| Some pieces say things that will never be repeated and they have a commanding presence that gets some point across. Some are rarely seen because they're tucked away, in case of a well-curated show. Here are some: |
| ||||||
| Sediment from 4500 meters deep in the Atlantic Ocean east of Virginia. Molten sediment wandered over a 2.5" area of lavender glaze on the inside bottom of the bowl. The rest we can speculate about . . . and many people already have. 5" wide x 4" high | | | 4.5" wide x 7" high Coordinates written on the rim-band point to the Atlantic, east of Virginia. Other glaze is lavender. This one is often seen as looking through a stand of trees. Cobalt infusion into branches in front layers, not in rear. | ||
| ||||||
| ||||||
| 6" x 3" Porcelain clay and ocean sediment from Ceara Rise, with a foot glazed with sediment from Boston Harbor, near the airport. Each speckle in the brown glaze is likely to be a melted spurt of calcium carbonate from a foraminifera, or other organism that once lived. Inside I laid a big piece of clearish sea glass, with a smaller piece of old and very intense deep blue glass. Thanks to fire. Says on exterior band, "Sea glass, Dark Cemetary, Boston Harbor, because of Earth Us and Fire." | | | Hanging holder for candles or sage stick . . . and whatever you might try. I once read Roberto Varga's words that his people burned sage "to open up a window into time so the the ancestors and the unborn children could be present." I rolled a slab for a platter too big and it buckled and formed this shape and I stopped it . . . trimmed it a bit, and let it be born. It hangs from wire wrapped around two beads. I rarely mix sediments but in this case, I chose to because of the actual mixing in the ocean floors layers. I used mud from Brazil Margin in the Souyth Atlantic, some from Norfolk Slope where the Gulf Stream turns, and the first sediment sample I ever tried, from east of Virginia, 4,500 meters of water depth. | ||
| ||||||
| ||||||
| A friend named this Chimera for me. I had no representational intention with this piece, which I began in daylight, and continued later that in the balmy July moonlight. More story comes with how it was shaped by events, which I will share orally. | | | Just say, "evenly applied ocean sediment melted this way," and watch the faces of whomever is getting it for the first time. This tells the story of my work in a flash . . . from near and far. The patterns forms during melting in the kiln . . . I DO NOT MAKE THE PATTERN. 10" wide x 4" high From Norfolk Slope, east of Virginia Capes. Comes with box. Back is glazed with Ceara Rise sediment. | ||
| ||||||
| ||||||
| Green copper glaze at the flue exit in the kiln where gases wait their turn to exit . . . and while they do, they eat copper from the glaze, or blow oxygen into it. Every gust of wind outside, changes atmosphere in the ware chamber. Glaze colors show the tracks of wind - like painting with fire, that's miracle #1. Miracle #2, is the crystalline glaze that pooled and framed the fish. Miracle#3 is friendship . . . thank you Alan Steinbach for carving fish and leaving them with me. Miracle #4 is that this bowl can live buried in the ground for aeons and not decompose . . . and I'll be gone in a few minutes, which I call the miracle of now. 10" wide x 7" high | |||||
|