Looking to support Chicago Artists? Want to give a home to a unique piece of handmade art or get a jump on shopping for the holidays? Now is the perfect time!

Lillstreet opens the gallery for this very special event. Join us for a juried show featuring work by over 60 student artists.  As a teacher at Lillstreet, I cannot participate in the sale.  However, the work submitted by the students is sure to be top notch!

When:
Saturday, August 29, 2009 10:00am – 6:00pm
Sunday, August 30, 200910:00am – 5:00p

Where:
Lillstreet Art Center
4401 N. Ravenswood
Chicago, IL 60640
Google Map

Contact:
773-769-4226
kat@lillstreet.com

I had about 11 bottles and 4 plates in the kiln.  No pics of the bottles just yet — here are the plates.

Black Skull Plate

Black Skull Plate detail

Clay body: White stoneware
Slip: Tile 6 or Thompson’s Flashing wiped through with a stiff vegetable brush.
Glaze: Matte Black over all then wiped off so it remained only in crevasses.
Add’l info: Soda ash solution sprayed liberally over surface with a spray water bottle prior to firing.
Kiln placement: About 6 inches directly below arch in front of kiln nearest to door.

Star Skull Plate 1

Star Skull Plate 1 detail

Clay body: Stoneware with Iron/White stoneware mix
Slip: White porcelain based slip over entire surface wiped through with a stiff vegetable brush, star in cobalt aluminate porcelain slip brushed over, with Tile 6 skull applied last.
Glaze: Temmoku and Amber Celadon hybrid over all then wiped off so it remained only in crevasses.
Add’l info: Soda ash solution sprayed liberally over surface with a spray water bottle prior to firing.
Kiln placement: Middle of the second shelf from floor, approx 12″ high, middle of pack, low soda area.

Star Skull Plate 2 detail

Star Skull Plate 2 detail

Star Skull Plate 2 placement

Clay body: Stoneware with Iron
Slip: White porcelain based slip over entire surface wiped through with a stiff vegetable brush, star in cobalt aluminate porcelain slip brushed over, with Tile 6 skull applied last.
Glaze: Temmoku over all then wiped off so it remained only in crevasses.
Kiln placement: About 6 inches directly below arch in front of kiln nearest to door.  This piece was stood up on edge, leaning against a shelf on the right side of kiln.  As you can see from the above pic, the plate warped a bit in the firing, which was planned for.  While it doesn’t sit flat on a horizontal surface, it is perfect for hanging on a wall.

Splatter Plate

Splatter Plate placement

Clay body: Stoneware with Iron
Slip: Plaster hump mold layered with Mustard Slip applied first with Smooth Orange applied second.  Thrown and stretched plate then laid over mold so the slip was absorbed into the surface.
Glaze: Temmoku over all then wiped off so it remained only in crevasses.
Kiln placement: About 6 inches directly below arch in front of kiln nearest to door.  This piece was stood up on edge, leaning against a shelf on the left side of kiln.  As you can see from the above pic, the plate warped a bit in the firing, which was planned for.  This plate does sit relatively flat as a tripod foot was used instead of a completely round foot.

Plates are new to my throwing repertoire — I’ve only been making them for about a year now.  I generally throw very clean and controlled so these plates provide a looser surface which is well suited for the Soda atmosphere.  They also provide a blank canvas to create more painterly and graphic imagery.  For this particular plate shape, I have to give credit where credit is due — my inspiration comes from Ben Brierley.  While my technique is similar to Ben’s, it is not entirely the same.  As for the imagery, the star and skull come from my interest in graffiti and tattoo culture.  The star, in particular, is created by using only 3 strokes and is used when a fine line cannot be made due to the particular medium in use such as a spray can or a 3 Round Liner.

Graffiti Star c/o Harold Bishop

Dondi tag c/o Jim Prigoff and graffiti.org

On a more positive note, I was able to get back in to the studio this past Sunday to throw for the first time in roughly 4 months.  It felt good!  Just like riding a bike, albeit with two slightly flat tires, a rusty chain, and brakes that don’t really stop you from careening into traffic.  This needed to happen for a couple of reasons.  First and foremost, clay work makes me happy and helps balance out the 90% of my time not spent in the studio.  Secondly, I will be starting a new position at Lillstreet working in Soda program.  As a result of this roll change, I will have to modify my current repotire of forms and surface decoration, so better get to it.  I always felt that Soda fired work was in my future, but never really knew when it would happen.  There is no better time than the present, huh?  Exciting!!  So, I’ve got a lot of homework to do — first assignment is to digest Gail Nichol’s Soda, Clay and Fire.  I’ll post some pics of in progress or finished pieces here in the near future.

Oh yeah, I came across this amazing blog about Tea (primarily if not exclusively green?): http://mattchasblog.blogspot.com/.  There is some great info about tea, but what really caught my eye was the way Matt highlights tea related pottery.  There are some absolutely beautiful pieces presented.

Have a happy holiday!

On a lighter note Mary and I are planning on going out to De Kalb next weekend for the Common Ground reception:

Common Ground
Contemporary Illinois ceramics
October 21 – December 6
October 23 – Artist Lecture by Chris Berti - 3:30 – 4:30 – VAB/Jack Arends Hall, room 110
October 23 – Opening Reception 4:30 – 7:00

Also, on teh Wed before, the Waubonsee CC Ceramics Club is hosting — The Art of Making: A Conversation with Dan Anderson, Ron Kovatch and Charity Davis-Woodard.  Looks to be a great way to spend a day if you can make it out.

Ok so now I have to work.  But at least I plan on listening to the Gritty David Reneau podcast from Odin over at Anagama-West.  Happy Wednesday everyone!