around Florida since it is mostly sand around here.

I told him I was a potter and hope they didn't mind that I took a small sample to make some slip. He looked at me strangely, probably thinking how could a woman's slip be made from clay, wouldn't I need some fabric for that. As I drove off, he still had that quizzical look on his face. Comments and suggestions are welcome.

Biggest Crack Ever

Sometimes my glazing experiments turn out as I want them to. I made this porcelain bowl with a heavy texture and brushed RIO on the surface in the green state. Then I glazed it with the same glaze as the two green goblets on the right side of the blog. I got this turquoise and golden surface which I just love, like golden shimmers in the sea. I have four of these bowls and one large bowl to match. Below is what the bowl looked like with the RIO brushed on.


While I was applying the RIO I was wondering how to get consistent results on the surface. One of the small bowls is slightly darker than the rest due to a darker RIO application. How do you apply stains to your work? Do you brush it on, use a sponge, spray it on, what do you think if best. I brushed this stain on but I think a sponge might have given a more even color to each of the four plates I did.


I consider this sushi plate a success; it is really spectacular in person. The texture has little dots which are slightly darker blue. This is the plate I used painter's tape as a resist and then applied a different color glaze in the painter's tape masked section. There is pin spot on the middle left hand side of the plate which resisted the glaze. It is food save as the glaze did cover it, but the white of the clay shows through. I remember glazing this plate and having a terrible time with one spot. Every once in a while there is a little spot of clay that will not accept glaze no matter what you do to get it to adhere. I don't use wax so that can't be the problem. Must be some impurity in the clay which resists glaze. Does this ever happen to you?


Meanwhile I have been working on my photography skills with a mini tripod, and have determined I need a floor tripod because I can't get far enough away from the work. I got some brooder lamps with fluorescent bulbs and then regular bulbs and then found out I could photo my sushi plate on the kitchen floor without the cube or lighting to show the true color of the plate much better. Just know I am working improving the photos.


Here's a large platter with the biggest crack I've ever had, truly something to behold. This platter is stoneware and yet, this sailfish is porcelain, go figure. Perhaps the rim all the way around helps dissipate the heat during firing and cooling.


I may be scarce the next few days since I'm almost out of mega bites for the month. Comments and suggestions are welcome.

Glass Inspiration

When we moved into our home there were several glass pieces left in the kitchen cabinets. I've been admiring them, thinking they're great inspiration for ceramics pieces. There's stemware, a pitcher, a butter dish, several bowls, a cake plate and others.


I'll bet there's some nice stemware to be seen in your parent's, grandparent's, or neighbor's china cabinet. Just think of all the different styles of cordial, martini, margarita, shot, champagne, and wine glasses there must be.


I don't collect antique glass, but used to dabble in antique furniture. Now I remember all those shelves lined with different colored glass, what a resource for inspiration those would be, for shape and color.


The nice thing about some of these pieces are they are not only pretty to look at but the cut glass and decoration on the outside makes them safer to pick up without dropping them, something for the hand to grasp. I'll bet there are hundreds of pitcher shapes in the world.


There's also the creative use of handles to take note of. I like the fan shape on this butter or condiment tray. Just think of all the types of plates there must be. It boggles the mind when thinking of all the functional shapes that are possible.


What about the variety of bowls. There's ice cream, cereal, salad, serving, soup bowls and so many more.


I made the mini goblet above while traveling in the motorhome. It's an experiment in size, shape and glaze. It has a coil stem and pinched top and is a mere 3.75 inches tall, the bowl being 2.5 inches at the widest. Wonder if it will contain even an ounce. Might be good for a wine tasting event or an elegant shot glass.

As I looked at the glass I have and the goblets I've made I started thinking of Jim's blog where he talked about making chalices, and Michele remarking about the glassware left here by the previous owner. So many choices of what to make and so little time. Comments and suggestions are welcome.

