Meagan Chaney Gumpert

Hard Ware 2013 National Ceramics Exhibition

Mon, 20 May 2013 04:00:00 GMT

Honored to be part of such an outstanding exhibit! Opening reception this Friday at the Hill County Arts Foundation.

If you're in the Ingram, TX area, please stop by! And if you do, I'd love to see some photos of the exhibition.

blog feed testing

Sat, 04 May 2013 13:53:00 GMT

Having some problems with my blog RSS feed, so I'm posting to test it out. If you receive this, great! Maybe give me a thumbs up or comment to let me know. Especially since I had a report that my comments feature wasn't working either. Yikes!

Thanks for your patience as I work through these issues!

Best!

Meagan

Low Fire Friday - Red Iron Oxide Wash

Fri, 03 May 2013 04:00:00 GMT

I'm often asked how I get the dark, carved lines in a lot of my work.

This simple recipe is an old stand by! It's just a 50/50 mix by volume of stain/oxide and Frit 3124. (ie 1 spoonful of each ingredient.)

Red Iron Oxide Wash

1 Tablespoon Red Iron Oxide

1 Tablespoon Frit 3124

Water

How much water? Well, that depends. When I want the carved lines to stay dark, I only add enough water to be able to mix the ingredients and still be able to brush them on. I typically like to apply this wash to bone dry greenware and then bisque fire it to cone 06.

But this wash can also be used to accentuate texture. A thin coat can be applied to the entire surface of a bisqued form and then sponged off. The raised surfaces will be wiped clean, and the wash will remain in the carved or recessed areas. This technique was used over underglazes in the collaborative Arrowmont Official Birthday Mug project I talked about here.

This simple recipe also has endless variations. Red iron oxide isn't the only oxide that can be used. Experiment with chrome oxide for a green wash, cobalt carbonate for a blue, etc. Or, like we used in the Arrowmont Official Birthday Mug, a black mason stain. Yep, this recipe works with mason stains too.

Or, you could substitute another frit. I've chosen Frit 3124 because it doesn't run too much during a cone 04 glaze fire, and is pretty opaque. Depending on your needs, you could try Frit 3195 if you want a more transparent wash with just a little bit of flow. Check out this cone 04 Frit Melt Test. I made this handy reference years ago, and it has been extremely helpful in determining the differences between frits.

Well, folks, that's it for this segment of Low Fire Friday. Anyone out there using a colored wash they are happy with and willing to share? What other applications are available?

Low Fire Friday - Raw materials needed for low fire glazes

Fri, 05 Apr 2013 04:00:00 GMT

If you were starting from scratch and needed to buy raw materials and chemicals for low fire glaze mixing, what would you need?

But wait, let me back up...

It started in January. My annual studio clean up. But this year, I did a seriously over-due, deep cleaning. Top to bottom - reorganized, threw away junk, recycled, sold unused equipment/supplies, and built a new glazing area. The new glazing area brings me to today's edition of Low Fire Friday.

The inspiration for my glaze area over-haul came from Emily Murphy Pottery. Here's her space...

And here's my before and after...

It's a dream! Compulsively organized, just like I like it. All that cleaning up, throwing, away, and organizing all those chemicals got me thinking, which raw materials do I use most often? And what would qualify as "must-haves" so that I could mix all my favorite glazes.

Without further ado, here's the grocery list I came up with

These materials and the quantities listed would give you enough to make one 500g batch (the size of a large yogurt container) of each of the following: My Favorite Crawl Glaze, Todd's Texture, Bleeding Cake, Lizard Skin, Base 3, Base 4,and Pete Pinnell's white slip. All of which were featured in a Low Fire Friday post.

The materials I listed above are definitely enough to get you started with a few low fire glazes. But if you're looking for more, I like to have the materials listed below readily available so that when I come across an irresistible glaze recipe, I have what I need to do the testing. The 50lbs of Red Art and XX Sagger are for terra sigillata. I buy most of my raw materials from Highwater Clays, so the prices quoted are from their website.

Some other materials I have on hand are:

What about you? What raw materials do you use the most? What did I overlook?

Thanks for checking in and happy glazing!

PS - More of Emily Murphy's studio can be seen here.

Low Fire Friday - Thick is the Trick

Fri, 01 Mar 2013 05:00:00 GMT

I often get emails with questions about the crawl glazes that I have posted previously for Low Fire Friday.

"How do you apply your glazes?"

There are several ways of applying glaze. Dipping the piece into a large bucket of glaze. Pouring a thin, liquid glaze onto a piece. Spraying on a glaze. Or Brushing on the glaze.

I almost exclusively use the brush method. Whether it is a glaze, slip, underglaze, or oxide, I prefer to use a brush. Since I apply multiple colors in specific areas, brushes give me the ability to control placement and composition.

"I brushed my glazes, but they didn't crawl like yours? What happened?"

Well, one of the biggest "secrets" is to mix and apply these type of glazes THICK. And by thick, I mean like cake frosting. It isn't a matter of "How many coats?". Usually, just one "frosting" will to the trick. They end up being about 1/16" - 1/8" thick. (Another reason brush application is preferred over other methods.)

When the glaze has dried on the bisque ware you should see the crackle or crawl pattern. This is also when the glaze is the most fragile, and tends to chip when over-handled. (Right photo below.) When using crawl glazes in combination with non-crawl glazes, I apply the crawl glaze last, and then immediately load it in the kiln if possible.

Another tip: Be mindful of the direction you apply the glaze. This crawl glaze will tend to pick up brush strokes. Where the glaze is the thickest, the crawl beads will be larger. Thinner glaze = smaller beads.

Happy Glazing!

Want this low fire crawl glaze recipe? Click here.

Low Fire Friday - Roses are Red

Fri, 01 Feb 2013 05:00:00 GMT

In honor of Valentines Day, I'm featuring my favorite RED glaze. After years of searching and chasing the "perfect red", I stumbled across Spectrum's Fire Engine Red and found the answer I was looking for.

Often I'll use it over slip trailing. (left photo.) But I've also discovered interesting effects when it is layered over this Bleeding Cake Glaze. It becomes this wonderful glossy and crunchy surface that I love. (right photo.)

That's it for now. Happy Glazing.

Son of Sedonia - An adventure for those who dare to dream

Tue, 08 Jan 2013 05:00:00 GMT

I have a few confessions to make. I do not read as much as I used to. As the mother of two small children, there is not a lot of leisure time. In recent years, most of the books on my bedside table have involved baby poop, sleep training, or breastfeeding. Science fiction is not my genre. But when your younger brother writes, illustrates and publishes a book, reading it becomes a priority. Finding the time to read it wasn't a problem once I started. I blew through the 300 page book in 4 days! I could not put it down! Seriously!

My other confession - I was nervous about reading it. What if I didn't like it? What if I didn't think it was any good? What would I tell him? My fears were quickly put to rest after reading just the prologue. This was going to be a great, well-written story!

And after all Ben's hard work, Son of Sedonia is now available on Kindle and in paperback through Amazon.

The book is best described as Blade Runner + City of Dawn + Black Hawk Down. A full summary and more author info are available on the website www.SonofSedonia.com

Ben has graciously provided a Son of Sedonia Free Preview Download too. You know, if you're the type who likes to check something out before making a commitment to buy. (Note: Apparently they're still working out some kinks with the download. It seems to be working better on Google Chrome or Internet Explorer. And you'll need to have a plug in for ePub or Mobi Kindle Fire.)

I was blown away by the story, yes. But not only the is the story itself amazing, but so is the journey of how the story came to be. It began in June of 2006. Here's how Ben tells it...

It started with an illustration. Thumbing through a coffee table book of Steve McCurry photo portraits, I came across the image of a young Mali boy. There was something especially arresting about him, so I started sketching. A few iterations later, the fiction started coming together in my head. A young boy growing up in the slums outside a futuristic megacity. It should feel like National Geographic were exploring and reporting on a real place 70-80 years in our future.

What started as a digital painting portfolio piece turned into a 6 year long obsession. And my first novel.

[Fast forward to June of 2012.] I had what some would consider a dream job. Art Director at an iPhone game developer. The people were great, the money was great, but the work... After 5 years in the game industry, clawing tooth and nail to become a professional artist, I had finally made it. Only it felt like someone else's dream. And the story was ever on my mind, filling my nights at home. The moment came to make a decision, and I did the crazy thing. I quit. I quit to see what the Best-I-Can-Do looks like. It has resulted in one of the happiest periods of my life.

Well, Ben, the Best-You-Can-Do is pretty freaking amazing!! And this is just your first novel! I could not be more proud of you! You are an inspiration!

So, Readers out there, I hope you'll click on over to Amazon and order your copy of Son of Sedonia today. You will not be disappointed.

Happy Reading!

PS - Read it? Liked it? You can help by spreading the word. Like the Son of Sedonia facebook page, pass the novel along, and share the links.

Low Fire Friday - Barium Blues (Guest Artist - Emma Williams)

Fri, 04 Jan 2013 18:44:00 GMT

Hello and Happy New Year! Hope your holidays were filled with lots of family, friends, and good times.

I'm back with a another edition of of Low Fire Fridays. Starting the year off by featuring the stunning glazes of Emma Williams Ceramics. Emma emailed me last month asking for help troubleshooting some issues she was having with my favorite low fire crawl glaze. She is graciously sharing two of her favorite recipes with us today.

Emma graduated from the Nottingham Trent University in 1999 with a BA (Hons) in Decorative Arts, specializing in ceramics. Since then she's taught ceramics, apprenticed with other potters, and still found time to create her own work! For the past ten years, she has been selling her pottery through galleries and events in the U.K and in her Nottingham City Centre studio (at Nottingham Artists' Group).

Here's what Emma has to say about her work and the glazes she uses...

Inspiration for my work comes from a myriad of influences from the natural world. In particular, the textures and colours that can be found there. For several years I made a range of hand-built work glazed by dipping and pouring on an Emily Myers barium recipe (see below) in combination with another dry textured barium low-fire glaze (Aqua Blue, also listed below) and inlaid copper oxide, to produce a range of vibrant blue, turquoise and purple shades with metallic hints

Urchin Form - 2011. Coil built onto a press-moulded base, white stoneware clay. Copper oxide inlaid into texture, barium and copper glaze. Fired in an electric kiln at 1050ºC. 13 cm H

In 2012 I began to experiment with a new range of work, and have now extended my glaze palette on new decorative white earthenware and black stoneware clay vessel forms to include new colours and textures, including some of Meagan's beautiful crawl glaze recipes! I still use my original dry barium glazes on some pieces, though now often in combination with other glaze textures and colours

Small Round Bowls - 2012. Press-moulded. Black stoneware clay, Aqua Blue copper and Blue cobalt barium glazes over white slip, toasted brown and white crawl glazes. Fired in an electric kiln to 1050ºC. 5.5cm H

Emily Myers Blue - 1050ºC/1922^oF or a hot cone 04

Barium Carbonate...............40

China Clay...........................19

Nepheline Syenite............ ...19

Flint/Silica.............................10

Lithium Carbonate.................5

For Vibrant Purple: +Copper Carbonate.................3.5

For Deep Blue: +Cobalt Carbonate...................3

I had some problems with this glaze a few years back, it seemed to lose it's mattness. Removing the lithium seemed to remedy the problem, but meant that the surface was a little 'flatter', so I now often use in combination with copper oxide speckles to liven it up!

