نویسنده: AliBina

The Rocket Kiln | Lisa Orr

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Lisa Orr | Episode 1046

Lisa Orr is a professional potter and has been a student of ceramics for more than 40 years. After completing her MFA in 1992 at the New York State College of Ceramics at Alfred University, she received a Fulbright and an MAAA/NEA grant to continue her studies. Her work is shown in numerous public and private collections including the Fine Arts Museum of San Francisco, and the permanent collection of WOCEF in Korea. A full-time studio potter, she also teaches, lectures, and shows nationally and internationally.

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What kind of bricks do you use for the base? Can you get them from Home Depot?

I would not get them from Home Depot because they are a little bit more expensive. Here is a list. It says here 67 fire brick. 12 half brick. So somewhere around 80 hard brick. You really need hard brick in the burn tunnel because the sticks are kind of landing on there. And also, it does get really hot in there. It will melt house brick.

How long does it take for the average person to build a kiln?

We built one yesterday with two beginners and instructions including cutting the special Swiss cheese shelf with angle grinder and drilling the holes, in around two hours. I’ve built one in thirty minutes.

How do you monitor the temperature inside the kiln?

I use a pyrometer, just a cheap one from Amazon and that I use to gauge the rise of temperature of the kiln. And also cones. I use cones. Old school.

Does wood quality matter?

Not at all. Pine is probably the best. Oak burns slower and makes more ash and so we don’t like to use it as much. So whatever kind of wood you can get is good. I get the cut offs from a casket company and the main thing is they need to be thin. It needs to be small diameter wood. Anything smaller than your wrist.

Is this something one could do within the city limits?

It’s completely smokeless except right in the beginning and if you choose to reduce. So there is no visible flame or fire coming out of this thing at all.

So within city limits it wouldn’t be that big of a deal.

Not at all. You could put it in the driveway. If you don’t mind assembling the bricks and stuff like that you can put it in a driveway, fire it and then move all the bricks and kiln and stuff.

How much protection does it need from weather? Does it need significant protection?

I don’t know about significant. I would throw a tarp over it if I was leaving it out there because electric kilns can really absorb the water and get heavy. I would say it’s great if you can have a shed and if not you just throw a tarp on it when you are not using it.

Why did you open source this project? Why not monetize it somehow?

I guess I feel like the permaculture people open source their rocket mass heaters for the most part. I mean I have paid for workshops and I have paid for a book someone wrote about it and that’s really paying someone for their labor and their hosting. But the plans are available at the wood fired Rocket Kiln Facebook page. They are on my website under the projects. And we just had a live workshop so if you want to watch somebody build it, we built one on video and you can watch that workshop.

Contact

Lisa Orr Rocket-downdraft-kiln-Copy-of-Materials-List-and-Step-By-Step-5

lisaorr.com

Instagram: @lisaorrpottery

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30/04/2025
Slip Casting | Rachael Kroeker

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Rachael Kroeker | Episode 1047

Rachael Kroeker is a full time ceramic artist based in Winnipeg, Mb, Canada where she has been creating tableware for over 13 years. Rachael specializes in slip casting and mold making. Along with creating her signature style of marbled pottery, Rachael explores bold colour and pattern combinations. With a modern, contemporary feel and exquisite craftsmanship, Rachael’s pieces are designed to beautify life, and enrich daily routines.

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Do you find yourself to be more creative at different times of the day?

Yeah I do, I think late morning to early afternoon is when I find is my peak creativity. I get up early because my partner gets up early, but I need several hours to actually function. So mid day I guess.

Are there times of the day that are better for getting work done, the workhorse work?

I guess when it’s crunch time and it’s 1 or 2 pm and I don’t want to work until 8 so I just powerhouse through and check things off my list. But to be honest I am kind of…not a slow poke…but I am a medium speed worker.

Some people have said that slip casting isn’t real ceramics. What is your response to that?

Eye roll. (laughter) Thanks, Paul. There’s just a huge design process with slip casting so I think it’s an uneducated comment. You need to design a model, make a plaster mold, and then make a piece. And it needs to be thought out and well designed otherwise you are starting right back at square one.

