handmade
Here are the pieces of pottery I made with copper glazes (mostly) at the October 2024 raku ceramic workshop!
First, we have a textured orb:
Next, a hexagonal textured tray:
A rectangular tray:
And finally, an experimental landscape vessel which uses the new-to-me “yellow crackle” glaze in combination with two other copper glazes:
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!
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”.
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.
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’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.
You got a sneak peek at some of my recent raku work in my exhibition shots from Functional Aesthetic, but here is the full reveal!
Above are three photos of one “baked potato” bowl. I used my own hair again as well as sugar for the carbonized marks on this piece.
This vase is very difficult to photograph well; it’s currently on exhibit, but once it comes back I’m going to see if I can capture it a bit better digitally. A couple of my friends who viewed the show said this was their favorite piece of mine. The way the glaze dots turned out reminds me of inset abalone shell.
This piece certainly didn’t turn out as planned; I experimented with a turquoise crackle glaze, but I really did not like the way the color came out, so we went ahead and re-fired it. I much prefer this hammered copper look!
This above bowl is decently large, and I chose to do the outside in a relatively matte glaze while the inside is a high gloss. It gives me dragon egg vibes. The Functional Aesthetic curator placed this piece in the choicest display spot, and I learned today that it was sold! I did see a viewer admiring it and gesturing to and around it at the reception, so I wonder if she’ll be providing its new home or if a different patron snapped it up.
This above vessel is kind of football-shaped, and its surface reminds me of a somewhat aged/stained city map. It has my own hair and sugar burned into the white crackle surface. I am quite into this piece.
I was really excited about how this piece turned out, as it’s adding into the “broken egg” series of clear crackle pieces I’m developing. The shape is hard to convey in photo, but it leans in a way that feels quite anthropomorphic - at least to me!
This bowl was intended to be another in the “broken egg” series, but it cracked coming out of the kiln due to the thermal shock and my thin walls. That’s more literal than I’d like for the “broken eggs” to be. It is still in one piece, but even after I epoxy over the crack (which I plan to do to bolster its structural integrity), it will have that weakness as it’s a fairly sizeable crack. I’m not sure if given the severity of the crack if I’ll want to display this piece, but if I do I plan to list it as NFS (not for sale).
And here is yet another casualty; however, this football-shaped vessel’s crack is more minor.
Back in January, I began to try to learn about the discipline of ceramics for professional development as an administrator and artist (and maybe even further down the line it’ll be a course I feel capable of teaching, too)! Of course, the pandemic descended right after we had begun to kiln fire and we went remote mid-spring so then there was no more firing for a time which was a barrier to progress.
You may remember my blog post titled Pandemic Productivity which I wrote toward the end of March discussing this topic, and over the spring and summer I generated a number of pinch pot raw ware from home - and an end-of-summer bisque firing was done, so all of those pieces were ready for glazing in early August.
(If you’re unfamiliar with how to make ceramics, you take clay and shape it which when ready is called raw ware. That raw ware is then bisque fired in a kiln. Once bisqued, you typically glaze your pieces and fire them again at a higher temperature. The pieces that come out of that second firing are usually finished, though you can do additional treatments beyond that as well.)
My very limited previous ceramics glazing (I believe one finished cycle only?) had been with Cone 9 glazes, which our gas kiln is theoretically capable of… but the first set of pieces that came out were not only experimental in terms of learning how to glaze but also very underfired due to the gas kiln needing repairs. The underfiring negatively affected their watertightness and texture. We have since fixed the gas kiln, and I do have some pieces from January through March that had been prepared with Cone 9 glazes for my second glazing attempt and are presently still waiting for whenever we next fire the gas kiln.
This fall we reopened Morningside College in person, and our ceramics course began again. It takes several weeks of creation before class bisque firing begins, and then once a decent stockpile of bisque pieces build up students begin glazing. Midway through this fall, I was able to rejoin the cycle by beginning to glaze my pandemic pinchware! The instructor teaching now prefers to fire at Cone 6 with our electric kilns. This meant any color mixing knowledge I had about our existing Cone 9 glazes - minimal anyway - was out the window, and I was starting from square one with the new Cone 6 glazes, many of which didn’t even have sample swatches yet. Again, there was a lot of experimentation and not a lot of control - but in only a few cycles I’m starting to develop some preferences! It’s also nice that these finished pieces have reached the proper temperature and their surfaces are, in contrast to the underfired pieces I’d done before, behaving as intended.
So, here are the first of my finished ceramics after almost a full year of work! All of these are planters with drainage holes, as the last three photos demonstrate. A couple are wheel thrown, and the rest are pinchware. They vary in size but most are relatively small - they’re all approximately 2-5” in diameter. Bigger pots are more time- and material-consuming to make and take up more room in the kiln so I’ve been sticking with smaller ones for now. I’ve made a few bowls (with no drainage holes) and vases, too, which I’ll share in a later post!
As you might imagine, making planters brings my interest in art and plants together nicely in that I can start to house my plants in my own pots! Transplanting during winter isn’t optimal so I’ve only done so where necessary, but here you can see a young Chlorophytum comosum - colloquially referred to as a spider plant - who desperately needed more space and has therefore been upgraded into a Shelby Prindaville planter with a top dressing to complement!