Aqua Blue Dry Glaze* - (I fire this to approx. 1050ºC) - 1050ºC/1922^oF or a hot cone 04 (*Here "Dry Glaze" is referring to the matte quality of the surface of the glaze after firing.)

Nepheline Syenite..............40

Barium Carbonate..............30

Ball Clay.............................15

Zinc Oxide............................5

Black Copper Oxide.............4

To see more of Emma's beautiful work, check out the following links:

Website: www.ew-ceramics.co.uk

Emma Williams Ceramics Facebook: www.facebook.com/EmmaWilliamsCeramics

Studio Facebook: https://www.facebook.com/pages/Nottingham-Artists-Group/355334147866921

Emma, thank you again for taking the time to share these glazes with us. If anyone else has any low fire recipes, tips, or techniques you'd like to share, shoot me an email.

On another note, I wish I could guarantee that Low Fire Friday will be Monthly Feature for all of 2013. However, with a 2 year old and a 4 month old, my time at the computer is a bit sporadic these days. I'll do my best to keep the recipes coming though!

Cheers!

Low Fire Friday - Tis the Season

Fri, 07 Dec 2012 05:00:00 GMT

In honor of the holidays, I thought I'd so something a little different for December's issue of Low-Fire Friday. Instead of a recipe or technique this month, I wanted put together a little low-fire shopping list.

The following 9 artists all work with earthenware clay and have some exciting items listed in their Etsy shops! And many are even offering special holiday sales and discounts.

1. Ron Philbeck -mugs, cups, bowls, plates, jars, pitchers, jugs, vases, teapots, and more. $10 - $145

2. Lauren Sandler - cups, mugs, and tumblers. $32- $120.

3. Dawn Ferguson - plates, bowls, ornaments, cake stands. $10 - $65.

4. Brian R. Jones - cups, plates,serving bowls, and more. $35 - $200.

5. Kristin Pavelka -cups, mugs, bowls, plates,utensils, serving pots, flower display and more. $35 - $155.

6. Tom Jaszcak - plates, bowls, cups, vases and more. $35 - $110.

7. Meagan Chaney Gumpert - tile plaques, glass pendants. $20 - $45.

8. Courtney Murphy - mugs, cups, bowls, teapots, cream and sugar sets, and more. $32 - $220

9. Patti McQuillin, owner of Crowfoot Studio - carved ceramic tiles. $9 - $88.

Hope you find something you like - for you or that perfect gift for that special someone. Names above are linked directly to their Etsy shops. Enjoy and Happy Holidays.

2012 Etsy Holiday Sale

Wed, 05 Dec 2012 02:33:00 GMT

Click on over to Etsy and check out my Holiday sale this Thursday through Monday. 15% off Fused Glass Pendants and Tile Plaques!

Low Fire Friday - Slip trailing with white slip

Fri, 02 Nov 2012 04:00:00 GMT

The following was originally posted March 12, 2009. I'm taking this opportunity to edit and update the info for this month's edition of Low Fire Friday

A few years ago I started incorporating clay slip trailing into my work and have been having lots of fun with it. Here's the recipe for you to try.

Pete Pinnell's White Slip
40 OM4
40 Talc
10 Silica
10 Nepheline Syenite
-------------------------
100

+10 Frit 3124
+7 Zircopax

(You can also add a few drops of sodium silicate - a deflocculant that helps reduce viscosity and makes the slip easier to apply with a slip bottle.)

There are a variety of slip trailing bottles out there in many shapes and sizes. You'll want to experiment with a few until you find the style that you enjoy most. Some things to think about 1) the size of the tip opening can have an effect on line thickness it creates 2) how hard is the plastic? You're could be squeezing for awhile, so you want a bottle that's softer and easier to work with. 3) how much slip do you want it to hold?

Try drawing a practice line first to check thickness and to make sure the bottle isn't clogged. A sewing needle can be used to unclog the tip if needed.

Squeeze and draw away! It's a lot like decorating a cake. I like to wait until the clay is leather hard because the clay forms are easier to hold and work with at this stage.

A sample of slip stippling.

A group of unfired, slip decorated Minis.

A few glaze fired sample of how glazes will "break" and pool over the slip giving the surface added depth and dimension.

More glaze fired samples.

The glossy glaze used in the above samples is the Base 4 that was shared in August's edition of Low Fire Friday.

Here's a more recent Tile Plaque also incorporating this same slip, but with a different finished look.

Happy Glazing!

Low Fire Friday - Glaze layering (Guest Artist Martina Lantin)

Fri, 05 Oct 2012 04:00:00 GMT

What a treat to have Martina Lantin as this month's Low Fire Friday Guest Artist. And Martina is sharing not 1, but 2 recipes with us! Whoohoo!

I had the pleasure of meeting Martina while we were teaching at Arrowmont School of Arts and Crafts this past August. Though I've know her work for awhile, it's always great to meet the maker behind the handmade. Instantly, I was won over by her easy going, but professional nature and enjoyed conversations we had in and out of the studio all week.

Born in Montreal, Canada, Martina Lantin received her Bachelor of Art from Earlham College (1996) and her Master of Fine Art from NSCAD University (2009). She has been an artist in residence at Baltimore Clayworks in Baltimore, MD and Arrowmont School of Art and Craft in Gatlinburg,TN. Currently, Martina is a professor at Marlboro College in Marlboro, VT.

Selected as an Emerging Artist by Ceramics Monthly (2002), her work has been recognized in numerous juried and invitational exhibitions. In 2010 Martina was award an Individual Artist Grant by the Tennessee Arts Commission. She has also published articles in both Studio Potter and Pottery Making Illustrated.

Committed to the joys of working in earthenware, which she describes as chocolate porcelain, Martina creates functional ceramics through thrown and altered forms. The thin layer of white slip serves to accentuate the construction methods and to invite an exploration of the making process.

Here are the low fire glazes and application technique Martina is sharing with us today:

WOODY HUGHES BASE GLAZE – CONE 04 – good with colorants

Gerstley Borate	26
Lithium Carbonate	4
Frit 3124	30
NephalineSyenite	20
EPK	10
Flint	10

Colorants can be metallic oxides or carbonates or mason stains, singly or in combination.

Colors in the image:

Blue green: 2% copper carbonate and 3% deep orchid stain
Violet: 5% orchid stain and 1.5% rutile

OPAQUE GLOSS: (rated for cone 015 – as an over-glaze enamel)

Frit 3134	36.4
Pemco ‘P-25’ (frit 3269)	55.6
EPK	8
Add tin	10

Colorants – stains or oxides. Do your own tests to develop your palette – start with 2 – 10 %

First, the Opaque Gloss is slip trailed onto the piece (in the example photo - the colors you see are from the slip decoration applied prior to bisquing). Spaces in the design motif can be filled in with colored versions of the Woody Hughes base (brush application works best for filling in areas with color). Woody Hughes base glaze is applied to cone 05 bisqueware, ideally poured or dipped.

You can also play with waxing over the colored Woody's glazes or not before you cover with the clear glaze – depending on the fluidity desired. The clear Woody's Base glaze can be very thin for dipping, however when the stains or oxides are added for the colored glazes, thicker is better for brushing purposes.

Martina then fires to cone 03 using a kiln sitter or cone 04 when using a computer program with cone 04 on the program and 25 minute hold at the end.

So, there you have it! Martina let us in on some of the secrets of how she gets such beautiful, fluid results in her work!

Hope you're having a wonderful Friday!

Meagan

Opening Reception - Art in the Modern World (Gainesville, FL)

Thu, 27 Sep 2012 20:11:00 GMT

I'm excited to be a part of Art in the Modern World: A Juried Exhibition of Contemporary Work at the Doris Bardon Community Cultural Center in Gainesville, FL. Three of my sculptures were selected, and one even made the show card. Whoohoo.

The Opening Reception is tomorrow night, Friday, September 28 from 7-10pm with awards announced at 8:30. If you're in the area, stop by for me! Wish I could be there, but I'll be at home with my 3-week old bundle of joy!

Cheers

Our New Addition

Mon, 17 Sep 2012 13:22:00 GMT

I'm happy to announce that Fletcher Elliot was born Thursday, September 6 at 9:23 am weighing 6lbs 11oz and 20" long. We had another wonderful, natural birth. Hooray!

We are all doing well and are settling into life as a family of four. Even Big Brother Cooper

Cheers!

Low Fire Friday - Amaco Velvet Underglazes

Fri, 07 Sep 2012 04:00:00 GMT

During the Arrowmont Residency Reunion this past May, we (the 50 former Resident Artists that attended) were encouraged to collaborate on various projects that would be donated to Arrowmont for display, auction, or the permanent collection.

In the ceramic studio we tackled making 100+ mugs that would be left in the dining hall for student use during the course of Arrowmont's one-week workshops. Most of the mugs that resulted from this exciting project were touched by multiple hands. Someone would throw/trim the mug, someone else would add a handle, then it would get passed along for decoration/surface design. After it was bisque fired, someone else would apply the final glaze and then it was off to get fired again.

During the course of this process, I found myself as a "decorator" and discovered a new obsession - Amaco Velvet Underglazes!

Here is the finished Arrowmont Official Birthday Mug. I wish I could report who made the mug and who added the handle, but Brian Hiveley did the carving and illustration and I worked on the underglazes.

The underglazes were applied to greenware. After bisque firing, a black mason stain wash was applied and then a clear glaze was applied over the entire surface.

Look at the amazing color range available from Amaco!

The color palette in my work has been getting brighter and brighter over the years. (Possibly coinciding with living in Florida?) And I'm now finding that these underglazes are just what I was looking for to add that extra pop of color and still allow me to get a smooth gradation I've been wanting.

Invigorate, earthenware and kiln cast glass, 16" x 13" x 7"

The piece above had 2 coats of Amaco's Hunter Green, Blue Green, Teal Blue, Royal Blue, and Purple mixed and blended on greenware and then fired to cone 04.

I doubt I've given up my crunchy, crawly glazes, but this new direction excites me! And for those reading who may not be into mixing their own glazes, I thought it would be helpful to know some great commercial glaze options.