Primitive Dolls

Have you ever made something and wondered why you did? But felt like it would lead you somewhere in the future. Most times I know where I am going at the time. But a couple of weeks ago I had some left over clay and was inspired to make a couple of primitive, doll-like figures. At the time I wasn't sure what I would do with them, but decided to let myself go with the feeling.

The figures turned out very primitive to say the least. I thought about crumpling them, but once I made them I decided to let them live. In the back of my mind I had a feeling there was a reason I made the dolls, but wasn't sure why. I looked at the dolls a couple of times and thought I could perhaps improve their look if I knew more about sculpting the human face and figure. I thought about adding some fabric after they were fired. Somehow I felt the reason I made the dolls would be revealed to me.

Yesterday I saw an ad for a daybed with a trundle on Craigslist. I wanted to have a place for relatives and guests to sleep when they come to visit. I emailed about the bed. It was still available and I made arrangements to go see it this morning. Of course Gary was saying we don't really need it right now; gee do we have to go. I said yes, if we like it, we'll both have to lift it in the car.


We arrived there and as we walked in the house I was immediately struck by a fabric collage on the wall the woman, Darlene, had done and remarked about it. Next we went into the room with the daybed (example posted is not the daybed) and there were several fabric collages on the wall and each one called to me. I kept asking questions about Darlene's work and the next thing you know Darlene was explaining all about her art and how and why she had constructed each piece.

Gary and Darlene's husband, Bob, went in the other room and sat down because they could see it would be some time before we even got around to looking at the daybed.

Then Darlene took me around her home showing me her art, fabric and mixed media pieces; each one so unique and wonderful. She had made several dolls, I will call them dolls, but they were much more than that. I was amazed at Darlene's creative use of unique materials and the dolls each had their own personality. I mentioned to Darlene about having made a couple of primitive figures in clay and how I was inexperienced with human sculpture and wished I knew more.

A long story short, and it was a long story, because we spent more than an hour talking before I even saw the daybed. Darlene invited me to a group she teaches on making dolls and also invited me to join a mixed media group. I realize now I was meant to meet Darlene. On the way home I was so excited thinking about Darlene, the groups I'll be joining, and the (much improved, I hope) primitive dolls I'll be making in the future.

Texture In and Out

Here's the last of the cone 10 clay with a textured vase I made from the big slab I rolled in the last post. It's about 11 x 5 x 4 inches. I textured the slab with intersecting lines, but I wanted more texture for the exterior, so I textured the other side of the slab. I don't know if I've ever seen a vase with texture on the inside, have you?

I'll be firing for the next week if the weather cooperates. Hopefully no thunderstorms so there isn't a risk of the electricity shutting down. By the way, it's really hot and extremely humid. Guess this is the weather everyone was warning us about when we moved here. I can't imagine how hot the garage will be with the kiln going. Our big fan is still buried in the bus somewhere. We're waiting for all the tiling to be complete before we unpack everything.

Once all my work is fired I can decide which clay I want to use for the projects I'm working on. Meanwhile my studio is the last room to be tiled which is giving me another opportunity to re-organizing my supplies. Comments and suggestions are welcome.

Rolling a Thick Slab

I remembered my old process of how I compress and roll out a thick block of clay to get a large slab the other day, so I thought I would show you. To make a large piece, I need a big slab of clay. If I put the rolling pin directly on a thick block of clay, it will fold off the edges and there will be air pockets. So my technique is to compress the block of clay with my hands first. I do have a slab roller, but it's buried in the garage somewhere.


I cut off about a three inch thick slice of clay from the block with my wire. I stand up and use the palm of my hand to start pressing the clay down across the block in rows. When I finish across the block, I rotate the block of clay and flip it over and start with the palm compressions again. I keep doing this till I get to a little less than half an inch thick for the block of clay. If I work in a rhythm across the clay with my palms I can get the block pressed down in a short amount of time.


