These are some possible glaze options for my stoneware. I am curious about glazing and love it’s alchemical quality.
Blog
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Making stoneware glaze test pieces
While I’m waiting for my mould to dry, I decided to create some glaze test pieces imprinted with the mould texture.
I rolled some chunks of stoneware clay into evenly flat slabs using this machine which was really pleasing.
I then cut the slabs into rough rectangles.
And tried to imprint them using the surface of my original positive horn shape. It didn’t really work and the clay was sticking to the surface of the tape.
I asked James who recommended I use a chalk to help. And it worked a dream.
I made a whole bunch. I can test lots of glazes on these once they have been bisque fired.I will stand them on end when they are fired with the glaze on so that these conditions mimic the end piece horn firing.I’m looking forward to this next step very much. -
My horn mould still isn’t dry
Maybe it’s because it’s generally quite cold at the moment.
Maybe it’s because it’s so fucking huge.All I can do is keep bunging it in the plastic oven and chanting to the fire goddess.Fingers crossed it will be dry enough for me to cast from next week. -
Slip casting stoneware test pieces
Again, taking up space moaning about the fact that my horn is not dry. My horn’s not dry!So, because I want to slip cast it and glaze my casts, I agreed with James to slip cast some test pieces in the same clay I will use for my final piece, stoneware slip.
We mixed the slip and then poured it into our mounds, filling them to the brim.
I left them to sit, topping up occasionally, for about 10 minutes, until there was a visible cast border; this border happens at the contact point between the two where the water is sucked out of the clay by the plaster.I then tipped the remaining liquid slip back into the mixing bucket. I was careful to pour the slip out with the mould level horizontally so the slip dripped out evenly on both sides.I then turned them upside down and left them to rest/ air on sticks.After a while I trimmed the tops using a plastic blade. This apparently helps the cast cone away from the moulds evenly.
I decided to pop them in the plastic oven a low temperature to speed up the drying time.I came back the next day, bounced them out of their moulds and then cleaned up their edges using a damp carpet tile and sponge.They’ve been left on the firing rack with my other test pieces.
I will glaze them next week when they’ve been bisque fired. -
Fashion studio induction
Met with the technician for the fashion dept. and discussed my 2 pieces. She was called Marcella and she was brilliantly helpful.
She recommended the haberdashery where the old post office is at the top of Queens street for my materials.She does not have any patterns for the wimple piece. She recommended searching Etsy.She recommended that I experiment with the freehand sewing machines to write the text on the wimple. I feel like this might be a pragmatic compromise between my desire for others to contribute and the projects tight timeline. I have booked a session with her in the textile studio tomorrow at 3pm to practise.
She also said they don’t have any rectangular cross stitch frames; I need a rectangular one to stop the fabric from stretching the wrong way. I will chat to Don in the 3D workshop about building one in the right dimensions this week. -
Transgression and Taste
What makes art good or bad, or rather valid art. Who decides? Is it the gallery art is exhibited in? Is it the particular art scene? The artist?Ultimately I think it’s you, your supporters and the creative community you are a part of who decide. In my opinion, an artist trying to make sincere comment about something is valid.I am really interested in considering when does being transgressive add value to a piece of art because this is something I want to explore in my own work.
A pioneer of body art, American artist Chris Burden arranged to have a friend shoot him non lethally in a gallery space, in response to the trope of being shot in America and the Vietnam War. The piece was called ‘Shoot’ and caused major controversy. He wanted to feel things bodily that he had only understood so far visually. I love this, most of all because no one stopped him. It’s a really big lens on the bystander effect. And also explores what you can get away with as an artist, that otherwise would evoke a totally different reaction.
I found a great documentary about it here:https://www.nytimes.com/video/opinion/100000003694572/shot-in-the-name-of-art.html
‘Loop My Loop’ by Helen Chadwick, one of Britain’s most important feminist artists.
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https://parishkneelers.co.uk/ – resource and grants advice
Spoke to Di at Parish Kneelers who shared that the company was st one time the largest ecclesiastical wool supplier in the UK.She recommended that a 12 count canvas with wool tapestry thread in a tent stitch would suit the project for speed, feel and resilience.She referred me to the portrait kits on their website by Emily Peacock as reference for this finish.