Do you ever do seconds sales? And how to do you determine what is a second?

I do do second sales for a variety of reasons. Just to reduce my environmental impact and reducing waste. So I think it’s really important. I just can’t smash functional pieces that can still be used but are imperfect. If something had a warped rim I would consider it a second, a small hairline crack underneath a handle attachment or something. No cracks that are actually going to leak or no longer be functional. That’s for the trash bin. Kind of a glaze blip or a marble that I am not wild about.

What does a balanced life for a maker look like in your eyes?

In my eyes, enough time to do your yoga or your workout, moving your body three to four times a week. Enough time to make quality home cooked meals. Enough time to go to the garden and go hiking and get outside and be with your friends and family for important occasions. And still have a thriving pottery or ceramic practice. It’s taken me many years to figure out that important balance and in the beginning you do need to work extra hard when starting a new business.

Book

The Essential Guide to Mold Making by Andrew Martin

The Well of Ascension by Brandon Sanderson

Contact

rachaelkroekerceramics.com

Instagram: @rachaelkroekerceramics

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29/04/2025
It’s A Lab | Ray Brown

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Ray Brown | Episode 1049

Ray Brown was born in Houston, Texas, and received a BFA with Honors from the Sally McDonnell Barksdale Honors College at the University of Mississippi. Later Ray receive an MFA in Studio Art with emphasis in Ceramics at West Virginia University.

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Do you record your process of how you went from A to final product?

I do. I usually in a cycle I don’t really make things perfect in the first go. So typically I will save one or two of each new form that I make. I have kind of a greenware library in my studio where I keep things at certain stages and that will remind me of how I have done things with certain forms. It also relates to the drawings and how I am thinking about what components to make, planning that ahead. And the drawings inform me how the things should be attached and how the attachments relate as a whole.

What does success look like for a researching artist?

So that’s a hard question. I think success is kind of different for each person. For me it’s something that I am not very good at identifying and I am getting better at it. Like I said before when the surface quality and trimming is fresh, the handle, the attachments, the clay body are all working together where it’s not too much and I can bring it home and I will use it for a few days and live with it. I will usually do some writing and just think about it. And I will make some sketches as well of how I can make things better and success is something I find in really using the object at the end of making.

You said you live with your pieces for awhile. Do you ever turn around and sell pieces you have used?

I do not. I don’t know, that’s a little…like I won’t give someone a pot that I have used. But I will keep it at home. I do kind of have a living library at home as well of those pots that I have used. I use pots from each batch and take notes on them and evaluate them.

Who do you have in your mind when you are researching that you want to help?

That’s kind of a what’s your audience question. So I think for me I guess that idea of research it would go back to the utility of the object and how it lives in the home and how people interact with it. I am mainly making decisions through the making are things I am attracted to and things I am interested in. I am making for myself but with the idea I hope others will enjoy the decisions I am making with the work. I am looking for a kind of ergonomic quality that ties in with a kind of gestural line quality and layering things on that creates a composition. And if people find interest in the surface as well as the form and find a nice relationship between both that is kind of the audience that I am looking for.

When you are done your research. When do you know a piece is ready for the world? When does the FDA give approval? (laughter)

With some testing and with the clear glaze I use that fits pretty well with the clay body I use so theirs no chemical worries there and every thing is safe to use. It’s usually one or two pots per cycle. Or if I do a one off piece and I find it successful than I will share it.

How much making are you able to fit in during the school year?

Those are long days. Generally if I am under a deadline I will wake up at five o’clock and get in and work until eight and then I will leave right at five. Other days when the studio isn’t as busy I will tend to work a little later and stay until nine or ten. It’s difficult. I think the max I could probably do is 40 pots a month or so during the school year.

Book

How to Wrap Five Eggs by Hideyuki Oka

Contact

Instagram: @rlbrown1995

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29/04/2025
Fiberglass In Clay! | Anton Sidko

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Anton Sidko | Episode 1053

Anton Sidko, a Moscow-based ceramic artist with a background in Chemical Engineering and medical research, began his pottery journey in 2011 as a hobbyist. Anton has exhibited his work in ceramics and contemporary art shows since 2021. In 2023, Anton invented the PORFIR method for shaping ceramics.