Cheers!

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Thu, 30 Aug 2012 04:00:00 GMT

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Low Fire Friday: Bonus Edition - Reader Results with Crawl

Fri, 24 Aug 2012 04:00:00 GMT

I recently received an exciting email from a reader who has been working with the Low Fire Crawl glaze I featured in January's Low Fire Friday segment.

Rand O'Brien from New Hampshire writes:

"I have been using your Magnesium crawl in raku with wonderful results. The spaces between the beads seal against carboning and the beads "stick" very well. Your dark Turquoise develops a beautiful luster in reduction."

How exciting! It wouldn't have occurred to me to try this same glaze with a different firing method, but Rand is getting beautiful results! Kudos to you!

Here's a re-posting of the Low Fire Crawl recipe Rand is referring too:

Crawl Glaze - Cone 04

Gerstley Borate            46.5
Magnesuim Carbonate 31.0
EPK                            18.6
Borax                            3.9
______________________
                                  100.0
+ Zircopax                     5.5

For color add...

Beige/pale yellow: + red iron oxide 1% Dark turquoise/jade: + copper carbonate 5% Light turquoise/jade: + copper carbonate 1%
To see glaze test tiles of this recipe fired to cone 04 check out the original LFF post.

Rand, Thank you so much for sharing your results! That luster halo with the turquoise is amazing!

If anyone else has tried any of the Low Fire Friday glazes and would like to share how they've worked for you, email me at info@MeaganChaney.com and I'll be happy to put together a Bonus Edition featuring your work.

Cheers!
Meagan

Low Fire Friday - A brief into to glazes and glaze mixing

Fri, 03 Aug 2012 04:00:00 GMT

Glaze – A Brief Intro
A glaze is glassy substance that has been adhered to the surface of ceramics through firing. It is made up of a glass former, a stabilizer and a flux.

The glass former is the glass. Typically this will be in the form of silica/flint

The stabilizer is what keeps the glass from completely running off of the ceramic piece. Alumina is the main stabilizer and is found in clay.

The flux is an oxide (generally Alkaline) which causes ceramic fusion when combined with other oxides and heated.

Glaze recipes are usually written as a list with ingredients totaling 100%. This base glaze is usually clear/white. Any colorants, opacifiers, suspenders, and gums are written below the 100% line and are added as a percentage of the total glaze.

Base 4
Base Glaze	Frit 3195	65
	Gerstly Borate	10
	Wollastonite	15
	EPK	10
		100

	Bentonite	2

Colorants
Dark Brown	Red Iron Oxide	10

Glazes are usually measured and mixed by weight. However, any unit of weight can be used as long as it is constant throughout the entire recipe. I weigh my materials out in grams and typically mix a 500g batch (about the size of a large yogurt container). This means that I would multiply each material the recipe by 5.

So, I would actually be measuring and mixing the above recipe like this…

Base 4
Base Glaze	Frit 3195	65	325g
	Gerstly Borate	10	50g
	Wollastonite	15	75g
	EPK	10	50g
		100	500g

	Bentonite	2	10g

Colorants
Dark Brown	Red Iron Oxide	10	50g

Water is added until the desired consistency is reached. This is a matter of preference and application technique. I brush my glazes on super, SUPER thick, so my glazes are usually about the consistency of Greek yogurt.

I hope this answered a few of your questions and will help get you started if you're new to glaze mixing. If you have any other questions, please feel free to comment or email me.
Cheers! Meagan

Low Fire Friday - Base 3

Fri, 06 Jul 2012 04:00:00 GMT

Recently, I've been doing a lot of tests and line blends looking for a reliable, food-safe, base glaze that works well with Mason Stains. And I think I just may have found one that suits my needs!!

Base 3 has a glossy surface, though not super crazy shiny. It's a bit semi-opaque with lower percentages of stains, and becomes opaque when higher percentages are added.

Base 3 - Cone 04
Frit 3134       75
EPK             15
Silica             10
__________________
                   100

Bentonite         2%

For color add...
The Mason Stains I've tested are:

#6236 - Chartreuse
#6026 - Lobster
#6379 - Robins Egg
#6025 - Coral Red
#6201 - Celadon

The test tiles pictured have line blends of these stains. A line blend is an easy way to get fairly quick results when testing colorant/stain in a glaze.

I mixed up a 100g batch of Base 3 for each of the above Mason Stains. (That's five separate 100g batches.) For each batch I started by adding 1% Mason Stain, or 1g. Then, to test how the glaze would look with 3% Mason Stain, I added 2g. Yes, only 2g because my 100g test batch already has 1g in it. For a 5% Mason Stain, I then only needed to add another 2g, and so on. It can get tricky so I always write all this down before I get started. Between each addition I brush a stripe on my test tile before moving on and adding more Stain.

I tested each Stain at 1%, 3%, 5%, 8%, 10%, 12%, 15%, 18%, and 20%. Some of the differences are too subtle to see in these images, but are more viable in person.

This will give you a nice range of color saturation for each Stain. From these results you can decide what you like and do further testing if desired.

So, for example, if you like the color/look of the third stripe from the left on the Celadon Line Blend, then you would mix up the Base glaze with the addition of the 2% Bentonite and then 5% Mason Stain #6201 - Celadon.

I've labeled each image with the Mason Stain used and tried to test all colors on both red and white clay. (Though you can see the state of some of my test tiles is a bit rough and I'm missing red clay samples for the Lobster Stain and Chartreuse Stain.)

Lots of testing, but if you're (crazy) like me, you love this part of the process! If you've got questions, just leave a comment or shoot me an email.

Well, happy glaze testing. Meagan

Low Fire Friday - Lizard Skin Glaze

Fri, 01 Jun 2012 04:00:00 GMT

Lizard Skin - Cone 04

Magnesium Carbonate 40
Lithium Carbonate       15
Borax                          10
Gerstley Borate           20
Silica                             5
Nepheline Syenite        20
___________________
                                  110

For color add...
Light golden brown/dark yellow ochre: + Rutile 5%

NOTES:

Lizard Skin has a sandier, crunchier texture compared to the smooth satin beads of the Low Fire Crawl Glaze. Again, apply it THICK.

With this glaze, I've had the best results using it immediately after it has been mixed. Probably from the Borax (which is water soluble and evaporates changing the composition of the glaze) and from the Neph Sye (which causes the glaze to settle like a rock making remixing difficult.)

Newest Wall Sculptures - Spring 2012

Thu, 31 May 2012 04:00:00 GMT

Is tomorrow really, June 1st? Where does the time go?

In late March I was contacted by Harris Warren Gallery in Wake Forest, NC and arrangements were quickly made for a June exhibition. Well, here we are - Goodbye Spring. Hello Summer. It's been a whirlwind, but I'm proud to say that I completed 4 new wall sculptures for my show "Variegated Disposition" opening next Friday, June 8, 2012.

Anthocyanin, earthenware, 27” x 38” x2", May 2012

Continuation, earthenware, 31" x 35" x 2", May 2012

Dissipate, earthenware, 30" x 12" x 2", May 2012

Provide, earthenware and cast glass, 27" x 15" x 2", May 2012

In addition to these, I'll also have 4 other works on exhibit. If you're in the area, please stop by.

Oh yeah, and there's one other work in progress...

Baby #2 (aka "Peanut") is due in September.

What an exciting Spring it's been indeed! Now onto surviving the hot Summer months of Florida!

Cheers!
Meagan

Low Fire Friday - Recycled Raku (Guest Artist John Britt)

Fri, 04 May 2012 04:00:00 GMT

This month's Guest Artist is none other than the Glaze Guru John Britt.

I took John's Basic Glaze Chemistry and Raw Materials workshop a few years ago, and let me tell you, it was AMAZING! This man is a walking glaze encyclopedia! I didn't think it was possible to learn so much information in such a short amount of time. Before I took John's class, I could follow a glaze recipe (ie measure and mix the listed ingredients) but if something went wrong, or I wanted to change something, I had NO IDEA how to proceed. It was like baking without knowing what flour, sugar and baking soda do. But after John's class, I had a much, much clearer understanding of what was happening and a great foundation for building my glaze palette.

Just a few of the Cone 04 glaze tests from John's Basic Glaze Chemistry Class

John has been a potter and teacher for over 26 years. He lives in mountains of western North Carolina although he grew up in Dayton, Ohio. John is primarily a self-taught potter who has worked and taught at universities, colleges and craft centers across the country, including the Penland School of Crafts where he served as the Clay Coordinator and then, as the Studio’s Manager.

He is the author of the “The Complete Guide to High-Fire Glaze; Glazing & Firing at Cone 10” which was published by Lark Books in 2004, was the juror for the book; “500 Bowls”, Technical Editor for “The Art and Craft of Ceramics”, and has written numerous articles for ceramics publications including: Ceramics Monthly, Ceramic Review, Studio Potter, Clay Times, New Ceramics, Ceramic Technical and The Log Book.

He is currently a studio potter in Bakersville, North Carolina and teaches glaze chemistry, throwing, glazing and firing workshops.

Here is the glaze (and fun story) that John is sharing with us today...

Recycled Raku

This is one of my favorite chairs. I formed it with the wire cut method, where you take a block of clay
and cut out the chair shape. (http://www.youtube.com/watch?v=gvfyD5xJobI)

Then I bisque fired the chair to cone 05. Then I rakued it with the glaze Raku Turquoise:

Raku Turquoise (From Chappell’s Book)

42.5 Frit P-25
27.4 Frit 3134
14.0 Silica
9.8 Lithium carbonate
6.3 EPK

4.5 Copper Carbonate
2.0 Bentonite

Then what happened is that the front legs broke off as I was putting it in the Raku cans to smoke it. So after about a half of an hour I open the cans and the legs were kind of stuck together and messed up a bit. But rather than throw entire chair away I separated and reglazed the legs but refired them in an electric kiln to cone 05. This made the legs a copper blue while the main chair was more turquoise and copper.

I then glued them back on and this became my favorite chair because it had the interplay of the
different glazes within the same piece.

Low Fire Friday - Bleeding Cake Glaze (Crunchy texture)

Fri, 06 Apr 2012 04:00:00 GMT

Another reliable glaze that works best if applied thick. Bleeding Cake is an opaque glaze with a crunchy, sandy texture.

