It has been some time since I last posted, as my art work has been rather sparse. I did make a few shawabtis however.
Some years ago I made a small “art signature” card about my shawabtis (below). I thought I would be making hundreds of these sculptures, but that did not turn out to be the case.
Here are the ones that I just finished:
These are the new porcelain pots since last blog posting. The previously posted designs are shown again, below. The pots are about 7 inches tall, fired to cone 6 with underglazes and a clear overglaze all initially applied to the greenware.
After much thinking about Native American designs (see last post) I decided to not pursue this line of ceramic decoration. Rather, I am now working on some new abstract designs, and have translated several of these patterns, using colored underglazes, to greenware. It be a while before any firing occurs; more to follow on that. Design examples are pictured. I made these using vector graphics with Inkscape, a truly free public domain software that is a good substitute for Adobe Illustrator.
In extreme northern California, along the lower Trinity and the upper Klamath rivers, woven baskets and cups such as these convey tribal cultural language as well as illustrate the art-craftmanship of the region.
I’ve been searching for a glossy clear glaze to cover the sgraffito on my porcelain vases. These are my most recent results and I’m happy with them. The glaze recipe (which I found somewhere on the web) is:
ULATRA CLEAR GLAZE RECIPE cone 5/6 oxidation.
Minspar 200 (I substitued with F4): 8.6%
frit 3134 23.2
wollastonite 15.2
E.P.K 24.8
talc 4.3
Silica 325 23.8
It has been more that a year since I have done any ceramic work. Now, I am back in the studio working on a “fine” art type of porcelain vase. The one on the left is greenware. I use Mayo UG-50 jet black underglaze applied to the leather hard vase and, just as soon as the underglaze dries (two coats needed), I use an etching stylus to outline the figures or do scrafitto designs on the top and bottom black bands. The green ware is then dried and fired straight to cone 6; no bisque stage involved. The outside is not glazed but there is a clear glaze inside. The outside is then lightly finished using 220 grit wet-to-dry sandpaper. The porcelain is Kota cone 5-6 (Kentucky Mudworks).
Last October I rented space in the jewelry studio at the Mendocino Art Center and began working with dry point on copper plates. Some years ago I tried this method but now I wanted to revisit it. I like the simplicity of using the stylus directly on the plate, and not having to deal with acids. I also like the feel of the relatively heavy plate, and the brillance of copper. The plates are shown below. The first two etchings are 4×5 inches, the last one is 6X8.
The first etching is from a drawing I made of a fishing boat in Eureka, CA. The second is of a beach scene involving Florida fiddler crabs. The third is from a photograph of a stone sculpture by John Fisher from Fort Bragg, CA. He carved this beautiful piece some years ago; it stands about 10 feet tall and is located on the campus of the Mendocino Art Center.
After several months of chipping and grinding on the limestone block, I have finally come to some conclusion with the piece. The stone is about 10″ high and 14 ” diameter and weighs about 60 lbs. It is now residing in the Icehouse gallery, McIntosh, Fl.
My new project will be a limestone carving of a sleeping catfish. The stone is about 14″x11″ and I am using the 8″x 6″ clay model as a guide.
Catfish are a favorite theme for me. Years ago, several members of my family owned fish companies in Florida that bought and sold freshwater catfish.
Below are other works from my catfish portfolio.
This marble installation, about 60″ tall, is my latest work. The marble came from an almost abandoned quarry is Sylacauga, Alabama. I carried the stone back to Gainesville in my truck. There is a 6″ by 1/2″ stainless steel rod that secures the marble to the concrete base. I originally conceived of the design as representing a skeleton key being pushed through the stone. As time went on, the piece seemed more reminiscent of a Celtic motif.