I don't rush though, I really like to take my time. While I am compressing the clay my mind is free to wander. I find myself relaxing and getting calm pressing on the clay. I can feel myself getting into almost a trance like state, letting the cares of everyday living drift away. I guess this process for me is a lot like meditating. I work alone in silence and I enjoy that. Many potters work with music, but I don't. I sometimes hum a tune to myself either out loud or just in my mind. I may glance out the window and see a bird or a squirrel or one of the tortoise munching on blades of grass.


If the block of clay is particularly thick or dense I use both hands while standing over the block of clay. I let my body weight exert force down through my arms into my hands and into the clay. I don't try to press down too much or all at once, my method is to slowly press the clay from all sides and directions to get it flattened out. Sometimes I have an idea of what I'll make and sometimes I don't. Sometimes after I roll out the clay, the clay tells me to make something. In this way the clay speaks to me and I to it.


Once I get the block of clay down to the thickness I want, less than half an inch, I can use the rolling pin to roll the clay to the final thickness I desire, perhaps three-eighths or a quarter inch thick. I did a post about how I roll the slab with the rolling pin, please check it out. It's all in the rotating and flipping the slab over and over that compresses the clay and aligns the clay particles. Well I guess I'll go roll out my slab the rest of the way and make one last piece with the sculpture clay. Then I'm out of clay and need to start firing after tropical storm Bonnie passes by. Have a good weekend.

3800 Steps

Last night it seemed like it was taking me forever to move my greenware from one side of the house to the other so the tile can be laid in the studio this morning. Of course I don't trust anyone else to help me move the greenware. I decided to do a little math.

Moving my greenware from one side of the house takes 38 steps and I made 50 trips. Each trip I took twice. Once to take the piece out of the studio closet and bring it to the master bedroom closet and then return for the next trip. Lets see 38 times two, times 50, equals 3800 steps. Check it out, we're lucky to have a cedar lined closet.


Then I started thinking that's probably how many steps I'll need to make to load the kiln for the bisque firing. Then another 3800 to unload, then another 3800 to load the glaze, then another 3800 to unload the glaze. I didn't count the couple of detours around the cats lying on the floor.

Of course, now that I'm back in the studio all the cats are taking cat naps. Nor did I count the trips to the frig to get some ice water with a splash of cranberry juice. The previous owners of this house left the glass the cranberry splash is in. I might do a whole post on the glass they left here, some are quite interesting and inspirational.


Oh I just realized I need to unload the hall closet too since the tile needs to be laid in there too. So there will be a few more steps moving more greenware. Thank goodness I don't have as many greenware pieces in that closet; it's mostly finished work. I learned there's many steps needed to make ceramics.

Geometric Shapes

This first pot is a pedestal vessel about 9.5 x 9 x 3.75 inches. The rectangular box sits on top of the enclosed pedestal. I poked holes in the sides of the pedestal to let air escape during firing. In my sketch for this piece I was going to place strips of clay all the way around, either horizontal or vertical. But I was running out of slip so I decided to attach two rectangles on the front and back instead. I'll have to make a few more of these pedestals with different geometric attachments.


Looking at the photos of my pieces after I make them, I find I can "see" them in a different way. I can envision this piece with grapes piled inside and drooping over the edges. I can also envision an ikebana arrangement in the pedestal. It might be nice to make a geometric floral frog to use inside this piece. Or I could see a nice stain or glaze on the pot and nothing in it.

Remember I unsuspectingly purchased cone 10 sculpture clay instead of cone 5/6? Turns out I really like working with this clay. It stiffens up and yet it remains pliable enough for me to attach my geometric sprigs. It also stays pliable enough to work the edges and smooth the seams. What more could I ask for?

Well I could ask for a good firing. I'll have to see how this clay does when it's fired and glazed. I've been thinking of my cone 10 glazes for these pieces and getting rather excited to use some tenmoku, ohata kaki, teadust, and celadon. I can see the benefit of making more than one of a piece. I could make ten the same, glaze each one with a different glaze, and each would be completely different.


