Endeavors and Short Comings of a New Process (Brett Freund)

Now that we are approaching the final exhibition that will demonstrate the research I've committed myself to since last spring, I'm attaching all the final gems and preparing for a round of firings. Taking some alone time and exploring form during the soft stages of clay is always the most rewarding aspect of the process. Glazing and surface decoration takes a different kind of focus as I consider the mood or associations I want to make with my work. Whatever happens between now and the final kiln unloading, I'm forecasting slipcast gem constructions, slab pots, and printed clay vessels. More importantly, I aim to share both the success of my endeavors and the short comings of exploration in the Jerome exhibition.

Time and Evolution (Joe Singewald)

The goals I established for the Jerome Ceramic Artist Project Grant were simple: set up a new studio and further develop my handbuilding vocabulary. The first goal was highlighted in my previous blog entry leaving the latter for this entry.

Years and years ago when I first felt comfortable making pots on the wheel, I remember the thrill that came with each kiln unloading and saving the gems for apartment cupboards. More exciting was the realization that the pots thrilling me at that very moment would, overtime, lose their spark when new, more stimulating pieces replaced them. This evolution has always been my goal. The simple formula to promote progression: more time and more pots.

Fast-forward 15 years to today where my Jerome goal is to pursue handbuilding with soft slabs of clay.  For the past few months, my focus has been on a handful of forms: cups, vases, boxes, and large jars.  Pots were being made and fired with hopes of building a stellar Jerome show inventory.

Suddenly and unexpectedly something happened last week that threw a kink into much of what I accomplished in the previous months.  Late on a weeknight I had a moment of clarity while finishing a vase. I realized a few pattern adjustments could alter my vase adding visual strength to the form. Likewise, lengthening a smaller vase neck and adding walls to bowls quickly morphed these forms into better, more exciting pieces. Not just a little better, but a lot stronger to the point that I don’t know if I can show the pieces finished earlier. Progress feels great and is electrifying and energizing.

Cut Handled Bowl

Cut Handled Bowl

Six Sided Vase, 22 inches wide.

Here we go again, I am really pleased with the advancement in studio, but I am more excited about the evolution that will continue and for those pieces that have yet to be made.

Studio Update from Adam Gruetzmacher

I spent the late summer and early fall getting caught up on studio work and continuing to work on setting up the basement studio. Updates include two tables, another set of shelving, and finally moving my wheel (and all the other things that I have managed to accumulate over the years) into the space. As of November 29th, I officially moved out of my previously occupied studio and began working in my fully-functioning (albeit disorganized) home studio full-time.  My time was also occupied with some glaze research. I did a series of tests on seven clear glazes and six bisque slips. The clay body that I landed on is a 50/50 mix of Red Art earthenware and coarse fireclay, with a little ball clay and grog to round it out.

Two views in the studio showing the completed shelving, two work tables, and my wheel. The rest of the space is occupied by the kiln and a large area used for storing totes of finished work, shipping materials, and tools.

My results from the first round of glaze tests.  I had a lot of successful tiles come out of this firing, but I've narrowed the field to a couple of glazes and a slip for further testing with oxides. The bottom of a large vase is shown to display the red stoneware that I am using.

Work in Progress from Brett Freund

These images are of current work in progress as Brett explores the possibilities of 3D Printing with clay. Brett’s focus for the 2015 Jerome Ceramic Artist Project Grant will be integrating new technologies into his current body of work. He believes that it is important to further his own education and to adapt new ways of creating visual language.