I fired a new load of pots yesterday, making progress toward both summer inventory and a good selection of work for "The Potter and the Painter," in late April at the Stove Factory Gallery in Charlestown. (First mandatory publicity reference ... ) Many of the pieces in this firing were my usual stoneware clay with ground granite or pond sand wedged in.
For some reason, my work is getting rougher and rougher. I'm trying to get inclusions in the clay that will pop out or melt out. Easy enough to do if you're digging clay from the ground, but I don't have ready access to a natural stoneware clay, and thought I would wedge in some foreign matter. I also will need some rough clay body for Doug Fitch, when he and Hannah McAndrew come to Cape Cod for their workshop April 9-10. (Second mandatory publicity reference ... ) Doug digs his own clay in Devon, but gave up on the idea of shipping it to the US for this workshop, so I'm trying to come up with something rugged enough for him to feel comfortable throwing. Some of this stuff might work for him.
Both the sand and the pulverized granite (sold in feed stores as "chicken grit") roughen up the throwing and the surface of the fired pot. And they beat up the Shino a bit, as well. They make for rough pots, but I like them.
More new pots tomorrow.
The photos: Top, the two pots to the left are from this firing, thrown from unwedged trimming scrap; next, small dishes influenced by the Karatsu work of Takashi Nakazato; next, pair of Shino vases; next, three Shino vases; bottom, ash-glazed vase.