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In Pursuit of the Perfect Porcelain Pot

3/17/2022

4 Comments

 

CANVAS AND CLAY ART

Ailsa J Brown, a ceramic artist, and painter from Vancouver in Canada, embarked on her art studies attending the Chelsea School of Art in London, England. After completing her first year abroad, she returned home and earned her diploma at the Emily Carr College of Art and Design. Ailsa has passed on her knowledge teaching wheel throwing and her "Painted Pot" workshops, sharing various methods and techniques of surface treatment to develop one's own visual language through self-exploration and discovery. 

Ailsa is a former student of TeachinArt and completed the Understanding Porcelain online class with Antoinette Badenhorst in Jul-Oct in 2020. 


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Ailsa Brown with her clay and canvas
TeachinArt porcelain student Ailsa Brown
Here is Ailsa in her own words.
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My exploration into the world of porcelain came with the desire to have a pure white surface for my painted underglaze surface decoration. Up until this time, I had been using a cone 6 white clay body. This however, had its drawbacks, as I was experimenting with an unglazed surface and at cone 6 the white clay fired to more of an ivory/tan colour. The results were great at the bisque stage but the higher temperature diminished the brilliance and consequently, the underglazes lost their vibrancy and dulled them down. This was not the effect I was after. 
Fortunately, I discovered Antoinette's course on porcelain and plunged into adapting my process using this new medium. Initially, I embarked on a full cleansing of my studio in preparation for working with this wonderful, white “diva” that Antointette affectionately refers to it as. I must admit, there was a period of adjustment learning the characteristics and particulars of this new material and also of its limitations. Antoinette’s guidance and instruction helped me over the major hurdles and I found myself well on my way.  I have nowhere near discovered all the intricacies and will surely face many more challenges along the way however, the luminosity of the finished product has me hooked.  I now have a surface that sings and highlights my painted decoration beautifully.
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​As a painter and a potter, I love to combine my two passions by applying a colourful nature inspired surface treatment that compliments my wheel thrown and hand built vessels. My main artistic inspiration is the flowing organic forms found on the bark of trees and other diverse plant life here on the west coast of BC, Canada. Sketches are done outdoors and then, back in the studio, are simplified and applied to my vessels in a controlled but loose manner using underglaze paints that are further refined with line work, sgraffito and slip trailing. I am also fascinated with the ancient pottery forms and decoration of the Minoan Civilization and this intrigue has prompted additional patterned imagery resulting in a blend of contemporary and antiquity. 
Coloured glazes may be used to highlight particular features and most recently, the addition of gold lustre or gold/silver gilding is the finishing touch. ​
As any potter knows, there are always ups and downs using any clay - from wedging to throwing, glazing to firing - and porcelain is no exception. It takes a patient heart and a determined mind to persevere in this practice along with a strong will to succeed. But, is it not so gratifying? When that one pot emerges from the kiln and lights you up with its honesty, humbleness and beauty, it is the most rewarding and satisfying delight. And so, I carry on in my pursuit to create the perfect porcelain pot.
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Her social media: Facebook alsajbrown | Instagram @ailsajbrownart | Website www.ailsajbrown.com

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4 Comments

Stories on clay - British artist, Gail Altschuler

12/16/2021

1 Comment

 
​Gail Altschuler is a ceramic artist from South Africa, who works from her home/studio in North London, England, UK. She was one of the first online students of TeachinArt and completed the understanding porcelain e-course in August of 2014.

​Drawing inspiration from sketchbook observations of life. Gail’s ceramic work is illustrated with her line drawings of people, plants and images from art history. "A picture says more than 1,000 words".
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"I have done ceramics since the age of 15. I always loved working with clay, but I also wanted to learn to draw and paint and gain a substantial knowledge of art history. 