The second pot is a tall and narrow vase, about 12 x 4.5 x 1.5 inches. Maybe the little ovals on the sides distract the eye. What do you think? Gary is my studio critique buddy. He's always saying simple is better, less is more. I thought I could glaze this one with tenmoku and put some blue glaze on the ovals and have it drip off of them. I remember a couple of years ago I made some tea bowls with that combination and I really liked how the blue ran down. Something to think about.

Here's a shot of the largest gopher tortoise in our yard. Last time I saw him I thought he had white markings or damage on his shell. I noticed today it's sand. When he leaves his tunnel the sand stays on top of his back. I didn't reduce the size of the photo so you can click on it and see all the detail. I got pretty close to him and he was frightened, eyeing me and tucking his head back inside, so I left. When he goes back into his tunnel, he tucks his feet in and slides right in, so intriguing to observe.


I made the ovals vase yesterday and then the pedestal vessel today. Now that I can compare the two pieces here in the photos on my blog, I like the simplicity of the first piece compared to the second. I really enjoy exploring geometric shapes with clay.

Gary said all my tall pieces lean a little. I used to worry about that, but now I've decided to go with it. That's the wabi sabi of my work. I also jokingly told Gary when someone tries to imitate my work, if the piece doesn't lean, it's a forgery. I gave myself a good belly laugh over that thought. I'll be incognito for a bit while I pack up my studio so the tile can be laid, the last room in the house. Try as I will, I can't put it off any longer. Comments and suggestions are welcome.

Dan The Rock Man

Quartz Crystal Box by Linda Starr

Perhaps you recall when we were traveling in New Mexico and went to the White Sands National Monument. At the time I was inspired to make some pots incorporating rocks or gemstones. Years ago rock shops lined the Southwestern highways and there was many a fossil and gemstone to be found.

Antler, Two As One by Linda Starr

This time traveling across the Southwest we could find nary a rock store along the way. The more I looked the more frustrated I became; I felt I just had to utilize some precious stones in my work. I'd almost given up hope the day we left Las Cruces on a day trip to the White Sands. After visiting the monument, we decided to drive a little further northeast to Alamogordo in hopes of finding a rockhound along the way.

Papoose Jar by Linda Starr

As we drove through the outskirts of town, we could see the economy had taken it's toll. There were boarded up businesses and homes along the way. But we pushed on, my quest for the rocks I desired was all encompassing. I knew if I didn't find some stones that day we'd soon be out of the southwest, and that would be my last chance to find what I wanted.

Ammonite Vessel by Linda Starr

While driving along I spied a chain link enclosure in front of a boarded up motel with some dilapidated tables with what looked like rocks on them. I said, "Look, look, there's some rocks". Gary said, "That's not a rock yard, and besides it's abandoned, we can't go in there". I said, "Please let's just stop and see". Gary said, "We'll stop on our way back from town, if you don't find a rock store". I made a mental note of where the chain link enclosure was located. I thought to myself, Gary probably thinks I'll forget where this is. We drove a few miles further into Alamogordo and found nothing other than the usual grocery and a few shops, no rock shops or stands anywhere.

Gunmetal and Turquoise Basket by Linda Starr

We started back to our campground in Las Cruces and I kept my eye out for the place I was sure was a rock yard waiting for me. As we came upon the place, I told Gary to pull over and again Gary said, "That's not a rock place, it's abandoned". I said, "Then why does it have a chain link fence around it to protect it?" Anyway Gary waited in the car feeling sure I was on another wild goose chase and I got out to inspect a little further. I walked up to the fence and saw there were all kinds of rocks, polished gemstones, and fossils, just what I was looking for. A minute later a dog came running up and behind the dog ambled a wiry and weathered looking man.