Bleeding Cake - Cone 04

Volcanic Ash 33
Borax            20
Sand* 16   * (I use the fine grain hobby sand from Michael's or other craft store)
Grolleg          11
EPK              20
____________
                   100

[dark blue, moss green, brick red, yellow ochre]

For color add...
Dark blue: + Cobalt Carbonate 3%

Moss green: + Chrome 1%

Brick red/warm brown: + Red Iron Oxide 15%

Golden/Yellow Ochre: + Rutile 8%

Low Fire Friday - Todd's Texture

Fri, 02 Mar 2012 05:00:00 GMT

Todd's Texture - Cone 04

Gerstley Borate 30
Zircopax           40
Whiting             20
EPK                 10
______________
                       100

[Base, mint green, light turquoise, turquoise]

For color add...
mint green: + chrome oxide 0.5%

light turquoise: + copper carbonate 1%

turquoise: + copper carbonate 5%

[Detail, light turquoise]

PS - Anyone happen to know who Todd is? I got this recipe off of a list from somewhere years ago, and have no idea who he is. But he makes a great glaze!

Below are comments that we copied from my old blog www.clayandglassblog.com:

Anonymous said...

Don't know who Todd is, but really like this glaze too. Been trying some other low fire texture glazes. Will send you the new "favorite" Flamedrops after I get into the studio. Thanks for all your posts.

March 2, 2012 9:29 AM

Louis Zeedyk said...

Great art. I'm doing some sculpting also. Beautiful finished piece.

March 9, 2012 5:18 AM

Meagan Chaney Gumpert said...

Looking forward to seeing the other lowfire texture glazes you use!

If anyone else has any favorite glazes they'd like to share, please pass them along! I'm happy to post what comes this way.

March 10, 2012 8:02 PM

Anonymous said...

Could it be Todd Leech? He works in textured glazes.

March 11, 2012 11:08 AM

Meagan Chaney said...

Yes! I just might be Todd Leech! Thanks for helping solve the mystery.

March 11, 2012 2:13 PM

Todd Leech said...

This is Todd Leech but this is not my glaze. Thanks for thinking of me though when you think of texture. I usually fire to cone 10. Although last year I was testing some 04 textured glazes...

September 16, 2012 11:28 PM

Meagan Chaney Gumpert said...

Hi Todd,

Well, thanks for checking in. I guess the mystery continues. Wonder who came up with this glaze...

September 17, 2012 9:53 AM

Todd Leech said...

What About Todd Shanafelt?

September 24, 2012 12:54 AM

Meagan Chaney Gumpert said...

It could be! I wasn't familiar with his work. Thanks for letting me know about him.

September 26, 2012 8:17 PM

Low Fire Friday - Cassie's Bling (Guest artist Cassie Ryalls)

Fri, 03 Feb 2012 05:00:00 GMT

Two of Cassie's Souls - featuring Cassie's Bling Glaze

This month's Low Fire Friday featured artist is Cassie Ryalls.

Not only is Cassie an amazing ceramic artist with knockout surfaces on her work, but she is a dear friend.

Cassie is currently a studio artist at CURVE studios & garden in the River Arts District of Asheville, NC. She has studied glaze chemistry at Penland School of Craft in Penland, NC and has been a resident at Odyssey Center for Ceramic Arts in Asheville, NC. Cassie earned a Bachelor of Arts in Art and Psychology from Berea College in Kentucky and later attended the University of Florida forpost-baccalaureate studies in Ceramics

Cassie’s sculptures are inspired by people-watching, conversations, relationships and ideas from her psychology studies.

This month, Cassie is sharing one of her favorite glazes with us. She calls it "Cassie's Bling." It's a crawly crusty glaze with a sparkly glittery look. (What fun! I cant wait to try this one myself. Thanks Cassie!)

Cassie's Bling - Cone 04

Borax 10

Magnesium Carbonate 35

Lithium Carbonate 25

Cryolite 30

100

Cassie's Notes -

**This glaze will fume a bit, so you don't want to put other pieces too terribly close to it. Give 'em an inch or two.

Here's Cassie's Bling on a red clay test tile

Here's Cassie's Bling on a white clay test tile

Upcoming Fused Glass Workshop

Fri, 27 Jan 2012 05:00:00 GMT

Upcoming Workshop: May 5, 2012

Fused Glass 101

What is fused glass?!? This exciting, hands-on class is designed to teach beginners the foundations of glass fusing. Step-by-step instructions from selecting and cutting glass to color layering secrets and kiln firing techniques will be explored. Gain a thorough understanding of the process while creating fused glass jewelry and an unique sun catcher!

Maximum class size: 5 students

Class hours:

Saturday, May 5 from 10:00-5:00,

Lunch provided

Tuition: $80 + $40 for materials and firings.

Location: Ocala, FL

To register, please email me at info@MeaganChaney.com. Please write REGISTRATION in the subject line to avoid delivery to my spam mail folder.

Thanks! And I hope to see you this Spring!

Meagan

Upcoming Clay and Glass Workshop

Fri, 27 Jan 2012 05:00:00 GMT

Upcoming Workshop: March 24, 25 and 31, 2012

Glass and Clay – An Exploration in Combining Materials

This interactive workshop will introduce the fundamentals of glass fusing and clay hand building. Learn how to create simple, slab-built earthenware forms that incorporate fused and slumped glass. Some experience with glass or clay is helpful, but not necessary.

Maximum class size: 3 students

Class hours:

Saturday, March 24 from 10:00-5:00,

Sunday, March 25 from 10:00-4:00,

and Saturday, March 31 from 10:00-4:00

Lunch provided

Tuition: $250 + $60 for materials and firings.

To register email me at info@MeaganChaney.com. Please write REGISTRATION in the subject line to avoid delivery to my spam folder.

Thanks! And I hope to see you this Spring!

Fused Glass Pendants - How to Shape and Fire Polish

Mon, 16 Jan 2012 05:00:00 GMT

With 500 pendants in progress, I thought I'd talk about one of the finishing techniques.

After the fused glass has been kiln cast in "bricks", sliced on the tile saw, and fused again with a layer of dichroic glass, they are finally ready to be shaped, grooved and polished.

The pendant on the left is "before" shaping/grooving the pendant on the right is "after" shaping/grooving.

Can you see the narrow groove/channel that runs along the edge of the pendant in the side view? That is there to hold the sterling silver wire in place when the piece wire wrapped.

I recently bought a Glastar All-Star G8 grinder and have been very happy with it. The grinding bit on the left that is just sitting on the top is the one I use to shape the pendants. The bit that's on the grinder head is called a jewelry bit, and it's how I put that groove into the edge of the pendants.

All that grinding and shaping leaves the edges rough and cloudy. Pendants are too small to be cold-worked with progressively finer sandpapers, so I fire polish them.

Here's a blurb from the Warm Glass website that explains fire polishing: "Fire polishing is the simple technique of returning glass items to the kiln to melt them just enough to give a smooth, polished appearance. It typically takes place at a temperature that ranges from 1300 F/700 C to 1400 F/760 C."

I've mentioned before that I fuse all my glass in a ceramics kiln. Here they are loaded into Gladys, my Skutt glaze-tech test kiln.

Here's the four segment firing schedule I use to fire polish:

Segment 1: 500 deg. F/hour to 1000 deg. F and hold for 10 minutes

Segment 2: 500 deg. F/hour to 1275 deg. F and hold for 10 minutes

Segment 3: 9999* to 1025 deg. F and hold for 15 minutes

Segment 4: 9999* to 975 deg. F and hold for 10 minutes

(*9999 is how I program the controller on my kiln to cool as fast as possible. Some kilns will say "full" instead. Just check your owner's manual if you aren't sure.)

Below is a shot that shows what the pendants look like pre-fire polish and post-fire polish. The pendant on the left is still rough and cloudy from shaping. The sides of the pendant on the right are all smooth and glossy again after fire polishing. Hooray!

Now they're ready to be wrapped in wire. Stay tuned for a video detailing how I wire wrap a pendant.

Low Fire Friday – (My Favorite) Crawl Glaze

Fri, 06 Jan 2012 05:00:00 GMT

In honor of the New Year, I'm starting a new monthly feature - Low Fire Friday!!

The first friday of every month this year, I will be posting a low fire glaze/slip recipe, commercial glaze review, or other low fire related technique/product. Some of the recipes will be my favorite standbys; some from other potters/ceramicists. I've got an exiting line up of select Guest Artists willing to share their secrets so stay tuned in the months ahead!

Hope you enjoy this new little feature. And without further delay, here's the first recipe...

(My Favorite) Crawl Glaze

This is by far my favorite Crawl Glaze. It is very reliable, but the trick is that is has to be applied THICK! And by thick, I mean super, super, think. Think cake icing application, not typical pot glazing. The thicker the application, the more it will crawl.

Crawl Glaze - Cone 04

Gerstley Borate            46.5
Magnesuim Carbonate 31.0
EPK                            18.6
Borax                            3.9
______________________
                                  100.0
+ Zircopax                     5.5

[beige, dark truquoise, light turquiose]

For color add...
Beige/pale yellow: + red iron oxide 1%

Dark turquoise/jade: + copper carbonate 5%

Light turquoise/jade: + copper carbonate 1%

[light turquoise]

New Sculpture - Tribella familiea

Wed, 04 Jan 2012 05:00:00 GMT

Well, the progress was slow but the pace was steady. I finally finished up this piece and had it photographed just before the holidays. (Thank you Charlie Cummings for the wonderful photos!)

Tribella familiae
earthenware, cast glass, steel, found objects
20" x 10" x 11"
2011

I'm excited about this piece. It presented a lot of technical challenges that I slowly hammered my way through. (clay shrinkage to account for, found objects to add, glass to cast, and then recast, etc)

As with any new sculpture, I can see places I'd like to develop further in the next piece, but that's what keeps the work exciting. Growth and change. And there's been a lot of that going on around here lately. Our "baby" is almost 15 months old and he keeps his Mama on her toes! Sometimes juggling everything feels like a 3-ring circus, but I'm learning to embrace the chaos and relish studio time.

Cheers to a New Year!

Beautiful Steel Patina - aka rust!

Thu, 01 Sep 2011 04:00:00 GMT

Two questions I am asked frequently about my Tile Plaques are "What is the backing made of?" and "How did I get that beautiful patina?"

Well, the backing is a mild steel that I've salvaged in sheet form from a local scrap yard. I haul it home in the trunk of my car to store until I need it. (Side-note: I haven't figured out how I'll do this with a car seat now in the car? This just adds to the growing list of why I officially want a mini van now. There. I said it. My secret is out.)Anyway, this ladies and gentlemen is my "Steel Storage Area" otherwise known as the pile of sheet metal stacked up on cinder blocks outside my studio. The cinder blocks just help with drainage and keep it a bit dryer. You cant even see them in the photos.Yep, that beautiful patina I'm always asked about is All Natural! I just leave the metal outside to rust.Then when I need them, I haul the sheets inside, cut them with a plasma cutter...
And then coat the front and back each with 2 coats of satin polyurethane. Done!
Any questions? Holler at me. Or if you know of any other fun metal patinas, I'd love to hear about them.

