handbuilding
I’ve been increasing my production of platters and plates as rolling out slabs is faster than making pinch pots. I can make two or three in the time it makes me to create one pinch pot vessel.
Here are new platters / serving dishes / display plates! As a reminder, you can click into any of the images below to see them larger, and can then page through them all in that view as well.
I’ve been making quite a few planters for my own personal usage; it’d be cool to someday have my full plant collection in ceramic planters (rather than plastic)! I have hundreds of plants, so it’s a lofty goal. In addition, there’s always some amount of ceramic planter attrition due to storm/squirrel breakages so I regularly need to make replacements as well.
Here are my newest batch of planters! They all have between 2 to 4 drainage holes in their bases and the diameters range from 2-5”.
I’ve been steadily, slowly making food-safe, high-fire stoneware ceramics as well. Here are some pieces I produced this past year which I hadn’t gotten around to publishing until now!
First we have small plates - I’ve been using them as dessert or appetizer dishes!
Next, I’ve been continuing my landscape vase series! These are “rainy” versions.
And here’s the last batch of obvara raku ceramics from my recent workshop at Dakota Potters Supply - these are the burnished vases!
This first oblong vase was the only one that I saw and heard crack during the sequential baths. It is still usable decoratively, but it does have that asterisk about it so I likely won’t exhibit or sell it. (Note, I purposely selected photos of it that don’t draw attention to the relatively large crack.)
While at the workshop, I thought that was my only casualty - but when I was applying kitchen wax to the surfaces at home, I noticed this next squat vase has a small hairline crack as well. It’s not nearly as apparent as the above piece’s flaw as it requires close examination to spot. While a crack is never ideal, in a low-fired piece like these which was always going to be decorative (not water-tight nor food-safe), it’s far less problematic than it would be in a piece intended for that kind of usage. I’ll probably keep this one myself!
The rest of the below vases are completely unblemished. This little bud vase is the smallest of the bunch.
Next we have a larger, somewhat soft rectangular vase!
And finally, a somewhat flared cylindrical vase.
I hope you’re as into the obvara pieces as I am. I really like the aesthetics this process produces - but more than that, from a conceptual standpoint I love the organic chaos that creates those aesthetics.
In my previous post, I shared the obvara raku bowls I made on my October 21, 2023 workshop at Dakota Potters Supply. I also made some plates and platters! As always, you can click on any of the photos below to see them larger.
This first burnished plate depicts a bear, and you can’t convince me otherwise.
This next burnished plate is smaller than the first - it’d be good to hold jewelry or other small items.
A small obvara raku plate by artist Shelby Prindaville.
This final piece is the largest - it’s a platter or tray, and it has some light texture on its inside surface.
Here is the first batch of my obvara raku pieces from my Dakota Potters Supply workshop on October 21, 2023 - I made enough that I plan to publish three posts covering the artwork! This post shares my obvara bowls and bowl-like vessels.
Again, as background, obvara is a low-fire scalding-and-sealing process wherein you create a fermented sourdough/beer bath, plunge approximately 980°C naked ceramics fresh out of the kiln into it, wait for them to start to bloom with different tan-to-brown markings, and then arrest the surface carbonization process by rinsing the pieces off in a water bath.
The obvara process itself scalds and somewhat seals the surface of the pottery, but I went ahead and added a thin layer of kitchen wax to these pieces as well for extra protection and sheen unification. All of the below images in each gallery row are of the same artwork from different angles.
This first open bowl has a burnished-smooth surface!
This second piece is another open bowl, but this time the surface has some light texture as well as a more variable form.
This third piece is burnished smooth and a bit more closed, though there’s a quite variable lip. All of the pieces I’ll be showing you are handbuilt, pinch-pot designs.
Next we have another burnished and even more closed vessel! This one was a favorite of my fellow workshop attendees; they loved how the obvara surface turned out.
While you can click into each of the above images to see them larger, I want to close this post out with just one large image of the last burnished bowl I made!
An obvara raku handbuilt bowl by artist Shelby Prindaville.