Tiger Eye Vase by Linda Starr

Well it was indeed a rock yard and the man opened up the chain link fence and I spent several hours looking at all the gemstones displayed in small plastic bins which were brittle from the sun. I couldn't resist picking up a sample of each polished stone to admire it, thinking of how I could use it with my clay. As I found a particular stone I liked I set it aside in a pile to tally later. Meanwhile the rock man and Gary struck up a conversation because they could see I'd be there for quite a while admiring each stone for the beauty it revealed in it's surface. Another couple drove up in their new SUV and pressed jeans and started looking at the rocks. At one point they picked up one of the rocks in my pile and admired it. I said those are the ones I've picked out for me, so they put the rock down.

Jasper Bowl by Linda Starr

Later I was ready for my pile of rocks to be tallied and I discovered the one rock I liked the most, the one the couple had picked up, was missing. They had long since departed, not purchasing a single rock. The three of us, the rock man, Gary and I, all looked high and low for that rock and it was no where to be found. We later surmised the couple must have pocketed the rock. The man said that happened a lot, rocks went missing. I was incredulous someone would take the rock I had set aside, but devastated they would take a rock from a person who had so little. A person living in a run down trailer with nothing but rocks and a few lapidary tools to their name.

Terra Cotta Turquoise Basket by Linda Starr

My tally came to very little I thought and I asked the rock man his name, and he said Dan. I said, Dan the Rock Man, he said yep that's me. Then I realized I wouldn't know what type of rocks I had when I left. So I got my camera and placed each rock on a piece of paper and Dan told me the name of each rock and where he had gotten the stone, how it was formed, how old it was, and he told me so much more than I had ever known about rocks. Dan's clothes were worn and dirty, and he lived in a run down trailer, but I was truly amazed at the geological knowledge Dan had on the tip of his tongue. I realized Dan had fallen on hard times but he still had has love of rocks and his generosity. I'll never forget Dan, but I hope one day to forget how someone could take something from someone who gave so much for so little in return.


Every so often I dig in my stash of gemstones and make a pot thinking about what I got from Dan, wondering how it can be incorporated into my clay work. There's a little bit of me and a lot of Dan in each piece.

Clearwater Beach

We went to Clearwater Beach today. It's a little over an hour South of us. We went because we heard there were beautiful white sand beaches. There are indeed, but the beaches were filled with folks and we like the beach to ourselves.


We went to local park and I took a few photos of birds. We decided we'd come back on a weekday instead of the weekend.


Here's a thatched top birdhouse from the last firing. I put drain holes in the bottom and vents in the side and the top has a hole where a wire can be strung to hang the bird house.


When I got home I was looking at an interior design magazine and I was inspired by a modern art piece above a fireplace mantle. I made this industrial looking box. I think the glaze on the top of the birdhouse would look good on this box.


I think I could probably make a hundred of these boxes with different shapes on the sides, some over lapping, some touching, some not touching, triangles, squares, rectangles.


Some with lids, some tall, some short, some with feet, some without.


I like making feminine style pieces, like the vine covered vases and the floral motif bowls and plates I make, but I am also drawn to the more masculine or modern style of ceramics too; the geometric shapes and rough surfaces. What's a person to do if they like both, I guess for now I'll make both. Hope you had a good weekend. Comments and suggestions are welcome.

Glaze Today, Play Tomorrow

Did some glazing today. Most of it was clear over slip work, but I had a couple of sushi plates I thought I'd try something different. I decided to make a pattern with painter's tape.


I applied the painter's tape to block out the contrasting design. Then I applied the background glaze. When the glaze dried I removed the painters tape. Next I applied the contrasting glaze to the plate surface I blocked out by the painter's tape.



Then I very carefully brushed on the contrasting glaze. I'm curious to see what happens with this technique. What about you, do you have any unique glazing techniques you use?


I did make up a few test tiles and wrote the name of the glazes on the back of the tiles. I overlapped the glazes in the middle, but most of the overlaps don't look that much different than the original glaze. Off to play tomorrow, comments and suggestions are welcome.