A Threesome

Here are three pieces inspired by classical Greek pottery, though none is a direct copy.  One detail is that each is characterized by a trefoil or quatrefoil lip, sometimes used on the classical Oinochoes.

The pitcher is a graceful form at its best.  This one has a slightly narrowed neck and flared rim which is then indented to create a functional pour spout.

The marks made by the wooden rib can be clearly seen where the clay is pressed inward.

The foot is rolled, rather than cut, creating a softer edge.  The handle is pulled: a technique unique in pottery, where a lump of moist clay is stroked and eased by the fingers into long, slender forms such as handles.

The larger pot in this small series has a flared, flower-like form finished by the quatrefoil rim.  This gives it almost a fluted effect.  On the exterior, the tool marks are again quite visible and make a sharp curve.  Inside, the effect is softer.

The smallest pot was inspired by the suggestion that I make a piece based on the marvelous seedpods of a local desert plant: Hesperaloe parviflora.

It's probably a source I should try working from again; but here is the very simple pot that was made at that time.

Here it is, holding an assortment of flowers and some green Hesperaloe pods as well.

Just a brief look at some handthrown earthenware pieces I've made...  Hope you've enjoyed them!

Note: The fabric used as background in most of these photos is some handwoven yardage I made as well.  It is worked in plain weave, 100% acrylic thread in two colors.

One Flowerpot

Recently out of the kiln: a pot created for one of my African violet plants (Saintpaulia).

Pot and saucer were handthrown on a potter's wheel.  Clay used is a cone 8 buff-colored stoneware; and the glaze is my version of tenmoku, the classic old dark iron-brown glaze of Japan and China.  I use a single fire sequence with this glaze, e.g. the piece is glazed in the raw clay stage, then fired slowly to full temperature, roughly 1249 C.

The pot was designed with a deep foot to hold the plant up out of the drained water, and it has notches in the foot to further facilitate drainage.  As you can see, the violet in question is growing rapidly and was very much in need of a new pot!

The Way I Work...

beginning the poncho

The weather is getting a little colder here, so it's time to make a new wrap.  This one will be in poncho style as I've learned that easy on, easy off is valuable in temperatures that fluctuate widely across a single day.

So yesterday saw a little planning, and this morning saw a little more, plus some knitting.

not shown: the tape measure!

Three inches of garter stitch on sides and bottom because garter stitch makes a strong design statement.  (Take care of the terminals, and the terminals will take care of everything else - the principle Louis Sullivan handed on to the young Frank Lloyd Wright)

The rest to be in stocking stitch with a central panel of diamonds, bounded by - of course - a little more garter stitch.

my handwriting deteriorated years ago!

Unless I don't like the looks of it as I go on!  In which case I reserve the right to change anything or everything.  This is the advantage of working one-off...!

that initial curly-cue phase...

First out of the Kiln...

Here are some pieces from last week's firing.

For reference, the largest is about 7.25 in high (18.5 cm).  All are unglazed.

The three pieces on the left are from my first attempts at making coiled forms, using methods gleaned from traditional New World pottery.  The piece on the far right is a purely sculptural work (unusual for me) made for my sister; it was wheel-thrown (completely closed), then cut open to create the flared hood.

Photo by Sarah Myers, Copyright (C) Sarah Myers.  Used by permission.

Happily, everything came through the fire quite well, including some test tiles with a brief experiment using pumice, red clay, and calcium borate.  Tile #2 shows promise as an engobe...