So, I studied art and design, fine art and history of art. I teach drawing, painting and hand-built ceramics and I have owned a kiln for 13 years. I have worked with porcelain for four to five years now but with other stoneware and earthenware clays for a lot longer."
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Building her pieces by hand, in porcelain she fires them to 1220ºC. The process involves using many graphic procedures, combing Mishima, inlay techniques, with sgraffito and coloured washes, all under a transparent glaze. Porcelain mimics the whiteness of paper revealing the crisp lines with a sharp, vividness that she enjoys.
Gail first became interested in ceramics while a school student. She studied Art and Design, Fine Art, History of Art and has an MA is Art and Design Education. She has taught ceramics, art and art history to adults, teens and children.
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Gail worked with art curators and art consultants creating colourful abstract monoprint silkscreens for many years, which were used in hotels and offices. Her work is widely exhibited across the UK and abroad, including in Japan, the USA and South Africa. 
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​“I aim to blur the lines between Fine Art and Ceramic Craft. I use clay and porcelain, as my canvas, creating sculptural slab-built vessels and illustrated plates. The themes include masks from different cultures, musicians, at the café, at the beach, at the Met
and conversations across time.” – Gail Altschuler
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​Recent Exhibitions
2021 Selected member of the Craft Potters Association
Selected for the Royal Academy Summer Exhibition
Exhibiting at Silson Contemporary Art, Harrogate
Exhibited at Fillingdon Fine Art High Wycombe
Selected for the ‘Figurative Art Now’, Mall Galleries, FBA, online exhibition
Links:
Understanding porcelain online workshop by Antoinette Badenhorst.
Online workshops at TeachinArt.
1 Comment

Mark Goudy with translucency and water soluble metal salts

12/16/2019

2 Comments

 
Mark Goudy was named the Emerging Artist in Ceramics Monthly magazine of May 2010. He completed two online classes at TeachinArt, Porcelain handbuilding with Antoinette Badenhorst, and Colored Clay with Curtis Benzle.

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His work was selected for collections in
  • Keramikmuseum Westerwald, Höhr-Grenzhausen, Germany
  • Mark Rothko Art Centre Collection, Daugavpils, Latvia
  •  Yingge Ceramics Museum, New Taipei City, Taiwan
  •  California State Polytechnic University Ceramics Collection, Pomona, CA, USA
  •  National Museum of Slovenia, Ljubljana, Slovenia
  • Jeffrey Spahn Collection, Berkeley, CA, USA
  •  Forrest L. Merrill Collection, Berkeley, CA, USA
Here is Mark in his own words.
I was born in 1955, in a small university town on the banks of the Susquehanna River in central Pennsylvania, USA. At age 7, my family moved to Washington DC where I lived during my formative years. 
​I left home at age 19 and moved 4500 km to the west coast for university, and have remained here ever since.

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My formal education lies mostly in science and engineering: a Bachelor of Science in Biology from the University of Oregon, and a Master of Science in Electrical Engineering from California State University in San Jose. I did take various art classes along the way, but it wasn't until much later in life that I even thought about pursuing a career in ceramics. My interest in music and my hobby of building electronic music synthesizers propelled me into the study of electrical engineering in my late 20s. I ended up working for twenty years as a logic design engineer in the computer graphics industry (including Pixar, Silicon Graphics, nVidia.)
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After my mother passed away in 2004, my wife Liza had the idea for us to take a raku class at a local Bay Area adult school, an homage to my mother's creative spirit. Following a twenty-year career working as an engineer in the virtual world of computer chip design, I found the process of clay work to be a cathartic experience - resonating at some deep unconscious level.

The physical nature of handbuilding unique pieces from this plastic medium was immediately satisfying. Soon I was applying my analytical and problem-solving skills to the multivariate issues that surfaced in the clay studio, and exercising my right brain to construct forms in a totally intuitive way.
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My approach to ceramics stems from the intersection of my love of the geometries of nature and abstract minimalist art. My mission as an artist is first to create a coherent visual language, and then learn to speak in that language. For me, certain forms evoke a sense of quiet stillness and mystery, and exist in a dimension apart from language. I don't fully understand it.
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My current process is to handbuild ceramic forms, joining sections of curved parabolic surfaces that I create using purpose-built plaster hump molds. After a series of scraping, paddling, and shaping transformations, the models are bisque fired and used to make multipart plaster molds. The final works are slipcast, using various clay bodies that I have created. ​

​I see slipcasting as a way to translate one clay body, which is optimized for building, into another clay body with different properties - of lightness or translucency for instance.
Sometimes I burnish earthenware forms to impart a smooth surface with a subtle grain pattern. For other works, there is a lot of wet-sanding to refine and even out the surface. I use no glazes in my work. Instead I have developed techniques for adding color and pattern through the use of metal salts, following the lead of renowned Norwegian ceramic artist Arne Åse. These compounds are the water-soluble form of the same metals used to color traditional ceramic glazes. After painting on, they soak into the bisque-fired clay, interact with each other, and become a permanent part of the surface after firing. All my work so far is low-fired, at cone 01 or below.
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​I believe this work is the culmination of a lifetime of disparate experiences and career paths coming together in ways that I can't fully comprehend.
Many thanks to Antoinette Badenhorst and her e-course on Porcelain handbuilding to help me understand the unique qualities of this beautiful material.

