andrewwiddis

Kobachi (small bowl).

2011-12-10T13:24:00.000+11:00

Photo: andrew widdis

I love how gravity merges a melting glaze into another.

The blue glaze inside this bowl has a lovely depth when held in the light. Unfortunately it really needs to be held in person to see.

I continue to be amazed by the nuka (white) glaze. It has 33% wood ash (saved from my studio fireplace over Winter) this glaze has a solid white obtained from the ash and some lovely yellow specs from what must be little bits of iron (I know it's from the course black bits of ash). The other ingredients are Silica_33% Potash Feldspar_33%.

This bowl along with some others is on its way to Planet furniture in Sydney. If your in the area perhaps drop in and have a look.

Planet also has a great selection of other ceramics.

Saltbush berries on platter.

2011-12-09T15:42:00.000+11:00

Photo: andrew widdis

Saltbush berries (2.5mm) on a stoneware plater with nuka glaze.

Summer is here now and the house is getting hot. The saltbush berries are ripe and on mass. They need to be on mass as they are so small, but a small hand full is just the thing to end the day; sprinkled on a bowl of vanilla icecream.

The last of Spring.

2011-12-06T10:55:00.004+11:00

Photo: andrew widdis

It's just turned Summer.
Spring was a charged atmosphere of lightning and thunder and heavy rain to match, it's a stark contrast to a prolonged drought lasting 12 years.
My garden has almost become a jungle. Filled with flowers of all colours, and bees buzzing with a confusion for choice.

The Bud vases in the photo are available at SMALLpieces.

Espresso_large.

2011-11-28T12:27:00.000+11:00

Photo: andrew widdis

Coffee in hand, I'm right to go.
In my favourite cup, I'm inspired and nothing can stop me.

Curved platter.

2011-11-12T11:46:00.003+11:00

photo: andrew widdis

Slab rolled.

Tenmoku glaze, with white stripe.

Lucie Rie.

2011-11-07T10:41:00.001+11:00

When inspiration is lacking, an image search of Lucie Rie is always the answer for me.

Altered porcelain vessel.

2011-10-10T13:15:00.003+11:00

Photo: Andrew Widdis.

Detail of an altered porcelain vessel.

Made back in 2008.

The process I came to depend on for safely altering a thin porcelain vessel was to let it get to leather hard. Trim the foot as usual. To alter it I rotated it at a usual throwing speed and introduced water (*with a damp, not wet, sponge) back to the section that I wanted to alter. Use a tool while rotating the vessel, to manipulate the piece.

It's a matter of trial and error.
If it were easy, it would be boring.

*Thanks Anna.

Yunomi w/nuka glaze.

2011-09-22T22:23:00.000+10:00

Photo: andrew widdis

This yunomi cup has the same nuka glaze inside and out. Though its appearance is varied through thickness.
Inside the nuka glaze is an unctuous white through thick application. It was also sieved through a fine mesh.
On the outside it's applied thinly and sieved through a coarse mesh. The bottom half applied over an ash undercoat.

John Perceval.

2011-09-16T12:47:00.002+10:00

John Perceval
Murrumbeena, Victoria, Australia 1923-2000

Currently on display at:
THE IAN POTTER CENTRE: NGV AUSTRALIA Federation Square

Bread.

2011-09-05T21:29:00.000+10:00

photo: andrew widdis

Nothing better than home made bread.

I started making my own bread early this year after the supermarket stopped stocking my favourite light rye bread. Though I'm almost glad now, nothing better than bread straight from the oven; actually I try and wait 10 mins. at least, as it's hard to cut when it's still steaming. The only downside to home made bread is the time and effort to make it, but that's quickly forgotten with the addition of butter and jam.

Books.

2011-09-04T18:08:00.006+10:00

Some books selected that I've had listed on this blog for years (time flies too quickly).
I'd like to draw your attention to some of them again.

I hope you enjoy them as much as I have/do.

Nuka glaze tests.

2011-09-01T08:14:00.012+10:00

Image: andrew widdis

Ash is 33% of a Nuka glaze,. And as you can see in the above image. Preparation plays a big part.
Nuka glaze recipe given in a previous post. Scroll down and you will find it.