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How do you put the slip on the fiberglass?

I tried to dip it but the brush works better.

Does all the fiberglass have to be covered with slip when you put it in the kiln? Can you have any loose fiberglass without any clay on it?

I didn’t try it but the temperature of melting is about cone 07 and it will be melted away and you just find thin dust.

How long does it take once you brushed on the slip before you can start working with it?

It really depends on the surrounding conditions. It takes maybe one to five minutes. It just depends on the temperature and moisture. If you use plaster it will be extremely fast. If you use plywood it would be a bit more time.

How do you cut the clay?

Well actually I cut the fiberglass before it. So I cut the fiberglass and make patterns. And then cover the patterns with porcelain and after that I combine it in construction.

Is the clay, when it’s fired, stronger?

No. It’s not stronger because the exact composition of clay is still the same. Just the size and shapes are different. You know the most stable structure is a sphere of course.

Have you come up with any more unique approaches to ceramics?

Well, I may mention one. Full body candles.

Book

The Craft and Art of Clay by Susan Peterson

Contact

Instagram: @anton_sidko_ceramics

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29/04/2025
A Journey Through Clay And Life | Eli Akins

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Eli Akins | Episode 1054

Eli Akins of Waldo Street Pottery is a mostly self taught ceramist in downtown Atlanta, GA, with a focus on large bonsai containers. “Finding a voice within a rigid set of parameters while making art for other artists is the challenge with Bonsai Pots”.

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How did you grow after the diagnosis?

Coming out of what I refer to often as a fever dream which was a couple of years of those brain tumors causing a lot of problems. I couldn’t believe the energy that I came back with. I started walking slower, thinking slower, everything was slower and I just came out of it with a ton of energy and a ton of drive. And I have been in this studio every day, when the sun comes up it’s that time.

This is a little tongue in cheek but how is clay better than the music industry?

I can speak only to myself and I am just doing my own creative thing, but instead of supporting others with their creativity I am supporting myself with my own. I think that’s what’s satisfying about it.

How many hours a week do you spend time in the studio?

Fifty or sixty hours I think. I am in the studio a lot, I love it. I live across the street from it. I walk to work every day. I walk home for lunch and come back and work until the sun goes down.

Do you have a specific style of Bonsai that you like to make your pots for?

Not necessarily style because I appreciate all of the styles. What I really appreciate the most is deciduous trees and broadleaf evergreens. Pines and junipers don’t really speak to me like maples and elms and beech and hornbeams do. I appreciate trees that drop their leaves in the winter time.

What do you typically have on coming over the speakers in your studio?

A lot of Grateful Dead. Live Grateful Dead shows. What I have learned from that that is they have made thousands of shows and in my lifetime I will make thousands of pots. None of their shows are perfect but they all have a little bit of magic in them. I don’t think any of my pots will ever be perfect but hopefully they have a little bit of magic to them.

What’s your other hobby?

Other hobbies? Bonsai! A lot of time if I need a break I just go outside and prune or water or feed the trees or whatever I need to do. So Bonsai is a big one and I have a wonderful support group of friends that I like to take breaks and go see a show and go hang out and have fun and have a good time together.

Book

Theo of Golden By Allen Levi

Contact

waldostreetpottery.com

Instagram: @waldo_street_pottery

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29/04/2025
2024 Emerging Artist | Marian Daper

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Marian Daper | Episode 1056

Marian Draper is a vivacious personality who is passionate about the Ceramic Craft. Originally from Rome, NY, Marian is a graduate from Rochester Institute of Technology where she earned her bachelor’s degree in studio arts. Marian is currently located in Asheville, North Carolina completing a residency at Odyssey Clayworks.

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How has the publication impacted you as an artist and a maker?

Yeah so for starts I have been contacted by several galleries to have opportunity to put work in a show there. Which is huge. Also having the pressure of the award behind me it was a good impact in that it forced me to get my act together as an emerging artist and really focus on important things whether it be my website or Instagram or having enough work to have multiple shows going on at the same time.

What is something that surprised you that you didn’t expect to see happen?