I have a lot of my own ceramic pieces that I love, and there are a number of those that I plan to keep for myself for the foreseeable future! I’m pleased with each of the ceramics that came out of my recent April 2023 raku workshop; that work spans the realm between good to fantastic. One piece I made is my favorite ceramic I’ve made yet, though, which is a hurdle that was relatively easy to pass when I was a beginner back in early 2020, but is now a much rarer event.
This piece, like the others in this series I’ve made, was dipped in three coats of ferric chloride, wrapped in Muehlenbeckia axillaris or Creeping Wire Vine and then aluminum foil, and saggar-fired in a raku kiln. It is finished with kitchen wax.
Ceramic glazing in general is a lottery; there are a lot of variables and some are outside of your control. I think I won that lottery with this vessel!
This is my second post reviewing my April 2023 raku workshop ceramics! This one will cover two of my three “baked potato” aluminum foil saggar-fired ceramics and my clear crackle piece.
Based on my experimentation using plants at my April 2022 raku workshop, I only had real luck with saggar firing Muehlenbeckia axillaris, colloquially known as Creeping Wire Vine. I therefore used it again! Below is a plate that was dipped in three coats of ferric chloride and then wrapped in the vine and then aluminum foil and fired. The Muehlenbeckia axillaris impact is relatively subtle because it mostly went white to medium gray, but the plate overall turned out well. The very first time I did this “baked potato” technique, I used a matte clear acrylic spray. The second time, I went with gloss. I didn’t really love either, so this time, I went with applying a kitchen wax. I really like the way the wax looks, so I think that’ll be the winner moving forward!
Next, I did the same process with a vase - on this piece, I also sprinkled just a little sugar on as well for some small-scale spotting in the design. This one’s interesting as the Muehlenbeckia axillaris is more apparent, and it produced the full value spectrum on the same vase; the top vine piece is white to light grey, while the bottom vine carbonized a lot more and turned medium grey to black.
And finally, I chose to do a clear crackle on a small, necked vase. Handbuilding necked vessels is tricky, and I complicated matters with this piece by leaving my building process evident on the outside to contribute texture (while smoothing it for structure and stability on the inside). This was quite risky; I knew there was a good chance this piece could crack or break with thermal shock due to the thinner seamed areas. However, I was fortunate - it made it through the firing completely unscathed! I wanted to enhance the seams and stress spots that I had intentionally retained, so I painted over each of them and the lip of the vase with wax before glazing with Clear Crackle on the exterior. As I’ve explained before, this means the glaze doesn’t stick to the waxed areas, and the wax burns off in the kiln. The exposed, unglazed clay body then carbon traps the smoke in the post-kiln reduction atmosphere, turning a dark, smoky grey. I finished the piece by putting kitchen wax on the unglazed areas.
Again, none of the “cracks” in the below piece are structural - they are all decorative and this vase is fully sound.
I’m going to do a few different posts about my April 2023 raku workshop pieces because there’s a lot of good work to share. In this first one, I will review my copper-glazed pieces!
Below is a platter, which has some texture on its surface; I imprinted an equine femur into the clay body thanks to bones I was allowed to keep using from the LSU SVM anatomy lab. I first glazed it with White Crackle, then wiped the white crackle back down so that it stayed in the impressions, and also applied it to the rim. Then I glazed over the top with Copper Sand. I thought this would impact the coloration, but the white crackle (at least at that thickness) only really affected the sheen; where it was applied the glaze is glossy rather than matte. Though it’s not precisely what I envisioned, it’s a strong piece.
Next, we have a small, leaning vase. I chose to apply wax to the rim and throat. Then I glazed the exterior with Copper Sand, keeping in mind that the glaze doesn’t stick to the waxed areas. In the kiln the wax then burns off, allowing the unglazed clay body to carbon trap the smoke from the reduction afterwards. I was planning on staining the raw clay, but I ended up holding off as the variably smoky surface is interesting in its own right. I need to actually decide, as I will want to wax the raw surface if I don’t stain it.
This is probably the biggest of my raku pieces this go-round. This vase vessel has Litho Carb on the inside and Copper Sands on the outside. (I really like Copper Sand as it’s pretty predictable in its behavior for me, which is a rarity when doing raku.) The interior lip has an abalone-like appearance!
Next, we have my “golden bowl.” This piece is glazed with Dakota Potter’s new Peacock on the interior, and once again uses Copper Sand on the exterior. One of my students kept hovering her hands above it and singing reverential “aaah” noises!
