ceramics

Obvara Orbs & Bowl

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I only fired four pieces with the obvara process this go-round, as I had run through a lot last time and I mostly wanted to learn the slip resist methods at this workshop. However, I wanted some obvara burnished pottery to compare to my previous unburnished works, and I’ve also decided my spherical handbuilt pots are a somewhat signature decorative form and so I wanted to have some obvara orbs. I did a smallish bowl as well.

The burnish was a mixed success with obvara - it delaminated in a few spots on two of the orbs during the dunking, which to my eye is kind of unsightly as the revealed clay layer beneath is bright white, so I color-matched and painted those in with acrylic. However, one orb and the bowl had no delamination accidents, and the resultant sheen on all four pieces is beautiful. Overall, I am happy with these and would be willing to burnish for obvara again.

Below are one photo of each of my three new obvara orbs and three photos of my new obvara bowl from my April 2024 Dakota Potters Supply workshop!


Obvara and Slip Resist Naked Raku Workshop

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I just got back from another raku workshop at Dakota Potters Supply in Sioux Falls, SD! I brought along a group of faculty, alumnae, and students from Morningside University.

This workshop specifically focused on obvara and slip resist naked raku. I really like obvara, but since I just did a bunch in the fall, I only put four pieces through the obvara process and ran ten through two slip resist processes: one-step and two-step slip resist. Dakota Potters Supply had tried to troubleshoot the slip resist one-step process in advance of our workshop, but they really hadn’t figured it out so we were all experimenting and troubleshooting with our the slip resist attempts throughout the day.

I still need to edit the photos of my pieces - plus, two of them were underfired enough that Dakota Potters Supply kept them back to refire again later, so I don’t know when those might rejoin me (if they stay whole)!

Here are photos from the day of the workshop (Saturday, April 20, 2024):

New Platters!

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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.

New Planters!

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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 Fired a Kiln!

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I began my journey with ceramics in early 2020, and now four years later I’ve hit a new milestone. I mostly loaded and then fired a kiln all by myself - and I didn’t burn down the university!

It doesn’t take four years to learn to fire kilns independently, of course - I could have prioritized it much sooner, but we’ve always had a ceramics faculty member who ran the kiln room. Managing it during the active school year means not only firing the kilns, but also taking into consideration the sizes and types of ceramics being produced as well as the student artists’ timelines in order to load the kilns in the best possible way. This meant I’d usually be getting in the way if I loaded my own pieces in wherever I wanted or independently decided to fire a kiln. Plus, since my pieces are not tied to assignment due dates, mine are almost always the least important to get into a specific load! I therefore followed the same protocols as the students: dropping my finished pieces off on the waiting-to-be-loaded shelves and letting our ceramics instructor Paul take it from there. However, over time I’ve asked about and observed how the process works.

Over academic breaks, I’m often the only one aside from Paul who’s still producing ceramics. This winter break, I made a sufficient quantity of items that it seemed to me it’d be less work for him if I just loaded my work myself into each kiln - so I did. Then, between the two of us we made enough work that we filled the glaze kiln almost full… and last night, I glazed some more pieces which filled it completely.

All the dominoes had aligned: his ceramics class has only just started gearing up, so none of them are using glaze yet. I’d mostly loaded the kiln myself with a few additions from him, and we had maximized the space. It was ready to fire, I knew how to fire it, and Paul wasn’t around. I took the plunge and did it myself!

I came in this morning and checked it, and everything still looked good! Paul also happened to be in and he confirmed that I did it correctly. It still needs to cool in order to unload - I always knew it took a couple of days, but I’d never tracked the time super closely until now. I began this load at approximately 6pm on Monday and it was a Cone 6 high-fire glaze load, meaning it was set to reach approximately 2230°F. By 5pm on Tuesday it was in the cooling process and had gotten down to 358°F. That’s still too hot to unload; my research indicates that you can rush to begin unloading around 200°F by wearing full protective body coverings and being careful about where you place the pieces, but that sounds like a lot of bother and can risk cracking damage. Instead of returning late this evening, I’ll just wait until tomorrow when it has fully cooled down to ambient temperature.