Something that I didn’t expect from that award to happen was probably I felt like overnight there was at one point I woke up with 400 more Instagram followers and I was like, Oh my Gosh, I almost doubled my Instagram followers in one night. It was such a surreal moment, I had pretty bad imposter syndrome where I was like, Okay this is the big kid league. But that really surprised me, I did not expect that at all.

How do you think having that on your resume will impact your future work?

So having it on my resume while it’s really a wonderful accolade and I am so excited to have been chosen for it, it’s something I don’t want to be like, Oh I received this award, everything will come to me. I am hungry for it. I want success and while this award is so wonderful it’s not the only thing that is going to get me there. So for my work it was definitely the fire under my butt I needed but now I have to keep the flames going with my own ambitions and things that I would like to achieve.

What do you listen to while you are making?

So, it depends on the day. I am a big T Swift fan so I listen to Taylor Swift just about every day. I have really gotten into podcasts lately and recently I have been listening to a podcast called the Ancients which is about historical happenings and things like that from Ancient times, big history nerd over here. So that has been really lovely and moving to the south has fostered a love of country music for me that I didn’t know that I had. So I usually have folk music or country music on rotation as well.

When you are teaching are there things that you hold back that you kind of hold for yourself?

Never. If my students have a question that I know the answer to regardless if it’s in my own practice or not I will give them the answer with my full heart and with all the knowledge I have to give them. That is one of the most beautiful things about the ceramics community I feel like it’s a very welcoming and giving community in terms of knowledge and creating and all of those good things. I have been given a lot of good information and I want to share that with others.

In a year, when you are done where you are how are you going to keep the community aspect alive?

So obviously there are several different avenues that you can do that in right. After I leave Odyssey I will probably head to a different residency or a graduate school. With that being said to stay connected to the people at my current studio email, social media, all that good stuff is a great way to stay in touch with them.

Book

Our Lady of Perpetual Hunger by Lisa Donovan

The Boy in the Boat by Daniel James Brown

Contact

mariandraper.com

Instagram: @mariandraperceramics

Source link

29/04/2025
A Story Teller | Marie Kouyaté

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Marie Kouyaté | Episode 1057

Marie Kouyaté’s artistic practice is characterized by three guiding elements: retrospection, exploration and rehabilitation. Through her art Marie looks back to preserve and share her history, traditions and culture. Marie is a descendent of a long line of Fulani Griots – the nomadic chroniclers, storytellers and poets of West Africa.

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Do you plan the image of a piece before you start?

Kind of. So I usually have a pretty good idea of what it is that I want to do. Especially now that I have two kids. Even before I know I have a set time to be in the studio and I really need to make the most of it. So before I go into the studio I usually create a little Pinterest board with ideas of what I want to do. And then when I get into the studio it kind of meshes all these ideas or I use them as inspiration and it turns into what ever it turns into.

Do you always start with a feeling?

Not always. Sometimes it’s an idea but feeling is definitely an integral part of the production, if that makes sense. A feeling is what kind of guides the work.

You mentioned when you get to the carving stage you can get into this trance like state, some people would call flow. Do you have any prompts to actually get you into that state?

Yeah, I think music is a huge part of getting into that state. I always have my headphones in. Sometimes it’s music, sometimes it’s listening to a podcast, but usually it’s music that really gets me into that state where I am just really lost in it.

What kind of music are you listening to?

That’s a really good question. I am a huge music head, meaning like I listen to everything. Again I am kind of guided by my feelings so if I feel it I like it. So I don’t really have any specific genre that I listen to. I listen to just about everything. But right now I am really into alternative R and B at the moment and a lot of great artist coming out recently.

When you finish a piece do you think, Ah, that’s an expression of me.?

That’s a really good question. I think more so I find creation as a form of exploring my identity. If that makes sense. I am getting closer to figuring that out through the process. I have a sense of self. I know who I am and where I come from but I also find that through creation I am also discovering parts of myself that I didn’t know existed. So yeah, I think there is a vulnerability that goes into creating and being open to what you experience and what you find out through that process.

How long does a typical piece take for you to carve?