Bowls with ash glaze.

2011-08-31T18:17:00.005+10:00

photo: andrew widdis

Finally I have a properly functioning kiln and wheel. And hopefully these are the first of many bowls without failing equipment de-railing me again.

Below is a link to some great books on Ash glazes:

And the following is a book I've just ordered; Looks fascinating!

Elemental.

2011-08-30T14:03:00.003+10:00

photo: andrew widdis

These are the remnants of the elements I tediously removed from my kiln last week.

A few weeks ago I pushed my kiln twice, trying to reach cone 10. It was a futile pursuit and I new it after the first failed attempt; But I did not want to replace an element. It's such an effort. Elements twist, slump and fuse to the kiln, or at least embed themselves in the grooves made for them to sit in. It's a tedious job with pointy nose pliers to lever and snap them out.

Reluctantly I took the side of the kiln off to measure the electrical resistance in the elements, to see which one was weak and needing replacement. Unfortunately they all rated the same. I new the bottom one was not that old, but unable to argue with an amp meter. I had to remove them all.

Only having one spare element, meant a 300KM round trip to Dandenong (VIC, AUS.) to buy a few kilos of Kanthal wire. That, though frustrating in itself, was the easy bit.

With some help and encouragement from Justin, the Technician at my local Uni. we wound new elements. That was not all though. I had to count the coils, measure the amps and bend and twist them to fit the kiln. And that was the easy part.

After spending hours crouched into a kiln prying the old elements out. I had to fit the new ones, with many alterations to what I should have already been the right fit. Then I drilled holes and fitted rods to stop them from escaping during firing. Justin suggested hand made elements tend to fall out. Luckily they have not. They could not, after the effort I went to to keep them in check.

On Friday I fired a successful bisque.

Next, the big test I was dreading, a cone 10 firing.

Late last night I turned the kiln on and crossed my fingers. Just before 1PM today, looking through the spy hole after blowing a few breaths through so as to clear the atmosphere to see the cone. A sigh of relief; it was a full arc, touching its tip to the kiln shelf. Cone 10 over. And over in the time I had calculated.

With a brand new state of the art potters wheel and new elements in the kiln, it should be plain sailing from here; Though I thought that after getting the new wheel.

Just in case, I've found a book by Emmanuel Cooper that I should get:

In a Native garden.

2011-08-29T12:42:00.002+10:00

Photo: andrew widdis.

Growing proudly in my (mainly) indigenous garden (definitely no exotics, except the ever determined oxalis pes-caprae, It's a persistent devil), is this Pterostylis (Greenhood) orchid (Flower head: 30mm high, 20mm wide. Sepal tip to sepal tip: 25mm).

I first found a "Greenhood orchid" in the Whipstick forest this time last year. Until then the forest had become a mainly dry desolate place, only the large Iron bark Eucalyptus, Wattle and Melaleuca decussata, in abundance, as a result of over 10 years drought.

Now quite the contrary, all sorts of orchids have sprung up; including my other favourite, Leopard Orchid.

Until last year the only orchid I had seen was Glossodia major; Itself quite beautiful, now growing twice its previous height.

Further links:

Soufflé bowl.

2011-08-10T11:18:00.000+10:00

Photo: andrew widdis

I seem to be spending my time procrastinating: looking back through previous work.

It has been a year of un reliable equipment for me. Earlier it was my potters wheel that was broken; resulting in the bees knees new direct drive wheel (that has a different lug setting for batts, of course. Resulting in the need to make new ones).

The latest is my kiln. It's electric with a Harco (electronic controller (a must have for the potter that enjoys sleeping regular hours)) kiln sitter. The last few firing have been a struggle. I thought that one of the elements must have been much older and delivering less energy. Turns out they are all delivering the same, all less than desirable. So, rather bravely, I decided to buy the Kanthal wire and wind new elements myself. As if getting an old element out of a kiln wall wasn't hard enough. I now find myself reluctant to start.

