Throwing with Ann Hudson at Owhanake barn. 2019 / 2020

Our second module of throwing. Encouraged to incorporate other artists work and to make the work more artistic. Look at using in a still life.

Tau cross of Colin McCahon incorporated in bottle work. Toms white and black engobe applied. Texture applied to take oxides.

Still Life awaiting bisque firing. Tau cross and texture applied with thoughts of protection. Toms black and white engobe as a basis for decoration. Oxides to be applied on bisque ware.

Still Life bisqued to 1000 degrees centigrade.
Toms black engobe has not turned black at this time as the heat temperature of the kiln has not been hot enough. The glaze firing should realise the black engobe.

A quatrain in the poem (Rubaiyat ) of Omar Khayyam to support the still life. This poem focuses on the earthly pleasures of man and reminds us that life is short. Another quatrain suggests that it is hard to distinguish the Pot from the Potter or Man and his Maker.

Cobalt blue applied to the inside to represent the heavenly element.

Urn ( urna, Latin word for a jar or vessel) made to practice on the wheel. Made in sections but clay too soft so urn collapsed but fired with engobes and clear glaze. This piece still has energy as a ‘skin for nothingness’.

Our third module of throwing with Anne Hudson. A chance to practice and develop the haptic quality of our hands.

Encouraged by Anne Hudson to develop the haptic quality of our hands.

Our project with Anne for this module is to persue a personal form. We need to demonstrate a concept or ritual, metaphor and or document. A creation of a group of vessels made by hand or wheel or both and we need to push the envelope and experiment with the idea of vessel.

A few attempts at throwing and on a day when I was focused I surprised myself by throwing all of the wedged Whitestone clay without any collapses and trimmed them before leaving as the pots were drying quickly.

Bisque fired to 900 degrees Celsius with Toms white slip applied on the outside. Glaze fired to 1170 degrees Celsius. Decorated with blue stained crayon made with bees and candle wax. Used on inside of ripped fish shaped stencil made from black paper. Green And orange stain in slip applied on top. Iron oxide pencil used to outline and Toms black slip used around shape. Inside turquoise stain added to 271D clear and sprayed in. Yellow ochre pencil run around the rim.

The yellow che pencil along the rim only partially survived in the firing so will use slip or glaze next time.

Once Anne suggested making something from ancient times I decided to work off a tripod vessel made in China in the early Neolithic period, that I had attempted to recreate for my 6 month assessment.

Idea of a contemporary random slab vase to get my creativity going.
Testing glazes at Anne Hudson’s studio prior to glazing.

Great significance was ascribed as shape of tripods suggestive of goats or cows udders were important for ritual activity. Hollow legs meant vessels could be placed directly in a fire without fear of cracking.

Made in pieces and Whitestone clay, molochite, paper and water used to put pieces together.

Trialling glazes at Anne Hudson’s studio with thoughts of using on tripod vessels to make them more contemporary.

John Parker silicon carbide fired at 1170 degrees centigrade. On Whitestone.

To make more stem vases to add to grouping for module completion and to be able to have quantity to bisque fire.I

Vessels from Neolithic China evolving to a more contemporary shape of a vase to a jug.

Vessels after a bisque fire to 900 degrees centigrade. My grouping of vessels moves from an animal shape with the focus on the teat like hollow legs to a vase shape with the focus moving to the rotund body and next is a move to focus on a shape of a jug with the 3 pronged legs which are more stable on differing surfaces.

Ancient animal inspired stem vases. Marc Bell crawl glaze applied to give the vessels an old worldly look. (This was tested at Anne Hudson’s home studio, prior to application.)

Waka journey. Made of cut paper clay in seedpod Waka mould. Orange stain applied to flowers prior to bisque fire at 900 degrees centigrade. Bronze slip applied and Egyptian paste applied on top with brush. Glaze fired at 1200 degrees centigrade.

White stone clay animal shaped stem vase bisque fired with yellow iron oxide which turned red at 900 degrees centigrade and white slip. Bronze slip applied and wiped back and green crawl glaze applied on top and clear glaze applied to head. Glaze fired to 1200 degrees centigrade.

Pot belly vase shaped vessel made of Whitestone clay and bisque fired with yellow iron oxide which turned red at 900 degrees centigrade. Clear glaze applied to inside and Marc Bell glaze applied to top and bronze slip applied and wiped back and Marc Bell glaze applied over red area. Glaze fired to 1200 degrees centigrade.

Dancer pot made of Whitestone clay. White slip applied all over prior to bisque fire at 900 degrees centigrade. Clear glaze tipped on inside and alkaline white barium glaze applied to outside of pot. Copper wash brushed around edges to give the idea of a dress. Glaze fired to 1200 degrees centigrade. ( some cracking around frill area due to clay being thinner). Flower tester with the yellow oxide which turned red.

Handled pot made of Whitestone clay. White slip applied to smooth areas with some copper oxide wash prior to bisque firing at 900 degrees centigrade. Clear glaze tipped inside and Cobalt oxide applied to textured area outside and alkaline white barium glaze applied to smooth areas.

Random vase made of Whitestone clay had oxides applied and a white shiny glaze on top. Glaze fired to 1200 degrees centigrade.

Vase made of Whitestone clay. Pete’s crackle glaze made (3% cobalt) and sprayed on with a stainless steel cup sprayer. (Orange breakthroughs are a treat to see).