Archives for posts with tag: pottery

Words have meanings.  For almost anything you might want to think about, a word — or in English, likely more than one — already exists to apply to that concept or object.  A term of art for a stemless and handleless glass used for drinking is a “tumbler.”  At the pottery studio, “tumbler” would be used for a clay thing to drink from, since it’s not a glass “glass.”  But why is this a tumbler, when that’s exactly what you want it not to do?

one cup -- green

Thanking all that is holy, I have on my shelf a hand-thick (look up “hand” as a measurement) unabridged dictionary, which tells me that originally this drink holder had a “rounded or pointed bottom and could not be set down until emptied.”  I get it now.  The word still applies, but with a shifted meaning.

Here at the greenware stage is one of a set of tumblers, close matches, as measured by my fingers and other handy tools.  Should this be a watershed logo?

All of her sisters will go in the kiln with her.  I hope to show the later stages in due time.

tumblers - greenware

 

greenware

These pieces in greenware are ready for the bisque kiln.  They are a pouring bowl, a small lidded pitcher, a lidded jar, two ewers and a human hand.

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At this stage, all hope for the future of firing, glazing and firing again still prevails.

Photos by me at Districtclay in Washington, November 2014.

Miss Pixie’s is a well-established house of treasures on 14th St. NW in Washington, DC.  It’s impossible for me to walk through without seeing wonderful objects and furniture that bring memories or just please the eye or hand.  Even lovelier are the everyday ordinary things in multitudes, giving the satisfaction of plenty.CIMG2325This is a beautiful textured pitcher by the well-known potter Sandi Pierantozzi.  I had to have it.

I’ve been out of town, out of the country, out of creative juices, but now I’m back. [lds]

This is a vessel for tea or spirits, glazed in matte white with unglazed handle and spout.  The input access is a little small (so I wouldn’t stuff a teabag in there), but it pours well.

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This is a detail of the top surface.

CIMG2312Photos by me.

A blue/green pouring vessel.

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It’s blue if you pour left-handed, green if right-handed. It’s sometimes a mystery, but probably has to do with which way the winds were blowing in the hot kiln.

 

CIMG2006 crop Celadon covered jar with the the shadow of a fish.

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A nine-inch blue bowl with “watershed” impression on edge.

She went ahead with the bluebird-topped pot, but really would rather see all blue. Everyone wants blue pots.

bluebird potMy photo of Marisa Nixon at Petworth Community Market, 12 July 2014

 

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As an inaugural post for Watershed Clayworks, I choose a pot, a beautiful pot, that is not my own. I saw a piece like this one on the cover of Clay Times magazine, and fell in love.  The creator is Glenn Dair, of Callanwolde Fine Arts Center in Atlanta. Communication through Facebook reveals him to be a clever fellow with words as well as clay.

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I see pots I love, but typically just see them and hold them, and imagine making one. I don’t buy. But I bought this one, one of just a few ever bought.

At my stand at the Petworth Community Market, while the pot was still a picture in my mind and a package in the mail, I chatted with the storyteller and life coach who happened to be stationed at the next booth about my needing this one.  She gave me a justification:  this pot will bring energy to my next pot, so the reverse energy of the trade will work for me.

The proportions are perfect, the three glazes are matte, mottled and shiny, one of each, in muted colors.  I tried to copy it (and will post that attempt later, when that pot finally appears from firing), but not realizing he threw it as one pot and shaped the legs from a larger form, I added three separately thrown cones for feet.