Oh yeah, and I just listed 6 new Tile Plaques on Etsy this morning! Three of which incorporate slumped glass which I don't do too often these days.

Cheers!

Glass and Clay workshop at Arrowmont

Mon, 29 Aug 2011 04:00:00 GMT

Just got back from another amazing week at ArrowmontSchool of Arts and Crafts in Gatlinburg, TN. Possibly the best workshop I've had yet! Everyone had such a positive attitude and Bill May, the new director, has brought great energy to the campus. They have some exciting things planned for the future of Arrowmont, so keep an eye out.
We worked on 2 main clay and class projects. One that incorporated fused and slumped glass into the "window" of a low-fire, slab-built form. The other project was also slab-built but this one incorporating kiln cast glass. These techniques can be adapted to any clay and cone firing range and we talked about that as well. I uploaded a bunch of photos to my Facebook page, so pop on over and follow me there. https://www.facebook.com/MeaganChaneyStudios
Most of the photos are compliments of Sandy Batts, one of my talented students. Thanks for taking photos all week Sandy!
And it looks like I'll be heading back next summer to teach a similar workshop. Whoohoo! Stay tuned as we work out the details.

Arrowmont - tuition discount!!

Fri, 15 Jul 2011 04:00:00 GMT

UPDATE: May 15, 2012 - discounted tuition rates no longer apply. However, Arrowmont is an amazing, life changing place so it is totally worth it! Attend a workshop. You will not dissappointed.

Holy Smokes! I just got a phone call from Arrowmont School of Arts and Crafts in Gatlinburg, TN asking me to pass along this news -

They offering 20% off of tuition for 2011 if you mention you saw this here. What a killer deal! Amazing classes at great prices! Whoohoo! There are workshops in clay, metal, glass, fiber, photography, painting, wood, and more!

I only have 4 or 5 more spots open for Clay and Glass: An Exploration in Combining Materials August 21 - 27th too.

You can register online or call them today at 865-436-5860.

Here are a few photos from the Mixed Media workshop I taught last summer.

If you've been to Arrowmont you know what an amazing place it is. One week at "art camp" can change your life. Seriously. It did for me the first time I went back in 2002.

So, register today and cash in on your 20% discount.

Hope to see you there!

Clay and Glass Workshop Opening

Wed, 29 Jun 2011 04:00:00 GMT

Due to a recent cancellation, I have now ONE spot open for a Clay and Glass workshop I'm teaching here at my studio in a few weeks.

Here are the details...

Upcoming Workshop: July 16, 17, and 23.

Glass and Clay – An Exploration in Combining Materials

Maximum class size: 3 students

Class hours:

Saturday, July 16 from 10:00-5:00,

Sunday, July 17 from 10:00-3:00,

and Saturday, July 23 from 10:00-5:00

Lunch provided

Tuition: $250 + $60 for materials and firings.

Location: Ocala, FL

If you're interested, let me know ASAP. I like to keep classes small so there's lots of hands-on time.

Cheers!

Ben Chaney - Concept Artist

Thu, 05 May 2011 04:00:00 GMT

Ben Chaney - Concept Artist

Let me just take a minute here and brag about my little brother - the awesome concept artist. Yep! That's a self-portrait he did of himself as a pirate. He has a sense of humor and amazing talent.
Here's what he has to say...

"I started like so many others in this field did, growing up on three main activities: watching TV, playing video games, and drawing. Fortune blessed me with parents that tolerated the first two, and relentlessly encouraged the last one. They even went so far as to send me to the Savannah College of Art and Design for a degree in Sequential Art. I graduated Summa Cum Laude in 2006 and then gradually made my way into the game industry, starting in Game Testing. Being a North Carolina resident at the time, I had many amazing companies to strive for nearby. My experiences at Redstorm Entertainment and Epic Games were unforgettable and invaluable, demystifying the seemingly magical process of game development. Gone forever were the illusions of "tightening up the graphics". I currently work as a Game Artist at Schell Games in Pittsburgh, PA, creating anything from concept illustrations of characters to volumes of user interface designs and assets. In such a flexible company, I've had to adapt to new challenges and adopt new skill sets on every project. It has been and continues to be an incredible experience!" -Ben Chaney

Here are a few images from his portfolio. (Yes, I am one very proud Big Sister!)

Environments - Characters -
Textures -
Personal Work -

Holy Smokes! His work blows my mind!

It's true. We were blessed with parents that completely supported our artistic pursuits. And we both know how luck we are because of this. (Thanks Mom and Dad!)

Ben loves his current job, but is looking to move away from the icebox of a place he's been calling home (aka Pittsburgh, PA). He's hoping to settle in with a great company somewhere warm; possibly even in North Carolina and closer to family.

So, if you or someone you know is looking for a creative, dedicated concept artist, look no further. Ben's your man.

You can check out more of Ben's work at http://chaneyfolio.blogspot.com/
Or shoot him an email: benjaminachaney@gmail.com

Cheers!
Meagan (aka Big Sis)

New Ceramic and Glass Sculpture - problems with progress

Thu, 21 Apr 2011 04:00:00 GMT

I've been working on a new, experimental sculpture for the upcoming Instructor Exhibition at Arrowmont and I'm pretty excited about it! Sketches for this piece have been in the works for awhile, but it just wasn't sure how to build it. Then I watched the demos at NCECA, and a light bulb went off.

Unfortunately, I'm having problems with the glass slumping through these little windows. The problem is easily corrected by re-firing, but I'm running out of time. (Work is due to Arrowmont next Friday!)

Whoops! See that ugly gap! Time for a re-fire.

Thankfully, my new test kiln is making those firings a lot quicker! Looks like I may be cranking her up everyday so that I can make that deadline. More pictures soon. And keep your fingers crossed that I don't run into any unexpected disasters or delays!

Best,

New Skutt GlazeTech Kiln - Hooray

Mon, 11 Apr 2011 04:00:00 GMT

Another little addition... My new Skutt GlazeTech Kiln!

While this may seem to come out of the blue, I've actually been saving up for a test kiln for quite some time. Even when we were building the studio back in 2008 we added enough power and an extra electrical outlet for the test kiln I hoped to have one day. Yesterday was That Day!About 18 months ago I got serious about saving up and researching what I would need. First of all, why did I want a test kiln? Well I am obsessed with glazing and glaze testing and a smaller kiln will make this process faster and more efficient. I'm hoping all this testing will help me transition into making a new body of work. And, after talking with other clay mamas, there seems to be a consensus that after children the scale of the works decreases as does the quantity you're able to produce. (at least for a while.) A mini kiln just seemed to have the answers.

My first kiln, Lily, is an L&L kiln and I love her! But for this purchase, I had narrowed it down to a Skutt KM 818-3 or KM 714. I was afraid the 818 was still a little too big for what I needed so I was leaning towards the 714, but wanted to check them out in person at the Skutt booth at NCECA.

My new (still-to-be-named) kiln and Lily my L&L. Funny, they look about the same size in this picture.

Well, I was initially disappointed when I didn't see either the 818 or 714 on display at NCECA. But they were more than happy to show me their new GlazeTech kiln. Honestly, I was initially skeptical and not impressed. I think because this kiln is so much different is size and shape than the others I was considering and has a different style computer.

But the salesman (good salesman that he is) kept talking and I began to turn around. Actually, a square kiln does make more sense to test square tiles - you can fill the space more efficiently. And the similar controller still had all the capabilities of the fancier one, just less buttons, so it made the kiln more affordable.

And Atlantic Pottery Supply was offering a 30% NCECA discount! (Which they are still running through the end of April on kilns, wheels, slab rollers, etc. Check it out! Kathy Goldstein over there was so helpful and patient as she answered all my questions.)

Here she is coming off the truck. Oh Happy Day!

So, I did it! I finally bit the bullet and ordered it. Now we just need to hook up the vent and do an electrical update and she'll be good to go. I already have so many things planned for her. Don't worry, I'll keep you posted and will share any exciting glaze recipes I find.

Cheers!
Meagan

Want More???
**Click here or check out the Studio Construction tab to read more about how we built the Studio.
**Speaking of glazing - here are some of my favorite cone 04, low-fire glaze recipes
**Check out Atlantic Pottery Supply here.

Etsy - 25% off for Spring

Fri, 08 Apr 2011 04:00:00 GMT

Well, my Etsy shop is on "vacation mode" no longer. After 6 months of maternity leave, I finally got around to adding 20 tile plaques last week. So, to celebrate Spring and this re-opening, I am offering 25% off your purchase now through April 30. Just use Coupon Code: SPRING2011

Enjoy!

Back Home

Wed, 06 Apr 2011 04:00:00 GMT

Whew! NCECA was great but we sure are all tuckered out..

Got some great ideas from lectures and panel presentations. Especially the demo with Deborah Schwartzkopf and Brian Kakas and the Emerging Artist talks Saturday morning.
Cant wait to get back into the studio to experiment with some new forms and surfaces!

NCECA and The Sunshine State

Fri, 25 Mar 2011 04:00:00 GMT

Lately, there are three reasons why I'm glad I live in Florida:

1.) It's been warm, sunny, and gorgeous since mid-February (think blue skies, azaleas, camellias, jasmine, Japanese magnolias, etc)

2.) No state income tax (and April 18 is quickly approaching)

3.) The Sunshine State is hosting its first NCECA Conference (National Council on Education of Ceramic Arts) and I'm going to be one of the 5000+ ceramic people descending on Tampa/St Petersburg next week!

Tampa/St. Pete is just 1.5 hours from us and where my sister-in-law calls home, so we'll be able to stay with family. That's right. I'll have Cooper in tow. (Thank you ergo baby carrier!) My Little Man is just 5 months old, so it would be tough to travel far for a conference. And even tougher to leave him at home for 4 days. (That's a lot of milk to pump!)

I am definitely looking forward to seeing folks and talking clay, cones, and kilns again! That part of my brain feels a bit rusty after of months of conversations that focus on diaper changes and spit up.

As a Florida resident and UF Alum, I do wish I would have been able to take advantage of more of the NCECA exhibition opportunities that came my way. But I had to make my peace with that back when I was pregnant and deciding on maternity leave. I know Cooper isn't built of clay, glass, or steel, but I still believe he's the best thing I've ever made!

So, come on down to The Sunshine State! We hope to see you at NCECA next week.

Cheers!

Thoughts on Time and Transition

Thu, 24 Mar 2011 04:00:00 GMT

Here we are. The end of March 2011. The past year has been a blur of inspiration, excitement, and change.

I finished a post-baccalaureate ceramics program at The University of Florida, went to my first NCECA conference in Philadelphia, spent a month in Montana as a resident at the Clay Studio of Missoula, taught a workshop at Arrowmont, took a class with Michael Sherrill at Penland, oh, and had a baby!!

