The Best of Sawdust and Dirt
A record of the goings on around Michael Kline Pottery!
Filtering by Tag: OPP
"Reposting from Kevin Kowalski's awesome Instagram feed! From Kevin's original post: "Decorating a flask with chrome green oxide on yellow flashing slip. In the 1800’s and 1900’s this technique was made popular with Mochaware makers. I first saw this technique when @ceramicartsnetwork featured a clip of Robin Hopper using Mocha Diffusion on his plates. This technique along with soda firing has influenced my work for the past three years." A post shared by Kevin Kowalski (@kowalskipottery) on
I often joke at workshops, that I can paint with a mop when I get warmed up. Unfortunately I'm not making pots scaled for mopping. But Kwak Kyung Tae is! Here is a great video of him doing the mop trick on one of his massive pots! Enjoy and click below to see more of his fine work.
I finally finished processing about 500 lbs. of red dirt and came to the conclusion that I need bigger versions of my tools to get a bigger yield! (duuuH) Instead of shovel, 1/2 in. drill with jiffy mixer, I need a backhoe and a 100 gallon blunger! Then we'll be talking! I also had some good feedback from Tom Turner about my clay body and we invented (at least in on paper) a giant french coffee press type of clay plunger. (to separate rocks and small stones from slip before it is dried and pugged)
I finally cut the plates that have been under plastic since Sunday. I noticed this subtle influence as I was looking over this patterned wire cut. Can't say it was a conscious thing, but I had a little chuckle and thought I would share.
...until next time!
1. other peoples posts.
There's a lesson here, "Make what you enjoy making!"
I just spoke to my porcelain buddy Tom. He's really excited about this survivor. I can see why. He sent these pictures. Tom's thinking from the evidence of bloating and burn outs/melt outs that the pot was an early, maybe 1850's, pot made from an exploratory field of clay. Tom pointed out to me, and as I see, that the clay had several technical issues. It could have been essentially a test or clay that was being used for the first time or an example of some transitional clay. During our conversation I kept thinking that he could have been talking about my clay, haha. Perhaps it was a pot made from the best available clay at that time. Obviously this was not a beginning potter, but the materials may have been new and untested. The jar's rim/lip is unglazed and I think the deformation is from other pots being stacked upon it. I don't recall what Tom said about that. Here is a picture of that rim.
I would have to say that there must be many more similar pots out there yet to be discovered by the wider pottery loving audience. It's exciting to see these pots surface and have access to them. Thanks Tom for sharing!
Here is Tom's recent, and very relevant commentary in Ceramics Monthly.
Our Seagrove area potter cousin Daniel Johnston has a show in our neighborhood at the Crimson Laurel Gallery in Bakersville. I haven't been to see it yet, but I'm heading that way today. The show is online here.
Enough nostalgia, let's get back to this jar. I took a good look at it and noticed some beautiful subtle colors that are somewhat noticeable from this picture that I took with my cell phone. I'm not sure whether the patterns are solely from the flame. I seem to remember Ken wrapping pots with straw soaked in salt, but it's been a really long time. It's a real beauty. It was the next best thing to seeing Ken who I haven't seen in some years. He now teaches at Austin Peay State University in my hometown of Clarksville, TN. Here is Ken's web site if you want to see what he's been doing lately.
Here are a couple of old pictures I retrieved from the vaults showing the firebox of the former UTK anagama built* in 1981(?) by Shiro Otani at the Melrose Ave studio. On the right is a picture of the kiln and that's Peter Rose chopping wood. (I can't remember if I have already published these pictures in another post.) Peter lives and makes pots in Knoxville to this day but hails from Australia. After Kenny graduated and moved on Peter came around, (thank God!) and helped all of us Art students fire the kiln. We were pretty much clueless. I had helped Kenny fire a couple of his kiln loads, but really hadn't fired by myself. So, I owe a lot to Ken and Peter!
All these memories (and I could go on, but I'll spare ya for now) from a jar.
The kiln was actually built by Ken Shipley, Stephen Frazier, Patrick Houston, and others after the kiln built at Arrowmont built by Otani.