New Stoneware!

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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.

My Obvara Raku Vases

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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.

My Obvara Raku Plates and Platters

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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.

My Obvara Raku Bowls

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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.

My Favorite Ceramic I've Made Yet: My Last April 2023 Raku Saggar Piece

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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!

April 2023 Raku Crackle and Saggar Ceramics

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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.

My April 2022 Raku Ceramics

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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!

My 39.57, -97.66 Ceramics

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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.

Landscape Ceramics

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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.

Come Check Out the 2022 Morningside Art Sale!

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As a part of my service to Morningside University, I am the director of the Eppley and Helen Levitt Art Galleries. I scheduled a faculty show, a guest artist show, and a senior thesis show for this fall, but there was a small window of time left over that wasn’t big enough for another exhibition… so I decided to hold an art sale!

Anyone from Morningside’s community - faculty, staff, students, or alumni - was invited to sell their arts and crafts, as long as they donate a minimum of 15% of their sales to one of our three art-focused clubs on campus: Art Club, Photo Club, or the Morningside Student Advertising Agency (MSAA). I asked one of our work study students, Su Montoya Alvis, to design the poster for this event (pictured right).

The sale opened on Monday, October 31st, and runs on weekdays from 1-5pm in Eppley Art Gallery through Friday, November 18th, 2022. It’s open to the public, so please feel free to stop in and check out all of the goods on offer! I myself put in matted 8x10”, 10x10”, 11x14” reproductions and photos, 5x5” greeting cards, and a variety of ceramics. A wide variety of arts and crafts are available from others, including ceramics, crochet, drawings, fiber arts, graphic design prints and stickers, jewelry, mixed media, paintings, photography, and printmaking.

Below are a few photos focusing on my section of the sale, but there is much more to browse!

My 41.816, -94.646 Ceramics

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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.

My LSU Vet Med Exhibition and Opening Reception!

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Here are photos from my solo exhibition and opening reception at the LSU School of Veterinary Medicine, co-sponsored by the LSU School of Art! The reception was amazing; over 80 people attended and they were all very engaged throughout the evening. We began with a welcome speech delivered by LSU School of Veterinary Medicine Dean Oliver Garden, followed by speeches from LSU College of Art + Design Dean Alkis Tsolakis and LSU School of Art Director Rod Parker, and then my artist lecture!

By the end of the evening, 6 of the 8 paintings/relief/sculpture were sold (only Hosts and Singularity remain available), and 3 of the 13 ceramics were purchased in addition to countless prints and greeting cards. Through the course of the rest of the exhibition, 3 more ceramics sold along with additional prints and greeting cards. I was a little surprised at how popular the mosquito reproductions were as they sold out quite quickly, but I’ve since learned there’s a well-known joke that mosquitoes are the state bird of Louisiana!

In the slideshow, you’ll see that in addition to the artwork walls and reproduction sales table, I also had a display table of some of the veterinary materials - medicines, chemicals, stains, tools, bones - I used in each of the pieces of artwork!

LSU Vet Med Artist Residency Artwork 8-19 Process

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Here are a few of photos of the in-progress work for Skeletal Ceramics. The first image has some of the bones used in their respective vessels, followed by two more images of the raw ware or green ware. I didn’t take photos while glazing because I was doing it outdoors in 98*F weather so I was sweaty and covered with glaze - as well as acutely aware that I probably needed more glazing time than the shop would be open for!

LSU Vet Med Artist Residency Artwork 8-19

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This is Skeletal Ceramics, assorted handmade stoneware vessels imprinted with or formed around various canine, equine, and swine bones from the anatomy lab, 2022.