(Ceramic Wall Mosaic at Penland School of Crafts)

My head is spinning! I feel like I have hardly had a moment to process some of the ideas that started forming last March. March of 2010.

I still have boxes of work from traveling and teaching I haven’t even unpacked. (And if you know me, that totally goes against my ultra-organized way of life. Those packed boxes are driving me crazy!)

(Test tiles I made while at The Clay Studio of Missoula that are still waiting to be unpacked!)

The bottom line is that my experiences from the past 365+ days have me itching to make some changes in my work.

What changes? I’m not exactly sure yet. Do I switch to cone 6? Try a new clay body – porcelain or white earthenware? What new, exciting glaze recipes can I find? Do I continue to make wall sculpture? Slabs or extruded forms? How can I incorporate more cast glass? Oh, oh, and that mold making, resin-casting technique John Byrd demoed at Penland still has me thinking.

I imagine the changes I make will be gradual. As a new mother, the world I lived in for 30 years is now different. My perspective and experiences are forever altered. Even time has new meaning.

So, as I slowly sort through these ideas, I also wonder what I will be thinking next Spring as I watch the azaleas bloom, Cooper toddling alongside.

(Photo by my wonderful father-in-law during Cooper's first beach trip.)

Clay Damp Boxes - My new best friend

Mon, 21 Mar 2011 04:00:00 GMT

Anyone who has worked with clay knows there is a lot of process involved. Certain things need to be done at certain times. But what do you do if your time and the clay’s time aren’t in sync?

Well, I’ve used Damp Boxes and kept clay wet for up to a year in these babies. And I’m finding this method is perfect for the brief intervals of time I’m able to sneak out to the studio. It’s a cheep and easy solution.

In a nutshell, it works because of the way plaster absorbs water. If plaster is dryer than clay, it will draw moisture from the clay. If the plaster has been soaked I water, then it keeps the clay from drying out and maintains a humid atmosphere within the box.

I cut these circles out in early October before Cooper was born. When I finally got around to turning them into Minis, it was the end of January but the clay was still perfect to work with!

Here’s how to make a Damp Box:

Fill bottom of plastic tubs with 1 -1 ½” of mixed plaster. Plaster mixing guidelines here.

Allow plaster to set/dry.

Add water. How much?? Depends on the size of the box. I add water till there is 1/8” of water and then wait till that is absorbed. With a new damp box, it could take several rounds of adding water and letting it absorb. My damp boxes are 7 years old, so I occasionally add more water to “recharge” them. Basically, you want it to be wet without having pools of water on top.

I've also heard of people using styrofoam coolers or old refrigerators to help control the drying process. What about you?

Mixed Media Wall Commission - progress report

Tue, 15 Mar 2011 04:00:00 GMT

Moving right along with that large mixed-media wall commission.

Thanks to two 30-minute naps and one long nap (probably brought about by today's visit to the pediatrician for more shots. boo for the shots. yay for the long nap!)

The 23 ceramic forms are complete and hung for a quick layout review. (Well, the ones that would fit on my design wall are hung at least)
Now, I'll be moving on to making the cast glass and steel pieces. That's what's gonna go where those circles are drawn.
I might have started 2 months ago, but I'm making progress none-the-less. And, afterall, slow but steady wins the race!

Cheers!
Meagan

Hey - Want to see other posts of this project. Check here and here.

The 30-Minute Challenge

Mon, 14 Mar 2011 04:00:00 GMT

The Challenge, should you choose to accept it – set a timer for 30 minutes and GET TO WORK!

Focus. Forget Facebook. Ignore email. Avoid the dishes and laundry. You will be surprised just how much you can get done when you get to doin’ it!

This is how my days go. Cooper (aka our 5-month old Cat-Nap-King) is content to sleep for 30 minutes 3-5 times a day. I used to think that a 30-minute blurp of time was hardly worth going out to the studio. Now, not-so-much. Those 1800 seconds are precious, precious time!

So, give it a try. Maybe you have kids and have experienced the child enforced 30-minute Challenge first hand. Or maybe you just need that extra little boost to get things going.

I’d love to hear about what you were able to accomplish in half an hour.

Is your timer going?

Thank you Summer

Wed, 02 Feb 2011 05:00:00 GMT

No, not the season. (Though many of you in the cold, snowy North may be desperately looking forward to warmer weather.)

I'm talking about my Summer Best View video monitor. (Don't worry, I'm not going to turn all mommy-blog on you either.) Thanks to you and two 30-minute naps today I was able to finish up some work and get the kiln loaded.

You read that right! My kiln is firing. When I went to write the details down in my kiln log, I could hardly believe the last time I fired was October - just 8 days before Cooper was born!

That monitor truly is amazing! Firing the kiln again feels like such a huge accomplishment. And I must say, I am proud of myself!

Cheers!

Fusing Glass in a Ceramics Kiln

Mon, 31 Jan 2011 05:00:00 GMT

I'm often asked about my firing methods. Since I work with both clay and glass, many people assume that I have two separate kilns. Nope!

Meet Lily. My L&L Kiln. (Easy Fire e23-3) I love her! We've been working together since November of 2003. I bought her in South Carolina from Clay-king.com, and we've made several moves together. North Carolina (Raleigh and Asheville), Gatlinburg, TN and now Ocala, FL. She's a bit shorter than many "standard" ceramics kilns - only 2 sections/rings rather than 3, but she's perfect for my needs. (Purchasing her his another story that I'm especially happy to share with any recent or upcoming graduates.)An article recently went out in the Skutt Kiln newsletter Skutt Hot Topics Yes, Virginia, you can fuse glass in your ceramics kiln that discusses this in more detail. I'm not sure of the author, but it goes on to explain the difference in the two "types" of kilns, and how to load a ceramics kiln for glass.

I'd like to add a few things to the article.

1. - While you can fire glass in a ceramics kiln, it doesn't necessarily work the other way around. Glass kilns traditionally don't get hot enough to fire even low-fire clay. Here are the glass firing schedules I've worked out for my ceramics kiln.

2. - I do have two sets of shelves. The kiln wash/shelf primer used in ceramics is usually thick and gloppy. I use Bullseye Shelf Primer for my glass shelves. It's thin and goes on smooth which is important since the glass will pick up any texture or brush strokes from the shelf/primer.

3. - I also have a Vent-Sure downdraft vent system. This does several things. It helps the kiln fire more evenly - important in clay, glazing, and especially glass. It also helps remove any potentially harmful vapors. Good for your health and the kiln. Less of these volatile vapors are absorbed into the kiln bricks/walls so there's less of a chance your glass will become cloudy from cross contamination and off-gassing.

If you have any questions, drop me a comment. I'm happy to share what I've learned!

Happy Firing!

What comes next...

Sun, 30 Jan 2011 05:00:00 GMT

...bust a move!

Had a great week back in the studio! Actually, I was amazed how much I was able to get done.

My studio time has become precious, and I'm learning to make the most of every minute. When I walk in that door, it's on! I thought I was an efficient, productive worker before. Oh no! You haven't seen anything yet!

So, with my wonderful in-laws in town babysitting, I worked in 1-2 hour shifts between feeding Cooper. All 23 of the clay forms for that commission are finished.

And I have 40 new Mini Sculptures in progress to send to The Society of Contemporary Craft in Pittsburgh, PA. (No photo just yet, sorry!) Hoping to fire by this coming Friday.

I've got a lot of other big changes going on that I plan to share with you soon, but I'm still processing some of them, and will try to squeeze in time to write about it asap! (Fingers crossed "someone" takes one of his long afternoon naps tomorrow!)

Anyway, I'm off. Laundry is calling my name.

Best,

Baby Steps towards a Big Commission

Mon, 17 Jan 2011 05:00:00 GMT

Well, I brushed the cobwebs of my newly acquired "mommy-brain" and headed down to the studio for a couple hours yesterday.

I have a large commission due the end of April, and it's time to get started on it!

Normally, a ceramic and glass wall sculpture this size would take me about 6-8 weeks. Since I will now be squeezing work time in during Cooper's naps, between feedings, on the weekends, or when my in-laws come down next week to babysit (Thank you Betsy and Al!), I've broken my tasks down into smaller, more manageable sizes.

My goal yesterday was to sketch the piece to size. Check! (It's about 3 feet high and 8 1/2 feet long - my design wall is only 6'.)
And make the paper patterns. Check!
The next phase of the project will be to roll out the clay slabs. Two slabs will be cut from each paper pattern - one for the back of the piece, and one for the domed/puffy front.

I figure I can get one, maybe 2 patterns cut out during one of Cooper's (brief, ugh!) naps.

Ok, off to get some sleep while I can. Thanks for reading!

Cheers!

Returning to Work...

Thu, 13 Jan 2011 05:00:00 GMT

Oh, getting back to work after having a baby... I have such conflicting thoughts on that statement.

I am beyond grateful that I have a job that allows me the flexibility to be with our son!!
There's a part of me that wants to spend every waking moment watching Cooper learn and grow. (And believe me, there are still plenty of WAKING moments!) And then there's the part of me that aches to be out in the studio - feeling creative and independent.

Some days these thoughts are at peace with each other. Other days, honestly, it's a struggle that leaves me feeling frustrated, upset, angry, frightened, and at a loss for knowing what to do or how to proceed - both in and out of the studio.

And then, this toothless grin smiles up at me, my heart melts, and all is right in the world.
I know I will get back into the studio again. Until then, Cooper and I will be spending lots of time together. I want to treasure these moments because I know they are brief.

And the studio will still be there when we're ready.

New Arrival

Wed, 27 Oct 2010 04:00:00 GMT

It's a BOY! Cooper Allen was born Friday, 10-15 at 10:15pm and weighed 6lbs 15oz. (Yes, thankfully not 10lbs 15oz - especially since we had a natural, epidural-free birth!)

Yay! Going home from the hospital!

And our little man decided to come 10 days early! I had just shipped out 14 boxes to galleries/clients in 6 states on Wednesday and started my maternity leave, thinking I had 2 weeks to relax and finish up some things around the house. Well, Cooper had other plans....

We are so in love and doing great! I'm taking the next few months off, so I'll see you around.

Cheers!

Finding Unexpected Advice

Tue, 21 Sep 2010 04:00:00 GMT

I have to admit I've been a bit frantic lately. With our first Baby due in about 5 weeks, the list of To Do's seems to be getting longer, rather than shorter. Overall, I feel I've managed to stay relatively calm and low stress.

But I found a nice, unexpected bit of advice in the Ethan Allen catalog that showed up in our mail last week... Granted, they are referring to furnishing a living room, but I instantly saw how this could apply to my life.