It really depends. It depends how the flow goes really. So there are some pieces that I can do in one sitting, I can do the etching in one day and the rest is really just carving and glazing. And then there are some pieces that take me maybe three or four sessions which can turn into weeks, as you know. Depending on when you can get in the studio. It really just depends on how it comes together but I would say the average from beginning to end is maybe a week or two.

Book

An African History of Africa by Zeinab Badawi

Contact

kouyateclay.com

Instagram: @kouyate_clay

Source link

28/04/2025
The Strategy Of Pins On Instagram | Nicole Thomas

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Nicole Thomas | Episode 1058

Nicole Thomas is a high school Ceramics Teacher by day and a Potter by night. Each summer season, Nicole takes a deep breath before diving deeper into her home studio practice. Nicole’s wheel-thrown ceramics focuses on incorporating her Signature Style with a colorful surface full of movement and visual texture.

SPONSORS

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What is a pin on Instagram?

I pin on Instagram is when you take content that you have posted and you pin it to the top of your profile page.

How many are you allowed to pin at any given time?

You can pin three different pieces of content at the top of your Instagram page.

What does that visually do to your page?

So the thing that is interesting about pinning content to the top of your Instagram profile is it gives you an opportunity to highlight the three most important things that you want people to see when they come to your page.

It’s an opportunity to show people where else they can find you and what other offerings you have for them besides what you are offering on your page.

If I make a pin is it forever?

No, it’s not forever. You can change them out as often as you want to. And you can curate the pin to be whatever you want it to be. So something that is interesting is a lot of the time if creators have content that go viral they will pin that viral piece of content to the top of their page. So when you visit their page you will see that content. I don’t prefer to use that strategy because I think that is a piece of content is going to go viral the algorithm is already going to roll that content around out to people so pinning isn’t going to do much to boost it. But having one of your offerings at the top of your page will show someone that did come to your profile through a viral reel what else you have to offer them. For example I have pinned the supplies I use from Amazon, my Etsy shop, and my YouTube videos.

So you pin things for other kinds of content and other places of engagement?

Absolutely. One of the key words that people sometimes use would be funneling. So you could pin those first three pieces of content to funnel people to where you want them to go next.

How does a person go about pinning a post on Instagram?

If you want to pin a post of Instagram you can make your Instagram post with still photos or you can make a reel. You can post that piece of content and once the piece of content is posted you can tap the little three circles in the top right hand corner and you will see an option to pin it to the top of your profile and then once you do that that piece of content will stay in one of the top three squares at the beginning of your profile until you decide to unpin it or replace it.

What do you do when you are not teaching or making?

That’s a great question. When I am not teaching or making I do a lot of hiking. I do a lot of road trips with my husband and our yellow lab, Lacy. And I also do a lot of cooking. I have always been interested in food and nutrition and being active but recently I have started joking around with people and telling them I want to make art until I’m a hundred years old and I feel like if I speak it out into the universe it will happen. But more important than that I also need to be taking care of my body so I can be making art until I’m a hundred years old. Just like staying active, walking my dog, trying to focus on cooking healthy meals as much as I can. Those are the things I focus on when I am not teaching or in the studio making work.

Book

Art and the Fear of Making

Contact

Instagram: @classicclayworks

Source link

28/04/2025
Saggar In An Electric Kiln | Alison Brannen

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Alison Brannen | Episode 1060

Award winning Toronto artist, Alison Brannen makes one of a kind hand made ceramics. A creative risk taker, educator and avid sailor, Alison can’t get enough of the wind and the fire! Inspired by her summer voyage on the Atlantic Ocean Alison creates dynamic patterns that ebb and flow along the surface of her beautiful organic vessels. Alison’s work has been exhibited in Canada and the USA, with Fusion Clay and Glass, the Art Gallery of Burlington, Clay and Glass Gallery Waterloo, Oeno Gallery and Craft Ontario among others. Alison teaches pottery and Kintsugi workshops in her downtown Toronto studio where she lives with her husband Craig and her two beach loving dogs Ruby and Tilly.

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Is it really critical to have the big pot to put the smaller pieces in? Why can’t you just put it straight into the kiln?

I could put it straight in the kiln and the big pieces I do but the saggar that I make contains the smaller pots. I like to fire, if I can, fifteen small pots at once.