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​
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Tags:
#teachinart #MarkGoudy #translucentporcelain #porcelainhandbuilding #Californiaartists #ceramicartists #solublesalts #handbuildceramics #raku #ceramicsmonthly #clayshares 
2 Comments

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
Our art instructors
Colored clay e-course with Curt Benzle
1 Comment

Painting on clay sculptures with Kathlyn J Avila-Reys

10/31/2019

0 Comments

 
Kathlyn J Avila-Reys is a ceramic artist who paint emotions and special effects on her clay sculptures. She completed the Post-fired Finishes class of Marie EVB Gibbons at TeachinArt.
​Here is Kathlyn in her own words.
I am an Alexandria, Virginia based artist that taught special needs students and art for 30 years for Fairfax Co. Public Schools. As a life long educator, I have planned and taught workshops for various local community organizations as well as for the Smithsonian Institution, the African American Museum of Art, and the Corcoran Gallery of Art.

Two of my most favorite workshops I developed and organized was in Oaxaca, Mexico for disabled women and in Ayacucho, Peru for women that had been victimized by the terrorist group, “The Shining Path”.
​After my retirement, I missed teaching and researching new ideas to create lessons so I began taking ceramic classes, which I absolutely loved! Even though I had taught ceramics for elementary school students, the classes I took exposed me to a broader aspect of what I could do with clay. After two years of taking classes, I was asked to teach a children’s class, and then, to teach a creative hand building class for adults. As my adult class grew, I decided to focus only on the adults and once again retired from teaching the kids.
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​I have exhibited my work at numerous galleries, universities, and institutions. I have received a number of awards and certificates, as well as being selected to have a solo show entitled, “No Ordinary Woman”. The theme of this show grew out of my childhood interest in the women in my community, especially those considered to have “special powers”- whether real or imagined. Although I’m inspired by people I have encountered, my figures embody “familiar souls” that viewers can recognize regardless of where or when they grew up. Each of my figures is an expression of a unique individual, whose story is told through adornment, symbolism, and gesture.
​Color, pattern, and texture intrigues me which promotes an open playground for ceramics and the ability to explore many of its possibilities. I have always been a doll maker, but the transition of making cloth dolls to ceramic figures has given me a broader enjoyment and satisfaction in the process of their creation. I love the idea of working with a medium that
challenges me to transform a ball of clay into forms and figures that become characters based on my life and imagination. Working in clay has become my mental retreat, my vacation away from the world, my hands are happiest when in the process of construction. My intricate style echoes the influences of African, Native American and Latin American cultures. I uniquely design my work with an ensemble of metaphysical symbolism and color, which then captures an aura of mysticism, magic,
and spirituality.
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​I create my sculptures through hand building techniques. I’m continually exploring the number of ways I can manipulate the clay to create very textural surfaces. I like the idea of being able to visually explore every aspect of the sculpture with curiosity and discoveries of what can be appealing as well as tactually stimulating. I’ll use all techniques of hand building, pinching, coiling, and slabs. I have an arsenal of approaches for the surface design, slip trailing, stamping, appliqué, and using nichrome wire are just a few of my favorites.

​Although I do use traditional glazes to decorate my pieces, I don’t necessarily stop at glazes alone to decorate my work. I like to extend that yearning for texture into my surface treatments. I do a lot of experimentation in glaze combinations as well as other mediums of paints such as oils, enamels, acrylics, chalk paint, and latex. My sewing background has followed me into this genre in the area of mixing media such as dipping cloth into slip, adding non traditional elements to the clay body, even dipping metal into slip to create fragile appendages.
​Finding Marie Gibbons class, Post Fired Finishes, has opened up a new door for me in completing my work. Even though I had been using acrylics in my work before, the paint left my work looking flat and plastic. I love how Marie has taught me how to add more dimension to my work with her layering style of colors. As an educator, I never feel like I know so much, that I can’t learn more. Learning new techniques excites me, it keeps the thrill of creating fresh and explorative.