Shelby Prindaville's Skeletal Ceramics collection

I made this body of ceramics start-to-finish on site at the LSU School of Veterinary Medicine and with purchased supplies and firing assistance from Southern Pottery Equipment. The canine, equine, and swine bones used include skulls, jawbones, various vertebrae, scapula, femurs, and sacra. The glazes used were an Amaco Shino Cacao Matte Cone 5-6 Glaze (SH-32), a Spectrum Satin White Hi-Fire Cone 5 Glaze (1121), and a Spectrum Satin Mottle Hi-Fire Cone 5 Glaze (1122). I applied the Cacao Matte to all the textured/impressed areas and then sponged off the outer surfaces, then put on a generous two coats of the Satin White, and then painted a little of the Satin Mottle on kind of haphazardly and then more carefully at the lips. I fired to Cone 6. I was really happy with how this combination performed, as they do look like bone themselves! Seven of these pieces sold during the exhibition to three different buyers.

The anatomy lab allowed me to take the bones I’ve been using back with me so that I can continue to develop this collection, so stay tuned for more.

LSU Vet Med Artist Residency Journal 7

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After I was able to return to the studio from COVID, I felt a lot of self-pressure to complete all the work I had envisioned prior to getting sick and losing access for several days. I prioritized my mosquito painting, ceramics, and pig board piece first.

My very kind host Rob Carpenter had helped me order a raw poplar frame from his own framers, and he showed me how to assemble it that weekend. We ran into a bit of a snafu when the museum glass was 1/8” too long, but Michael’s was willing to trim it down (and shared that if it broke in the process they’d also be willing to recut a new piece at no additional cost since it was their error in the first place). I also have to give Michael’s, specifically one of its workers, huge credit as they mounted my mosquito netting to the matboard for me! I was willing to do it myself if need be, but the most logical process was to get the whole matboard in, apply matte medium to the whole face and press the netting on top with a large flat weight (like a piece of plywood) until dry, and then cut the matboard down to size and with the window. They agreed with me about that being the simplest way, and said that they’d take care of it since they’d be doing all the surrounding work to it anyhow! I feel like I got a little taste of what it must be like to have a professional studio assistant, and it is a very nice luxury… They also gave me free foamcore backing and put little metal tabs in as well. Once it was all assembled, Rob helped me wire it and it was finally done!

Switching gears, I was lucky that I had brought all my raw ware down to Southern Pottery Equipment to be bisque-fired just before I came down with COVID, and we decided together that given my timeline I’d go there to glaze it on site so that it could then instantly be put in the glaze firing. So on Tuesday, I headed over!

I had purchased three different glazes which in my head when combined together would give a bone-like appearance. The catch is that I was just guessing based off my previous experience with completely different glazes, and as I believe I mentioned before this was a one-shot, que será, será situation. It took me four hours to glaze all 17 ceramic vessels, but honestly I stopped because the shop was closing - I could probably have glazed for another hour more!

Much of the rest of the week was spent planning out how the show would be installed, tracking down pedestals, and finishing up the pig piece. I also recorded the Arts Council of Greater Baton Rouge podcast. Then I returned to fetch my glaze-fired ceramics! Unfortunately, none had been stilted as the shop hadn’t felt there was a need, but the satin mottle seemed to behave more as a hi-flow gloss and it ran enough to fuse a number of my pieces to the kiln shelf. A large bowl I had impressed with a pig skull fragmented into pieces, and another four pieces had pretty severe damage. One had moderate damage but was still displayable, and then another five or so had varying bottom detritus; I did the best I could to smooth them all out, but I only had a Dremel rotary tool on hand so I was much more limited than if I’d been back in the Morningside studio with our diamond grinders. Despite the damage, about half were completely unscathed and I think I ended up displaying 13 total in the show.

That weekend, I put the pedal to the metal in racing to finish a vulture sculpture I had begun weeks ago but then deprioritized. The one non-art event of the week I did sneak in was to get a haircut! I had looked at the Baton Rouge subreddit for curly hair specialists and there was a woman recommended at the local Supercuts - I decided to try her out, as the rest of the options were all $80+ and I was feeling tapped after outlaying $400 for my isolation housing on top of all the other costs of the residency.