I think this time I have raised the skill level too high.

At this point, I wish I still had access to a gas or even wood fire kiln. The usual ease of an electric kiln does have its trials.

I look forward to the time when I can fire at will again.

In the bowl pictured above, the yellow/orange is a reflection of the fire burning brightly in my studio fireplace (much needed this week). I love that this fire is producing part of the ingredients for my next ash glaze.

So much of my practice in ceramics has more than one life or single use.

This vessel has a Tenmoku (recipe in a previous post) glaze.

Bowl with squared rim.

2011-08-10T11:10:00.000+10:00

Photo: andrew widdis

I made this last year. Ran a chopstick up the inside while still fresh from being thrown.
The culmination of a good series of weeks throwing.
The glaze is a tenmoku (recipe previously posted below).

Pitcher.

2011-08-10T11:03:00.002+10:00

Photo: andrew widdis

Made by an unknown potter.
The underside is black from a house fire.
I have thought of firing it just above 600 deg. c. to burn of the black organic reside, but so far lack the nerve or real need to.

Wood ash glaze.

I'm intrigued by my growing list of vessels made by forgotten potters. Perhaps the following book would be a good starting place of research for you; But I need an Australian ref. any suggestions?

Blue bowl.

2011-08-10T01:04:00.000+10:00

Photo: andrew widdis

Made by me about six years ago; a keeper, and pride and joy of my personal collection.
I'm glad that I have kept some pieces along the way. I am all too eager to throw any unsold pieces into the bin these days.
It is cathartic to smash ceramics though.

raku vase.

2011-07-23T11:04:00.002+10:00

Height 600mm. Photo: andrew widdis

A wonderful raku-vase, signed by Greg Rice on the base.
Unfortunately I have no further information.
If you know anything, please e-mail or comment.

Yunomi.

2011-07-22T10:44:00.001+10:00

Photo: andrew widdis

This shape/form is known as Yunomi in Japan; traditionally used for drinking tea.

This is my new favourite cup.
Glazed with a thin nuka (ash) glaze; the ash this time consists of only ash tree and has an addition of 3% bentonite, and I think the spots are from the bentonite.

Recipe for Nuka glaze, cone 10 Oxidation.

Wood ash_33
Silica_33
Potash Feldspar_33
Water_1.5 times the weight of dry ingredients. (consistency of full cream milk)

add 3% bentonite to help keep the glaze in suspension.
The downside of bentonite though is, it takes a lot of effort to sieve the first time.

Bowl.

2011-07-15T15:17:00.000+10:00

Bowl 128mm rim. Photo: andrew widdis

While I'm at it, here is a bowl that I made back around 1999/2000.

A favourite, I think because of the glaze mainly. It looks like frosted ice; though it does not show in a photo.

Porcelain.

Cone 10. Oxidation.

Another plate.

2011-07-14T12:02:00.002+10:00

Plate 140mm wide. Photo: andrew widdis

A plate made a little later than the one from the last post; Dated 1998.

Slab rolled.
Stoneware.
Cone 10. Oxidation.

Underside of Plate 140mm wide. Photo: andrew widdis

Plate.

2011-07-14T11:32:00.004+10:00

Plate 140mm wide. Photo: andrew widdis

Taken out of storage, I have had this little plate and some others sitting on my side table for the last few weeks.
Out of curiosity of its age, I flipped it over this morning and found a date of 1997.
Time has flown by, must be one of the first plates I made.
I think I might make a few more and see if I can still match its subtle nature. Or, perhaps I should leave well alone, and kid myself that I could.

Slab rolled.
Porcelain.

Cone 10. Oxidation.

Fire and ash.

2011-07-11T14:56:00.000+10:00

Photo: andrew widdis

Mid Winter is the best time for ash glaze.
Yesterday, freezing, I loaded up the fireplace in the studio. Nothing beats a fire on a cold Winters day.
Today its ash is being included (33%) in a new batch of Nuka (ash) glaze.
This must be the most cost effective glaze; Having one life giving warmth and then the next, giving glaze to a vessel.

Nuka glaze recipe in previous post.