See, I'm planning to take a 6-month maternity leave. To do this, I'm trying to make sure the galleries I work with are well stocked and ready for the holidays and beyond. This means that I'm trying to make 6-months of work in about 8 weeks. (And finish all the projects my husband and I had started around the house, and put together a nursery.)

250 tile plaques in various stages.
I've been cutting, burning, and polyurethane-ing like crazy!

But, then "Relax. You don't have to do it all at once." Though I understand that life as I know it it about to change forever, I do not have to get everything done before Baby's born. Things will be crazy and new, but we will find our way, settle into a routine, and I will get back into the studio.

making progress...

So for me, unfortunately, posting to this blog is one of the first things to go when the list gets too long. I realize I still haven't written what I wanted to about my July residency in Montana or my more recent classes at Arrowmont and Penland (which were both great by the way!) Or a post on how I made the slab-built tumblers. Or talked about the Fall Open House at CURVE studios & garden in Asheville this weekend. But I'm doing what I can.

So, with that, I'm off to the studio. With the majority of the backings complete, it's time to switch over to making the tiles.

Cheers! And thanks for listening!

Traveling - teaching and taking workshops

Thu, 19 Aug 2010 04:00:00 GMT

Well, I'm off in the morning for another travel adventure. Next week I'm teaching a glass/clay workshop at Arrowmont in Gatlinburg, TN and then the following week I'm taking a mixed media class with Michael Sherrill at Penland in NC. It's going to be an exciting couple weeks!

Michael Sherrill

Where does the time go??! I had hoped to get a few more things done in between coming home from the Clay Studio of Missoula and taking off again. Oh well, my pregnant belly is forcing me to slow down my usually quick pace. Guess it's preparing me for the BIG changes that are coming in about 9 weeks or so!

Cheers!

Clay Wedging Table - plaster mixing ratios and guidelines

Mon, 02 Aug 2010 04:00:00 GMT

While I was at the Clay Studio last month, a few of the guys tackled pouring a new plaster top for the studio's large wedging table. It was quite a process to watch. I believe they used around 150 lbs of plaster!Mixing plaster has always been one of those things that makes me a little nervous and hesitant. Earlier this summer I poured plaster for my own new wedging table/kiln shelf storage cart. (Well, technically, my wonderful husband built the table/cart, and my good friend and artist Nigel Rudolph poured the plaster. See, told you plaster made me nervous.)

But today, I thought I would post some plaster mixing ratios and guidelines that I have found helpful....

The following guidelines are copied from a handout posted at the Clay Studio of Missoula:
(original source unknown. I also added a few notes, examples, and conversions)

Plaster Mixing Guidelines

Recommended Plaster: #1 Pottery Plaster

How do I calculate how much water or plaster I need?
Calculating volume for solid shapes
For rectangular shapes: Volume = Height x Width x Depth
For circular shapes: Volume = Pi x Radius2 x Height (Note: Pi is apx 3.14. and that's supposed to be radius squared, but I cannot get the text formatting to cooperate.)

Divide the volume by 80 to find the number of quarts of water you will need to make enough plaster.

How much plaster do I add to water for a proper mixture?
The recommended consistency is 7lbs water to 10lbs plaster. So a 7:10 ratio, by weight 2.85lb plaster to 1 qt (2lbs) water (Note: If you want stronger plaster, you can multiply the weight by 3. Softer plaster, multiply the weight by 2.75)

Example -
Your mold is 5" x 5" x 4" so your volume is 100 cubic inches.
100 divided by 80 =1.25. You need 1.25 quarts of water
Multiply 1.25 by 2.85 = 3.56. You need 3.56 lbs of plaster.

Conversions -
1/2 quart = 1 lb = 16 oz
1 quart = 2 lbs = 32 oz (above example 1.25 quarts of water= 40 oz. Multiply 1.25 by 32oz )

1 lb = 453.6 g

What method do I use to add plaster to the water?
Always add plaster to water not the reverse!

Sift plaster into water with a spoon or by hand. Continue doing so until a small mountain forms and remains above the water level. Once that mountain forms, let the plaster "soak" for 1-3 minutes. The greater the amount, the longer the soak - anything in a one gallon bucket needs only a minute or so.

Once the soak cycle is complete you can mix the plaster for a couple minutes. In order to get the most consistent mix, it is best to mix the plaster with a hand blender for small batches, or a drill with a mixing attachment for large batches. Mixing by hand is possible, but the smaller air bubbles tend not to release in the mix and might appear in the surface of your mold.

If mixed by a mixer, be sure to mix a bit after by hand to feel the consistency. The plaster is ready to pour in the mold once it changes from watery to creamy. Work quickly before the plaster starts to set.

Keri Radasch also has similar notes on her site and a link to Ian Anderson's guidelines as well.

Hope that helps. And if you're like me, the more times you do it, the easier (and less scary) it becomes. I'm actually looking forward to making a whole bunch of drape and slump molds later this month.

Happy Mixing!

More tiles - layered surface tests

Sat, 24 Jul 2010 04:00:00 GMT

And they're out of the kiln. Overall, I'm still very pleased with the potential of these new lowfire test tiles. I've got to be careful not to overdo the layering or they start to get a little muddy looking though.

They look a little jumbled shown all together like this - seems better to process them individually.

We'll, gotta run. We're off to the Bray Bash!

And the Experimenting Continues...

Fri, 23 Jul 2010 04:00:00 GMT

In addition to experimenting with new sculptural forms and attempting to make plates and cups, I've also been working on glazes and surface. (Yes, it's been quite a month!)

While I absolutely love many of my current cone 04 low fire glazes, I have still been itching to develop the surface a bit more. I'm hoping for visual depth and crunchy, textured surface areas.

So, I started by adding texture to slabs with various found objects and then cut them into 4" and 6" square tiles.

Then, I covered the whole surface with 3 layers of terra sigillata. (Whoops forgot to snap a photo here.)

Next came brushing on underglazes and colored slips before scratching/drawing into the surface with needle tool. After the drawing was done, I went back over a few areas with some slip trailing. Here they are pre-bisque firing...

Here's some post-bisque firing...

After the bisque fire, I layered several of my current sculptural glazes, brushing them on with a more painterly approach. Pre-cone 04 glaze firing...

After firing to cone 04...

And I've got another set of tiles in the kiln now. Cant wait to unload it tomorrow!

Still haven't figured out how I will incorporate this surface into my sculptural work, but that will come with time and more experimenting. Here's a little piece I made to see how the surface would wrap around a 3D form.

(Note: This piece is also a scaled down version of the first sculpture I made during my residency here in Missoula. Thought a smaller, maquette-like piece would help me resolve some of my technical problems. We'll see...)

Until later!

A Potter I am Not

Thu, 22 Jul 2010 04:00:00 GMT

Kudos to all those functional potters out there! Though I've had my suspicions, I have confirmed that I am definitley not one of them. I love drinking, eating, and collecting pots, but making them is not my forte.

One of the requirements as a resident artist at the Clay Studio of Missoula is to donate 2 cups and 2 plates for every month of your residency. (Lucky for me, I'm only here one month, so my numbers were small.) The plates and cups are used at thier annual fundraising dinner Missoula Valley Thyme and Plate, which just happens to be this Sunday, June 25 from 6-10pm. So glad I extended my stay to that I can attend both the Bray Bash this weekend and Thyme and Plate!

It took me the better part of 2 days to make just these 6! This is actually my 2nd round of tumblers - ever! (The first 3 I made are too embarassing to even look at, much less post pictures of for the whole world to see.)

They are handbuilt from 1/4" earthenware slabs using a paper pattern that I made from a standard pint glass. Fortunately, I was able to adapt my usual handbuilding techniques fairly easily for this step.

There were casualties early on, however. I lost 2 after applying a few layers of terra sigillata and saturating the bone-dry clay. This one split right down the middle - mostly along the carved lines.
I'm was already down to 4 when I had to face my real challenge. With to do with the surface??

See, none of my standard, favorite, low fire glazes are food safe. So, after exchanging a few emails with glaze guru John Britt, and running a few tests (on the broken cups I might add), I was able to come up with a solution. They're in the kiln now (glaze to cone 04) and I hope, hope, hope that I get 2 decent ones out to donate. And I only made 4 plates. So fingers crossed there too! I'll know tomorrow afternoon...

In the meantime, here's a little eye candy from the market Saturday morning. The lilies this woman had were absolutely amazing. I'd never seen so many varieties and colors!
Cheers!

Unsuccessful but Necessary

Thu, 15 Jul 2010 04:00:00 GMT

Well, I unloaded my work from the kiln on Monday. As usual, it takes me a few days to look at and process the work.
As soon as the work was cool, I eagerly rushed off to Lowe's to get the necessary hardware for assembly. Back in the studio, I quickly started to thread the bolts, washers and nuts into place. It didn't take long for me to realize that I was up against some serious technical difficulties! Ugh!
I had anticipated being able to tighten the hardware enough so that the pieces would stay snugly in place. This, unfortunately was not the case in 2 out of 3 new works. Even with rubber washer to help absorb the force, the ceramic pieces wanted to spin about in all directions. Great if I was making a windmill, but not so much for a stationary hybrid-flower-type form.

Though I am disappointed with the outcome of this work, I still feel it was a HUGE learning experience. And I've been able to go through that learning curve much quicker because of the focus I'm able to get during this residence.

I am reminded of a quote from the book Art and Fear - "Even the failed pieces are essential."

So, with that in mind, I'm off to the studio to make and learn more!

Cheers!

Field Trip - The Archie Bray Foundation

Wed, 14 Jul 2010 04:00:00 GMT

Tuesday afternoon I went to The Archie Bray Foundation in Helena, MT - a 2 hour drive from Missoula. I've known about The Bray (its resident artists, clay supply business, and support of for all things ceramic) for years, and was excited to get a chance to check it out.

Archie Bray Resident Artist Exhibition and 2010 Bray Benefit Auction

View outside the Warehouse Gallery

Met up with current resident artist Courtney Murphy who gave me a tour of the short-term and long-term resident studios. Courtney and I met briefly in Asheville, NC a few years ago through mutual friend and ceramic artist Cassie Ryalls. The ceramics community is amazing! If the rule of 6-degrees of separation is true normally, within ceramics I think it's more like only 3!

Long-term Resident Studios

It was also great to meet some of the other artists (Kelly Garrett Rathbone, Steven Roberts, Kensuke Yamada, Kevin Snipes, Gwendolyn, Yoppolo, Del Harrow, and Johnathan Read) and see their work in the Resident Artist Exhibition in the Warehouse Gallery. I was blown away by the quality and variety of the work!

Some of Courtney's work from the Resident Artist Exhibition.