The format that TeachinArt uses to teach their classes is fantastic, informative, detailed instruction on the technique, and sequentially builds on the procedure. Marie is down to earth in her approach to teaching, which left me feeling like I had known her for years. I have been highly inspired by taking this class and very appreciative for having the opportunity to take this class.
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Tags:
#paintingonclay #claysculptures #clayartist #Virginiapotter #handmade #clayshares #teachinart
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Raku and mixed media with Claire Beck from Australia

8/6/2019

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Claire Beck lives and work in the beautiful Gold Coast Hinterland region of Queensland in Australia, about 10 kilometers from the coast as the crow flies. She completed two of the online workshops at TeachinArt, Alternative firing with Marcia Selsor in September 2016, and Porcelain Handbuilding with Antoinette Badenhorst in July 2015
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Rabbit Proof Fence - raku with sodium silicate and barbed wire. 2017

​​I have been doing ceramics for about 8 years – both sculpture and wheel/hand built pots under the initial tutelage of the wonderful Midge Johannsen at the Sculptors’ Society Gold Coast but now I teach from my own home studio and am Treasurer of the Society. I developed an early interest in raku after having done a workshop with the Gold Coast Potters Association of which I am also a member. Since then I have built and owned 3 raku kilns and do at least two or three firings each month. I did the Alternative Firing online course of Marcia Selsor and found it very useful since I also intend doing regular wood firings later this year.
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Black Betty raku kiln
​My current raku kiln is called Black Betty for obvious reasons. I usually fire to around 1,050 C. The first firing into which I put the more fragile pieces usually takes around 40 mins but from the second firing onwards the time reduces until its down to around 20 mins. I reduce for about 20 mins then spray a fine water mist over the pieces to cool them. To maintain lustre I spray pieces with automotive clear satin finish. I’ve had pieces outside for a couple of years which still show lustre using this spray. I have a small electric kiln in which I fire greenware.
​I have entered a number of ceramic competitions and exhibitions and have taken part in several two and three people shows locally. Last year I won the Tony Palmer Sculpture Award for my piece Hark the Herald Angels.

I like to mix and combine materials. I started weaving natural fibres onto raku. From there I moved to combining natural timber with raku and now I use found metal objects with raku. I find raku goes with everything! I am very fortunate in that I have a wonderful partner who is happy to weld or wood turn as required.
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Hark the Herald Angels Sing (naked raku and wire). Winner of the Tony Palmer Award at the Sculptors’ Society Gold Coast in 2018)
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Our Lady of Perpetual Bliss - raku and found objects
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Alongside - raku with found metal objects
​When we bought out block of land (about 2 acres) in 2008 we loved it so much that we used to say “when we live here we’ll truly be living in bliss” and after a while when we started building our friends would ask “how’s Bliss coming along” and so our house, Bliss, was named.
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Can you see why we call it Bliss?
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Inside Bliss - I'm running out of room!!
My artistic endeavours really only started when I retired in 2010 with life drawing classes. From there I moved to printing where I won the Caldera Award in Murwillumbah NSW (New South Wales) for my piece Rainforest Cathedral.
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Trophy Wife - ceramic with natural fibres

​​I teach a popular monthly class for the CWA (the Country Women’s Association) and after Easter I will start a regular weekly raku group at the Society’s teaching studio nearby.

I have held a couple of raku workshops up here at Bliss for the Society which have been popular. Everyone seems to love raku!

I guess the thing I love most about it is the immediacy of the art along with the (often) unexpected results you can get. I am not noted for my patience LOL.
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The happy CWA Raku@Bliss group hard at it in the studio
​I think my future probably lies in teaching. Funnily enough I used to teach computing as I came to the world of raku via decades working in the IT industry at various teaching colleges and Universities both as a teacher and as an IT Manager. Before that I worked in advertising and publishing and ran a gallery in a small tourist town in North Queensland.  
Strange what paths our lives lead us on.

Links:
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Alternative firing online course with Marcia Selsor (how to do obvara, raku, saggar firing)
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Tags:
#mixedmedia #teachinartstudent #teachinart #rakufiring #raku #Australianpotter #alternativefiring
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