11" x 1.75"
Atlantic and Pacific from Monterey Bay and Emerald Basin (off Nova Scotia), sediments alternate in stripes. The lucky part is how the Emerald Basin sediment formed rivulets and then beaded up in a circular band of pooled glaze. Seaglass center.
10" wide x 4" high
So many times I did the same thing and got a different outcome. I say, "evenly applied ocean sediment melted this way" and watch people realize that the patterns form during melting in the kiln . . . I DO NOT MAKE THE PATTERNS.
From Norfolk Slope, east of Virginia Capes. Comes with box.
Back is glazed with Ceara Rise sediment.
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
Exterior is from a briny venting area of the Red Sea, taken where the water was 133°F. Visit Red Sea Hot Brine for more information.
Interior and foot are a copper red glaze, assembled from refined materials that can be red or green or clear, depending on kiln atmosphere and length of time during firing when the volatile copper is exiting out the flue. In this piece, near the interior bottom there are signs of deep red.
Priced at the temperature I fire to (more or less). Some heavy with silica, some carbonate, some minerals, some volcanic, some fibrous . . . of course! I play with their characters, juxtaposing contrasts and distances. Soon to find closure and rest that enough has been done (by me).
13" x 2"
"Converging diverging . . . spreading ridge here. Fissuring folding friction subducting there. Tectonics. Central creatures framed by chattered area of Mid-Atlantic Ridge rock slurry (diverging plates) framed by a band from Costa Rican accretionary prism (converging plates). Copper green and matte white and lavender glazes assembled from refined materials.
The firing amplified the land's dynamics by causing the melting matte white glaze to flow and carry the Earth crust slurry with it, resulting in an image of a ridge growing out of spreading plates. It captures the process of magma pushing up and forcing the two plates to diverge.
The back has a continuous band of writing, including what came to me with the material.
See more about the material used, known among geologists as the Kane Fracture Zone, here
the Mid-Atlantic Ridge.
9.5" x 1.25"
Exterior's sheer silica-rich pumice mud from Havre Submarine eruption of 2012 is in contrast with front's two samples. Chatter pattern is glazed with earth crust slurry from Mid-Atlantic Ridge at Kane Fracture Zone. Fine grained brown sediment between word band and rim is from an area described to me as the Costs Rican accretionary prism. "Geo-presence" is a word I wrote to rivet myself down in to the uninterpreted evidence of it all. Materials melted on clay.
6.25" x 2"
Says, "Earth's Mid-Atlantic preading ridge. Havre volcano's pumice mud, subduction friction forces." Chattered area is M.A.R. rock slurry. Area outside the word-band is subduction sediment from Costa Rican area and back silica glaze is from havre's submarine volcano.
Shiny brown and copper green were assembled from refined materials.
Hanging holder for candles or sage stick . . . and whatever you might try.
Roberto Varga said that his people ".... Burned sage to open up a window into time so that the ancestors and the unborn children could be present."
From east of Virginia, 4,500 meters of water depth.
11" x 2.25"
On porcelain clay says, "A white marble, a Snowball Earth, spinning above a molten core while continents drift and asteroid dust scatters and settles. Namibia, M.A.R. [Mid-Atlantic Ridge], Space."
White speckled area framing center of sea-glass is the Namibian rock. Next to it is the feather-shaped area stained with rock slurry from drillings into the crust of Earth. Speckled area outside of the band of words is the K-T Band sediment. Lavender glaze assembled from refined materials.
5" x 1.5"
Past glacial motion made this sarsen/glaze from Fyfield Downs. It's the brown glaze that was applied evenly and then, during drying and firing contracted, peeled up and then at high temperature, relaxed back down.
Green glazes assembled from refined materials. Center of sea-glass.
10" x 3.25"
This material came from amphora that were lifted from Ashkelon Excavations. The sediment is applied thinly on the back and thickly inside the bowl. I sieved some of the mud and fired the granules before placing them in the center of the bowl to be glaze-fired. Rim and foot are glazes assembled from refined materials.
6" x 3.5"
The crater ash is the dark speckly glaze. Other glazes from natural deposits and refined materials. The orangey color is a rare event. Click images to largest size and read back image for details.
4.25" x 3"
"8th Century B.C. shipwreck, carriers of wine, Tanit or Elissa", is what's written above the sediment glaze. Interior white and copper green band are glazes assembled from refined materials. Glass from an Egyptian market mixed with clear sea-glass melted in the thumb-well.
This sediment is from amphorae taken at Ashkelon Excavations in the Mediterranean shipwreck sites of either Tanit or Elissa -- both from 8th century B.C. See a photomosaic of the seafloor at the wreck site: Amphorae on Mediterranean Seafloor
14" x 1.5"
Says: Center of glass and gold framed by Earth crust slurry melted framed by "ALL" layers mixed from north, south, east, west framed by 9°45' south 175°45'west & "Snowball Earth". (Amazing roll of the Snow-Ball earth material as it encroaches but does not overflow onto the writing.)
The back is glazed with the same Lau Basin material whose coordinates are specified on the front.
There is a photo of the piece before firing that shows the center is red glass that turned green in the firing.