Level Up!

As the name of my blog suggests, I have a tendency to wander. And so I do. And now I wander back here to share with you my experience of "Leveling Up!"

Level means a lot of things. One of which is that something is as flat and parallel to the Earth as possible. Very few things are, by the way, level. Anyway, another meaning - that people who play video games are familiar with - is gaining enough experience that you have achieved the next "Level" in a game. Gamers generally achieve this by running around and whacking things or collecting things. Potters, it turns out, achieve this by wrecking a lot of pots.

In my drying rack, this is 2 pots in four distinct sections for each: Foot, bottom body, top body, neck.

This is 2 pots in one not so distinct section after "Leveling UP!"

Here is the goal: I would like to hold a fundraiser for Care.org at the local arts center, The Myrna Loy Center. The theme of the work is the feminine vessel. The work that women do in their villages to raise their families, keep their homes, and improve their communities all involve large storage vessels. It is these vessels on a large scale that I want to focus on.

Now here is where the "Level Up" part begins. These pieces have to be thrown individually and then assembled because I simply do not have the strength nor skill to throw pots that are 20+ pounds. Thus pieces have to be made, and in some cases thought about and thrown in reverse, and then assembled.

The first of two I got the foot and bottom body assembled, then went to attach the top body and when I turned it over it went PLOP off the bat into a big mush on the lower pieces. Hmmmm. Maybe shoulda done that the other way and put the assembled piece on top of the new piece and then flipped it over. Okay, well I have another pot, that's alright!

So I get the foot assembled to the lower body, then I get the upper body and the lower body attached to each other and I even get them flipped over and back on my wheel, centered and everything. I stand up to reach in to secure the seam when, TRIP! I step on the pedal and the pot goes flying in one direction and I fell right on top of it. Which is why the above picture just shows flattened clay. Bummer.

But now, here I am, all experienced. I know which bad guys to whack, which coins to gather, and I'm ready to conquer this level and move UP to the next!!

Exploration of Form

From the last post you may remember that I've been doing a lot of reading lately, catching up from a stretch of hard labor. While catching up on my reading, I was inspired to give myself the challenge of focusing on a singular form.

The form that I chose to explore is the jug form. I learned to throw this form as a cylinder first, keeping the lip and neck tightly compressed and collared then bulging out the belly and shoulder. What has been fun about this exploration is the time and ability to play with this a little. Use a finger or a tool of some kind to make the belly, working on the shape while keeping close eye on the neck. Some success, some not so much, but unless the piece completely collapsed, I kept it.

Initially I started with very measured weights of clay, 1 lb., 2lb., 3lb., etc. Then I realized this is about exploring the form and all the different things I can do with/to it, not reproducing exact replicas. Then the weight of the clay began to not matter.

The reason I am focusing on a particular form is because I felt I needed to practice patience and focus. My goal is to complete 100 jugs. The side benefit that I didn't consider beforehand is that this is another opportunity to practice pulling handles. I have had little to no success with being consistent with my pulled handles. I find them very frustrating. However, I have to say that I am so far pleased. I seem to have finally overcome the mental block I had against them.

The pictures included with this post are some of the jugs that I have gotten thrown and bisqued. In the middle of this process I got an order for more tiles and bowls, so I have interrupted my exploration, but other than time, I don't think it will have disrupted the process. Of course, time will tell.

Ringing Bells and Carroming Thoughts

I have been reading a lot of journals lately, and wanted to share with you a quote that I read in the May/June 09 issue of Clay Times:

"I really don't think there's any artist worth mentioning who hasn't been inspired by the natural world." -Peter Callas

For some reason this has been ringing in my head.


Thoughts of natural textures I use in my own work go carroming through my brain - How am I improving on this? Does it invoke nature as I intend it to? Can I make this have more depth, be richer?

I also decided to challenge myself to explore a single form. I am not restricting the size, in fact I am going to make as many different sizes as my skill will allow. Nor am I restricting the finish. I intend to explore deep textures as well as some abstract designs. The only restriction, really, is the form itself. A jug. A larger belly, narrow neck and mouth, and a single finger handle. So far I am 25 pounds of wet clay into this adventure, I will share the process with you in the next few posts.

Reading is a good thing, hopefully it inspires thoughtful contemplation of self and one's surroundings. Today, reading has caused ringing bells and carroming thoughts.

Thinking about Colors and Patterns, Part 1

Work that inspires me:

Recently featured on the cover of the March/April 2009 "Pottery Making Illustrated" Amy Sanders' work is beautiful, functional and full of pattern and color.

From the 14th Annual Strictly Functional National. Click here to see more work from that show.



From the Ceramic Arts Daily website.



From the American Craft Council: Baltimore Show 2007.

I am attracted to Amy's color palette, very earthy tones and muted colors. Her patterns are lively and elegant and the way she assembles the pieces is inspirational and innovative.

Don't forget to check out her Blog!

The struggle for inspiration

It occurred to me about a month ago that my pottery continues to be attractive to other potters, but not necessarily to the general public. I reached out to a few respected people for critiques.

Now I was looking for actual critiques. Not the kind of "oh you are wonderful, don't change a thing..." critiques. People who love you give you those kind of critiques, because they don't know any better. I was looking for the kind of critique that would tell me what I was doing wrong. Because something is definitely wrong. My work sells, but barely. People who love my work are people who can and do make their own. They don't need to buy it, they can make it. It's a great ego boost to have a fellow potter say something to the effect of "Wow, look at that form!" or "I love the way you applied that glaze!" or "This pot is so light!" but it doesn't put bank in the wallet.

So what did I hear? Color. My color palette does not translate well in the online market. I need to add discernible patterns and color to my pots. Less browns, coppers, bronzes and golds. More white, green, and (gasp!) blue. I need to find a pattern and apply it to my pots.

This has led me to be acutely aware of repeating patterns in our society. Patterns show up frequently in home decoration, tile, wallpaper, fabrics. I have been looking at the work of my friends and colleagues and have been analyzing what they are doing in their own work. What colors do they use and how do they use them? What patterns do they employ? Do they draw them or do they stamp them, or is there some other technique? Why do they choose to use sprig molds to add clay or shellac and wax resist?

I want their work to influence me, what they are doing right to show me the way. It's a fine line between influence and imitation. I am working to maintain my vision of my work and allow these ideas to become mine. I have found patterns that touch me, attract me, and I am allowing those patterns to begin to work their way into my consciousness. The next step is allowing them to be a part of my work.