Globetrotting for Ceramics

I've been doing a lot of travel the past few years and have taken a lot of photos along the way of any historical ceramics I came across.  I plan on sharing some of these going forward.

Here is a sample of some of the pots I found on my trip to Dublin 2017.

Just a tease.

Masterwork

The term "Masterwork" gets discussed on occasion among my friends and co-artists.  I find the idea of such a thing fairly subjective within the ceramic field.  Things that look super difficult (or really fancy) within the clay arts, aren't always the case depending on what technique is used.  Something that non-potters are impressed over is not the same thing a fellow potter would swoon over.

Within my experience, whenever I have explained to someone how easy something is, there is a disbelieving attitude.  I'm not trying to diminish someone else's work, but to explain that there is a lot of smoke and mirrors within the clay arts.

What do I mean?  Can you use a pencil and then erase it later with no harm to the piece?  Can you use tracing paper and set down decoration? Are you doing a lot of the same images or decorative elements with little variation? Are the materials you are using > 90% non-reactive and 9 times out of 10, come out close to perfect?  If the answer is yes to these, then you are probably not doing something that needs someone to be a master in order to accomplish.

At least for me, I find the decorating aspect of clay work not as difficult as the fabricating of the piece. I do, however, respect those that spend many hours decorating one object.  But I have an even larger respect for these people that are using their own formulated glazes, underglazes and slips.  Clay chemistry is more difficult than buying and using pre-made and pre-tested glazes. Most of the issues are tested and solved when using the wide variety of glazes.

It's more difficult than it looks: S-Cracks

My friend, Tim Whitcomb, suggested that I start writing about how tricky clay really is as a medium.  The reason is that, for some reason, people will sometimes walk by a display (whether it's my work, a friend or even in a museum) and say, "well, I can do that."  I realize that this is a typical comment about many arts, that for some reason, people have a tendency of belittling the arts in general and think that "it's child play."  But whatever the reason they do it, from really having the ability or not, I feel that I want to go over some of the pitfalls of clay work in an effort not to scare those away from working in it, but to give you all a better idea that it's a lot more difficult than it looks.

Standard clay (the type you fire in kilns) is somewhat tempermental because clay has "memory," as in, it is made up of platelets that settle into patterns depending on how the clay, and they, are worked.  Some clays are more sensitive than others.  This clay memory can be both good and bad depending on how you work the material.  The idea is to make sure that all the platelets are even and formed in a way that are harmonious onto itself.  If the platelets are uneven, not compressed, or going all in the same directions, you will tend to get cracks, warping and breaking.

Today, I wanted to show an example of the "S-crack" which happens when the bottom of a piece (be it a bowl, plate or what-have-you) is not compressed well enough when it is being thrown.  Because of the centrifical force of the wheel, the platelets are being pushed all in the same direction.  While throwing, the potter will not see any issues with the piece until it dries and sometimes, only when it fires will the cracks appear.



Example of a small S-Crack is here on this bowl from Dirt Kicker Potter.

The best way to avoid these cracks is when you are throwing your piece either run your thumb or a wet sponge on the bottom of inside of your piece.  Run from the center to the wall and back again, compressing down several times, smoothing the inside floor of the piece.



Another example of a, S-Crack on a plate, this one going all the way through the piece.  From DIYDELYRAY.com.

It's always a good idea to make sure all your walls are fully compressed and smooth before you cut off the wheel and trim.  This should help avoid most S-Cracks and general simple cracking in general.



Another sample S-Crack from digitalfire.com.

More to it

I’ve noticed over the years that there is a dismissive nature by non-ceramists about clay. The idea that clay, as an art form, is not only “easy,” but also that it isn’t an art at all, but it’s a craft.

While I understand the idea that anyone can play in clay, as it is usually first introduced to those in kindergartens in order to make hand prints, paper weights or the dreaded pinch pot, I need to point out a few obvious things. Any art medium anyone can do doesn’t make it easy, it just makes it accessible. There is the fact that one needs to do said art well and bring some sort of artistry to it as well. Also, if the concept of “if a child can do it, then it is a craft” is why people feel that clay is lowly, then painting should be tossed right on in there, as that is also one of those pesky “arts/crafts” that those schools also bring in for children to experiment with (i.e. see water color sets, acrylic painting and finger painting to name a few).

So, let’s say clays bad wrap for “being easy” and “a craft” didn’t come from five year olds… where did it come from then? Maybe because most people use a type of ceramic or have touched clay (in one form or another) throughout their lives, so because it’s so readily available, it must be easy to make? I’m not sure if this is a valid concept either because the making of most items we use in today’s market (like those in plates and ceramic mugs at say Target or even at the 99 cent stores) are not handmade and are far from easy to make. Most companies have industrialized the process of making these items, using machinery in order to make the millions of pieces that have to churn out. Tiles are mixed, rolled out, cut and dried in a way that they don’t warp (do most people even know that standard clays will do that without understanding the nature of clay?) or crack. Smaller potteries may make the molds for a cup (let’s use an example) and hand pour slip into the pieces, then remove the molds, sand them, fire and then decorate… but none of what any of these companies do is “simple,” “easy” or “what a child can do.” These concepts are all things that take education and time to understand how to do it and then, experience in order to do it correctly.



Pinch pot featured above was from Clayton Bailey, GOURD-LIKE PINCH POT- 1963
8" X 8" X 5", salt glazed stoneware. The finger painting above was off the Mamaleche Blog.



Perhaps it’s because the most experienced potters make throwing and working in clay look so effortless? I have seen so many demos at Festivals and Fairs of some fantastic ceramic artists over the years. Seeing a teapot or a vase thrown in less than five minutes is pretty amazing. I’ve demoed as well at the Strawberry Festival, as well as in Downtown Ventura, Main Street Santa Paula, and at numerous SCA events. Maybe people think that because the art is such a messy one, and an ancient, grass roots sort of art form (i.e. folk art), that anyone can just jump right on so it’s easy.

Here is a video of a Chinese potter making "teabowls", throwing off the hump. Not an easy thing. Watch how fast he is.



I don’t want to discourage people because I believe that anyone can do anything if they put their mind to it. However, clay work is not for everyone. Throwing on the wheel is especially one of the most frustrating and most joyful things at the same time. Some people take to the wheel right away and others have to work pretty hard to get it going. There have been many who I’ve known that have never gotten the wheel. When you first start on the wheel and you get something that doesn’t collapse… I can’t tell you how awesome that feeling is.

The disappointment in this field when you accidentally overwork your piece or it just doesn’t survive all the various stages of working it (decorating, drying, bisque to glazing) is an experience only another clay worker can really understand. As far as I know, no other art form is as fragile or as unpredictable like this. There is less randomness, as you understand the chemical reactions of the clay and chemicals used. There are so many factors involved in a piece from the medium itself (clay), to the glaze (if you use one) to the firing (how it’s being fired and how hot) to what else is in the kiln (other pieces being fired – i.e. kiln environment). Not only do you have to be a sculptor but also you have to understand surface decoration, composition and chemistry. It has to be beautiful or pleasing. Sometimes it has to be functional. Does this sound “simple” or “easy” to you?

So, I ask you… why is this a craft and not an art form? I don’t understand… to me, it’s an art form. Your opinion?