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Handbuilding, slip casting, dipping and paper molds

11/4/2019

1 Comment

 
Patricia Neysens is a potter and bio-engineer from Belgium who completed the colored clay e-course with Curtis Benzle at TeachinArt.​ Here is she in her own words.
I was born in Watermaal-Bosvoorde (Brussels, Belgium) and spent my entire childhood in the pictoresque municipality of Beersel. We lived close to the famous medieval castle of Beersel and were surrounded by a beautifull nature and numerous local geuze breweries.
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Patricia Neysens from Belgium in the Genk Academy
My educational background lies in engineering, science and research. At the free university of Brussels, I first obtained the degree of Bio-engineer in cell and gene biotechnology. That was followed by a PhD in applied biological sciences during which I focused on sourdough fermentation. Thereafter, I started a career in the pharmaceutical industry, mainly as project manager. During that time, I continued taking several classes that brought me closer to my inner selve and passions.
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It is no more than 10 years ago that I first experienced working with clay. The joy of creating, the feeling of clay on my hands and the peace of mind all this brought were truly overwhelming. About 5 years ago I decided to enroll in the ceramics program at the Genk academy of visual arts and media. Till today, the ceramics classes have continued to equipped me with skills and knowledge relating to the materials and processes of the discipline. Very soon it became clear that porcelain would become the ideal medium for my work.
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L’impermanence – Dahlia (front), Porcelain, cone6 (1245°C), oxidation
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L’impermanence – Dahlia (back), Porcelain, cone6 (1245°C), oxidation

​Once a researcher, always a researcher, so I dedicate a lot of time to sample making and the testing of new techniques. For the making of my works, I rely on a mix of techniques: handbuilding, slip casting, dipping and the use of paper molds or other “carriers” to make individual elements which then are assembled into a – partly- intuitive final pattern. ​
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Samples, Porcelain, water-soluble metal salts, cone6 (1245°C), oxidation
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Samples, Porcelain, water-soluble metal salts, cone6 (1245°C), oxidation
​My finished forms are mostly defined and inspired by the beauty, fragility and strenght of nature. I aim my sculptures to look elegant, refined and vulnerable and hope them to engage the viewers in their tale. To me my works are an instrument to express my own emotions and feelings.
​I rarely add color or glazes to my work because I love the whiteness, pureness and translucency of porcelain. I believe that in some cases the combination of shape and a delicate play of texture, results in enough complexity.
In case I do decide to add color, I always keep a certain degree of sobriety in mind not mixing too many color palettes or by using coloring agents that enable me to obtain a subtle natural look and feel. Mostly I rely on the use of either pigments or oxides for the coloring of porcelain clay bodies. When I want to add subtle color to bisque-fired pieces (or even green ware), I prefer the use of water-soluble metal salts. All works are fired at cone 6 under oxidizing conditions.
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Square bowl, Porcelain, cone6 (1245°C), oxidation
​As a newcomer in the arena of ceramic artists, I want to thank Antoinette and Koos Badenhorst for providing me this platform and for sharing so much valuable information through their e-courses and TeachinArt portal.

Links:
E-courses (online courses) at TeachinArt
Preview e-courses
Demonstrations, tips and techniques
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Colored clay e-course with Curt Benzle
1 Comment

Bone China by John Shirley

11/4/2019

2 Comments

 
John Shirley is a ceramic artist from South Africa, who was selected as a member of the International Academy of Ceramics in 2010. Here is John in his own words. 
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John with his translucent work in South Africa
In 2000 while studying for my BTech in Ceramic Design I decided that I wanted to work in a translucent body (up until this time I had always worked with porcelain) but I wanted to try something I had not worked in previously.

It was then that I chose bone china as the medium I wanted to explore. This has really been an exciting journey and bone china is the body I still work with today.

​The body is traditionally fluxed with bone ash and feldspar and stabilised with Kaolin. Fired to 1250C it produces a body of extreme whiteness and excellent translucency.

​As a ceramist living in South Africa where the choice of raw materials is more limited and the quality is less regulated than in many other countries, I was determined to make a translucent body with local materials. This is where my choice to work with bone china really paid off. What I discovered is that the bone ash in the body acts as a bleach on any traces of iron present in the kaolin in the body. As the local kaolins are far from the extremely white kaolins available overseas this proved to be a real bonus.
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Antoinette Badenhorst discussed the translucency of the porcelain and bone china soluble salts with John during her visit in Bryanston, South Africa
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​I started with the usual recipe of 50% bone ash, 25% Feldspar and 25% Kaolin which I made into a casting slip, as bone china is almost impossible to throw. Although my first results were not ideal they were very promising and I adjusted this first test. I tried many different kaolins. I changed from bone ash to tri-calcium phosphate which is synthetically produced. And within a few months arrived at a recipe that produced the results I was aiming for. With a few tweaks from time to time this is the recipe I still use today.
​The body has a high shrinkage and a tendency to warp in the firing and although I have tried several ways to stabilize the body in the firing with various setters, I now accept the gentle warping produced by the firing as a part of the process.
Choosing to work with bone china for my work is I feel something that has worked really well for me and the work I produce with this body is quite different to any work I would have produced using the porcelain body I was using before.

Links:
  • Demonstrations, tips and techniques at TeachinArt
  • Click here for the video Antoinette interviews John Shirley
  • John Shirley website www.johnshirleyceramics.com 
  • Antoinette's blog about difference between various kinds of porcelain

Tags:
#SouthAfricanartist #bonechina #JohnShirley #translucentporcelain #IAC 
2 Comments

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  • Home
  • Online workshops
    • Understanding Porcelain
    • Handbuilding classes >
      • Porcelain handbuilding
      • Colored clay
      • Handbuilding Pottery For Beginners
    • Wheel thrown classes >
      • Porcelain Tips for Wheel Pottery
      • Take throwing to the next level
    • Teapot classes >
      • Pinching Teapots for Beginners
      • Faceted Teapot set
      • Wheel thrown teapots
    • Dinnerware classes >
      • Wheel thrown porcelain dinnerware
      • Handbuilding porcelain dinnerware
    • Glazing & Firing >
      • Shino glazing
      • Glazing made easy
      • Alternative firing
      • Glazing with Ron Roy
    • Painting on clay >
      • China painting
      • Post-fired finishes
    • All Artists Making A Living (AAMAL) >
      • Success stories
    • Woodworking classes >
      • Introduction to segmenting
    • Preview E-courses
  • Instructors
    • Antoinette Badenhorst
    • David Voorhees
    • Marcia Selsor
    • Connie Christensen
    • Nan Rothwell
    • Lynn Barnwell
    • Marie EvB Gibbons
    • Paul Lewing
    • Curtis Benzle
    • Robert Rundquist
    • Ron Roy
  • Registered students
  • Contact us
    • About us
  • Tips / demos
  • Students work
  • Blog