And below is my final copper raku piece of the workshop! This one is an oddball shape; I wanted to push myself to make some handbuilt, necked vessels and in doing so created this flora-inspired vessel. I glazed it with Litho Carb on the inside and Midnight Luster on the outside.
I just completed another raku workshop this past weekend, and as I was looking through my files I realized I’ve not yet published the raku pieces I made at my last one in April 2022. Clearly I should do that before sharing my latest workshop photos and products!
On my April 2022 raku workshop, I wanted to try to carbonize various plant fronds or leaves onto the surface of my pieces. This was a complete experiment, and it was mostly a failure. I tried a variety of ferns and tropicals out, and one after another, they burned away without leaving a trace. Here are some plates that I attempted to salvage after that didn’t work out. With the first, I pivoted to a sugar and horsehair application. With the second, I tried to use ferric chloride to stain the surface with plant leaves that weren’t carbonizing, but they just left those not-terribly-appealing ferric chloride splotches.
Once I realized those techniques were not working, I tried etching fern fronds onto a plate in a “baked potato” aluminum foil saggar firing; it kind of worked, but I think it’s underwhelming. Since none of those plant techniques were doing super well, I just put a litho carb copper glaze onto my final plate.
I also made a rounded crackle vessel and the glaze turned out really well, but the ceramic physically cracked due to thermal shock so it’s got that permanent asterisk associated with it.
I glazed this spherical vessel with copper glazes (Copper Sand is on the exterior and I think that’s Midnight Luster on the interior), and it came out looking like a little planet! This one’s a definite favorite.
And finally, the one plant piece that turned out beautifully and justified all the failures: this is another “baked potato” saggar firing, and the Muehlenbeckia axillaris vines I used carbonized perfectly into this vase’s surface.
I also lost a large platter-like vessel (it broke into quite a few pieces and was not salvageable) and had another plate fuse with a kiln brick and lose part of its bottom. I eventually recycled that broken platter-like piece in my rock tumbler!
After I made my 100% wild, site-specific Whiterock Conservancy ceramic collection entitled 41.816, -94.646 Ceramics, I knew I wanted to add other geographic coordinates to my oeuvre. Upon discussing this wish with family and friends, my father suggested that I might be able to get some wild clay from the brick plant Cloud Ceramics in my hometown of Concordia, Kansas. We brainstormed different supplies of ash for me to create custom ash glazes with, and settled on ash from my parents’ Republican River Valley firewood and the local Cloud County landfill (they burn organics like fallen tree limbs).
Several calls and trips my dad took to fetch the requisite media later, I had two different colors of native clay as well as the two aforementioned sources of ash. The clay from the brick plant arrived in dry chunks, and it had a lot of rocks and different densities of clays embedded in the pieces. After trying a couple of other methods (sifting and straining), I ended up going back to my tried-and-true, low-tech solution for cleaning the clay: meticulously smushing little pieces of it by hand to remove the debris and equalize consistencies.
I began working on this series in late November. I had a deadline of mid-February if I wanted to include 100% site-specific ceramics in my solo show in the Frank Carlson Design Room. That’s a turnaround of less than three months! I tasked my studio assistant work study students with helping me clean the clay, which helped speed up the process. I also tried to keep the pieces relatively small to maximize the number of pieces I’d be able to complete.
Here are some photos of the process!
As you can see above, after we cleaned the clay I handbuilt 30 ceramic pieces (15 out of each clay color) and bisque fired them. I then separated them into two different firings: half went into a cone 8 electric kiln firing and half went into a cone 9 gas reduction firing. After sifting the ash and removing all the larger chunks, I created 9 different custom ash glazes: 8 using all possible combinations of yellow clay, grey clay, landfill ash, and fireplace ash in 1:3 ratios, and 1 hybrid glaze with 1:1:1:1 proportions of each. I wasn’t sure what any of the glazes would look like, so I ensured each color of clay and kiln setting had the full range of options and asked my work study students to take copious notes so that we could learn from the results.