So the big pot is to contain the small pots and not necessarily to get the impact of the finished product? Is that accurate?

No, I think it helps the impact for the smaller product, I find that large pieces that aren’t in the double saggar, they are not quite as strong and not quite as consistent in color.

When you do fire straight in the kiln with your larger pieces do you have to clean out your kiln specially after the fact?

Oh yes, of course.

How do you go about cleaning the kiln?

Vacuum, sweep it, check the coils. Sweep up the ash.

It’s usually done outside so is it really important to have a well ventilated area?

Absolutely. Very important. I don’t think you should do it without it.

What is the risk?

Your health risk. My risk is zero because I am never in the kiln room when it’s firing.

How much material do you actually put in the kiln?

Well, a lot of the carbonate is actually in the slip or on the slip. And salt, I use maybe a tablespoon. Two tablespoons of salt, table salt, and it’s sprinkled. I have seen firings where they actually pour cups of salt on top of the carbonates, and I don’t use anywhere near that much.

You mentioned you like to wrap your pieces in aluminum foil. Does the metal impact the product itself?

I use aluminum foil just to hold the clay and the clay slip next to the pot. So I really just use it as a wrapping material.

Is there anything that I missed or wish I would have asked you about?

Yes, I wished that you would have asked me about fusion clay and glass. So we have an association in Ontario and I am the vice president, I have been the vise president for a few years, Catarina Gold is the president and we put on conferences and exhibitions and workshops. We have an Instagram and we hold interviews called Faces of Fusion. I really want to give fusion a plug because guilds and fusion help to promote ceramics in Canada and in Ontario.

Clayandglass.on.ca

Book

Alternative Firing for Ceramics

Contact

alisonbrannenceramics.com

Instagram: @alison_brannenceramics

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28/04/2025
Passion Over Production | Summer Brendlinger

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Summer Brendlinger | Episode 1061

Summer Brendlinger’s philosophy is centered on enriching everyday life through her pottery creations, aiming to bring joy and a handmade touch of artistry into people’s homes. Summer’s journey began in 1994 with a high school ceramics class. After a career in teaching, Summer returned to her passion for pottery, creating a studio in her backyard and teaching ceramics workshops at Talent Maker City.

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You can help support the show!

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What were the cues that told you change was needed?

The cues would have been a lack of satisfaction with my life as it was. Knowing there is something better for me and my family really.

Why is balance so critical for a person?

I can speak for myself; balance is incredibly critical because without it things don’t get the attention they deserve and when we ignore important things is our life like family or passion, we become lopsided and I think we quit growing and we quit appreciating life as it is. As beautiful as it can be.

It seems like we think if we stop we are going to lose the progress we made. Why is it important to not care about progress if it means we are going to lose our sanity?

Such a good question. I think all the progress that you’ve made at any point that you decide to change carries on into the next chapter. So it’s not wasted progress, it’s actually prior learning that gets you to the point you are supposed to be at in that time in your life.

That doesn’t mean that goals are irrelevant. Correct?

Goals are necessary.

It’s properly placed goals then. Would that be better said?

I think so. Properly placed goals and for me you’ve got your big goal of what you want to see your life become. And that one you are constantly reaching towards and the goals that are smaller and quicker to attain those ones you reach them or you are on your way to reaching them and you decide this doesn’t feel right to get to that over arching goal of the life that you want to live.

Why is variety important for you?

It’s way more fun for me. If I am doing the same thing I don’t get to express myself. And you know, just as the seasons change what I make changes because life is changing. And what I find beautiful in nature usually shows up in my work and it’s changing. I mean I have to have variety.

Studio life. Do you like it quiet or do you like music or podcasts in the background?

On par with me and variety it changes. I’ll do podcasts. I love audio books. I still want to call them books on tape. And then music and if it’s music it’s classic rock, Tom Petty is my number one. It changes, I recognize what my mood needs and it’s rarely ever quiet in my studio.

Book

Mastering Hand Building: Techniques, Tips, and Tricks for Slabs, Coils, and More by Sunshine Cobb

Contact

kilnedwithkindness.com

Instagram: @kilnedwithkindness

Source link

28/04/2025