Here are my 39.57, -97.66 Ceramics! I managed to finish these in time to include in my Frank Carlson Design Room solo show. I like them all, but I am particularly in love with the ones that came out of the cone 9 gas reduction firing. I’ve only fired a few times in gas kilns so far, and this is the first time I’ve gotten really good reduction - it’s gorgeous! I like them so much that I want to make more (and larger) pieces to add into this collection, and glaze with a little more intention now that I know what the custom glazes I created will do. The clay cleaning process is tedious enough that there is a limit to how long I’ll want to keep working with each wild batch of clay, but my interest hasn’t waned in the Concordia series yet.
I’ve been working on a series of landscape ceramics for some time now, and I plan to continue to add pieces! Here are some I completed in early 2022; these are all stoneware fired to Cone 6. The first three are vases, and then there’s a bowl, an egg-shaped vessel, and six small planters.
In my three-person show Whiterock Art at the Betty Strong Center here in Sioux City, IA, I have 37 pieces on display! There are 2 painted reliefs, 20 8x8” chromatograms, and 15 handmade ceramics. I’ll post photos from the show and reception shortly, but right now I want to focus on those 15 ceramic pieces in detail.
My Whiterock Conservancy ceramic body of work is special in that it is 100% site-specific in every component. I dug my own clay out of the Middle Raccoon river beach cliff, cleansed it of rocks, roots, and other debris, and then I did not amend it (often potters mix additives into their harvested clay to improve elasticity or other desirable characteristics, but I thought that would weaken this collection’s conceptual power). Below are images documenting my clay collection!
I handbuilt 15 different vessels, and as I was doing so, I thought about if I should glaze them at all, and if so, would transparent glaze from non-local sources taint the project…? I shared this quandary with friends, including my wonderful former colleague and master ceramist Susan Nelson.
After a couple of weeks mulling it over, Susan arrived at a different solution: ash glazing. I learned from her that ash can be used as a glaze, often in combination with clay to lower its melting point and smooth out the finish. I reached out to Whiterock Conservancy co-founder Liz Garst to see if I could collect some of the ash they generate, and she was kind enough to collect me a gallon bag of ash from a slash pile burn primarily composed of invasive honeysuckle bushes.
I inter-library-loaned a book on natural and ash glazes and conducted a variety of tests to determine the best ash glaze mixtures, application methods, and firing temperatures - but I also had deadlines to meet that meant I couldn’t dally too long in the experimentation phase. I eventually settled on using three ash glaze mixtures that used different proportions of clay to ash mixed with water and put 6 pieces in a Cone 8 electric kiln firing and 9 pieces in a Cone 9 gas kiln firing. Below (respectively from left to right) is a still wet raw ware handbuilt bowl, bisque-fired pieces, my work study students and I experimenting with ash glaze recipes in the ceramics studio, and ash-glazed bisque ware awaiting its glaze firing.
Below are are the finished pieces in the 41.816, -94.646 collection. Those title numbers are the latitude and longitude of the artworks’ origin, and if you input them into a map application you’ll see a pin drop on Whiterock Conservancy near the river beach! I love that these ceramics are made of the land itself, and are glazed with the conservation efforts of people today trying to restore what we’ve lost in ecosystem health and diversity. The colors, texture, and variation resonate in this body of work, and I look forward to comparing these pieces with future geographic coordinate collections, as I plan to create site-specific ceramics from other localities as well.
I’ve been spending a lot of studio time with ceramics lately as I’ve got several bodies of work in progress simultaneously and each have different time pressures. I’ll discuss each as they continue to develop! However, in these photos I was preparing for the Dakota Potters Supply raku workshop I attended in Sioux Falls this past Saturday, April 23rd along with our ceramics instructor Paul Adamson and two Morningside students.
Since this semester has been so busy, I only had one raku piece ready to go by April 14th (the start of Morningside’s Easter break). I needed to have all the pieces I wanted to bring in the bisque firing by April 20th, which meant finishing the rawware by April 17th to give it time to dry. I cranked out seven more pieces over the holiday, so I was able to bring eight with me to the workshop! My sweet spot is between six to nine pieces for each workshop day, so that worked out perfectly.
In the first image, you can see me in the Morningside ceramics studio as I used the slab roller, a foam square, and a 6” mushroom anvil to prepare a few small platters. In the second photo, I’m handbuilding a vase in my kitchen at home.