It was a quick visit, but I'm looking forward to heading back there next Saturday, July 24 for The Bray Bash - thier annual auction and fundraiser.

From The Bray's Website:
"The Archie Bray Foundation for the Ceramic Arts is a public, nonprofit, educational institution founded in 1951 by brickmaker Archie Bray, who intended it to be 'a place to make available for all who are seriously and sincerely interested in any of the branches of the ceramic arts, a fine place to work.' Its primary mission is to provide an environment that stimulates creative work in ceramics. "

View back toward the resident studios and kiln yard

If you ever get a chance to go, I highly recommend it! (And I was only there for a short visit!) In addition to offering ceramic workshops and classes, The Bray offers ten 3-4 month short-term summer artist residencies and ten 1-2 year long-term residencies.

Cheers!

In the kiln...

Wed, 07 Jul 2010 04:00:00 GMT

Loaded and fired an electric kiln with fellow resident Danny Crump yesterday - my first firing at The Clay Studio of Missoula. Here's a picture (pre-firing) of the various pieces and parts for three new experimental sculptures, my "warm-up" work from Monday, samples for my upcoming workshop at Arrowmont, and a couple trial plates and cups. (Plates and cups you ask?!? Yep. More about this challenge later.)

(Note: Imagine that white plaster mold isn't there for support and the pieces are bolted together.)

Tomorrow's plan - glaze, load and (hopefully) fire the kiln again. Cant wait to see some of this new work "finished." I have plans to include various glass and steel parts, so they may not be truly completed until I get back home to the studio in FL. But a trip to the hardware store for nuts and bolts is in my near future.

Work in Progress - A new adventure

Thu, 01 Jul 2010 04:00:00 GMT

Thought I'd take a moment to share some, well, personal news with you.

This is not your typical artwork-in-progress blog post. My current "project" brings with it a lot of exciting changes, hard work, unexpected adventures, and unconditional love.

My husband and I are expecting our first child the end of October! Needless to say, we are very excited about our growing family and our little bundle of joy.

Though this is a planned addition, I must admit that I have had my moments of panic and uncertainty. How in the world can I be an artist and a mother at the same time!? Or a mother and an artist? I already feel that there aren't enough hours in the day to get everything done!

Being the type-A personality that I am, I was hungry for answers, advice and information. So to ease my fears and concerns, I started my "research."

In addition to reading the usual pregnancy and child rearing books, I dove into The Divided Heart: Art and Motherhood by Rachel Power and I highly recommend it to any artist-mother with questions or concerns about work-life balance.

Here's a little about the book from the publisher's website.

"Do women still confront the attitude that a dedicated artist will avoid having children for the sake of her career? In The Divided Heart, Australia’s most respected artists, writers and actors speak frankly about the wrench between motherhood and their artistic life.

Rachel Power navigates through the divided heart of the artists to reveal the shocking, funny and moving truth of the overwhelming demands of motherhood and the undiminished passion for their work.

This book will resonate with anyone who has ever wondered, ‘Who will I be when this baby is born?’"

Links to other helpful info:
Clay Parent - Mud Mamas and Papas
Studio Mothers: Art and Life (just found this one)

Our growing "bean" at 18 weeks. Boy? Girl? Time will tell. We're keeping it a surprise.

Thank you for reading and sharing our excitement with us!

New work - Residency project 1

Wed, 30 Jun 2010 04:00:00 GMT

I'm off to the studio to continue working on the project I started yesterday. And I must say, I'm pretty excited about it. It looks a lot different than the 3d sketches I did on Monday; almost as if it was made by another person. But I feel this piece is finally starting to incorporate ideas and techniques I've been striving for in my new work. (More on that later.)I was also amazed how much I was able to accomplish in one day! Granted, it was a long studio day - 7:45am til 7:00pm, but I was feeling great and really into a groove. It normally would have taken me 3 weeks at home to make this much progress! Cant wait to see what I'm able to do today! Cheers!

Studio Warm Up

Tue, 29 Jun 2010 04:00:00 GMT

My first studio day in Missoula-

Yesterday, I spent all day working on small, 3D sketches of various floral forms. These maquettes were a great warm up exercise! And man did I need the warm up. It can take a while to get settled into a new space and find a routine.

The first thing that took some adjusting to was my clay body. I have been using the same clay body for at least 5 years now. (Lymen Red from Highwater Clays.) But out here in Montana it makes more sense to get it from The Archie Bray (only 1.5 hrs from Missoula) than to have 100lbs of my usual stuff shipped from the East Coast. So I made the switch and the two are definitely different! I don't know yet if I prefer one over the other, but I'll have to report back after my month-long residency. ABF Earthenware is darker brown when moist and seems smoother. It has virtually no grog compared to the Lymen Red I'm used to working with at home. I'm curious to see the fired color and compare shrinkage, absorption and warping.

The second issue I'm tackling is related to this gorgeous weather I've been experiencing. Humidity. Or lack there of. In Florida (80-100% humidity) clay dries very, very slowly and often needs to be put into a dry box or blasted with a heat gun to speed the drying process along. Not necessary here in MT! Slabs seemed to get stiff with the blink of an eye! I will definitely have to adjust my work time and modify some of my usual building habits.

These small pieces not only helped me learn more about my new clay and environment but they were great visual studies. I picked several flowers on my walk to the studio and took the time to really observe the structures, textures and colors of each. So, with the some 3D sketching and traditional sketching done, I tackled my first "real" project today. And I must say, I am pretty excited about it! But more about that one tomorrow. I'm off to bed!

Residency Goals – The Clay Studio of Missoula

Mon, 28 Jun 2010 04:00:00 GMT

FAQ - “Why do you want a residency, you have a full studio at home?”

I’ve been thinking a lot about my goals for this residency. Why do I want a residency? I am a full-time studio artist with a fantastic work space just outside the back door at home. But having/needing a place to work isn’t the only reason artists take advantage of the various residency programs that are offered throughout the world. So, I thought it would be helpful for me if I outlined my goals for the next month. This will help keep me focused, even if part of the “focus” is to just to relax and have fun. You know, try to ignore that type-A voice in my head telling me I must create the best, most amazing work while I am here.

This month I hope to…

- meet new people. It’s important to get out, meet other artists, talk with them about their work, answer questions about your work, observe other techniques, and experience other firing methods.

- play! Experiment with all the ideas and techniques that I can’t seem to make time for in the studio at home. Allow myself the time to just be creative without the pressure of making a specific piece or product. I don’t want to go to a new place and keep making the same work.

-stimulate new ideas. Exposure to new people, places and things – I’ve never been to this part of the US until now and am in awe of the beauty and amazing weather. It’s perfect for someone who is inspired by nature and the world around them. (Did I mention that the temp at 8:00am yesterday morning was a crisp 48 F in Missoula, MT and already a steamy 84 F in Ocala, FL?! Or that it doesn’t get dark here until almost 10:30pm! And to think, I packed a flashlight because I was worried about walking home from the studio in the dark. Instead of a flashlight this prego needs one of those black-out face masks to wear to sleep!)

In a nutshell, my goals are not on product, but on process and experience. So, it’s time to head to the studio to start unpacking and meeting the other residents.

Cheers!

Day One – The Clay Studio of Missoula

Sun, 27 Jun 2010 04:00:00 GMT

One month. Well, 32 days actually. That’s how long I’ll be in Montana for this amazing residency opportunity! Part of me stresses that it is to short. Part of me worries it is too long.

I know my studio days will be full and I will need to be focused to accomplish my goals. Working with clay involves coordinating a fairly tight timeline of making, drying, firing, and glazing.

The other part of me is already a bit homesick. One month seems like a long time to be away from home and my husband. It’s not like we’ve never spent time apart. Heck! The whole first 2 ½ years of our relationship was long-distance.

It’s just that he is my sounding board. He knows how to inspire me and help with the practical challenges. And he knows how to relax and support me like no one else! But we both understand what an important opportunity this is for me, my art, and my career. So, when I received an offer to come out here, he was behind it 110%.

Today is Day 1 and I’m ready to let the month begin! I arrived safe and sound last night and started the process of getting settled into my new home. I have a relaxing day ahead of me before moving into the studio tomorrow. I’m looking forward to days full of new friends, stimulating conversations, good food, studio inspiration, and amazing weather!

Cheers!

My husband and I in March 2008 taking a break from a day's work building the studio back home in Ocala, FL. For more studio construction photos, click here.

New Plaques and Improvements

Sat, 26 Jun 2010 04:00:00 GMT

So, I mentioned in yesterday’s post that I was able to finish a record 60 plaques in just 8 studio days! And though this was definitely a rush job, the quality of the tiles was in no way compromised.

Actually, the opposite is true. I believe the plaques are getting better with each firing. I have a lot fewer “duds” – tiles that just don’t work for one reason or another. Warping seems to be under control. The patterns and line-work are stronger. And most glaze problems have been resolved. For me, these tiles are a way to experiment with pattern, texture, and color. Because of this, even the “duds” are important. By studying them, I’m able to evaluate what works and what doesn’t; learn from my mistakes. I’m happy the success rate it up!

I’ve been making these plaques for 4 years now. People often ask how long I will continue to make new ones. And the answer is the same for all my work. I will continue to make them as long as I feel challenged creatively and I see room for growth and improvement. When I get bored or dread the process, it’s time to move on to something new.

Happy Creating!

Kickin' It!

Fri, 25 Jun 2010 04:00:00 GMT

Been getting kicked from all directions lately! Some exciting. Some stressful.

Felt the baby kick for the first time last week. And let me just say, that might just be one of the coolest feelings ever! Baby decided to get my attention for the first time while I was in line at the bank irritated with the teller. Guess he/she is already teaching me about patience.

Secondly, my studio work load has been kicking my butt! After the Studio Stroll in Asheville, NC earlier this month, I was almost sold out of Tile Plaques at CURVE studios & garden! I hadn’t planned on doing another set of firings before leaving for Montana, and the thought of squeezing this in on top of everything else definitely elevated my stress level.

(Cut, burn and polyurethane wood backings... check!)

So, I finally sat down and took control of my to-do list! Feeling overwhelmed with everything that needed to be done before I leave on Saturday, I divided my list up into daily tasks. This has made managing my time much more productive! Now I know I’ve got time set aside to finish the work in the studio, pack and relax with my hubby before flying out west.

(Organize to-do list.... check!)

I’ve got around 60 glazed tiles cooling in the kiln right now. The metal and wood backings are finished and the tiles should be cool enough to unload this afternoon. I’m right on schedule! Whew! It’s amazing what can be accomplished with the pressure from a deadline.

(Cut and polyurethane metal. Attach to wood backings... check!)

Ok, I’m off to yoga (ahhh!) and to run some errands while the kiln is hot.

Cheers!

Heading West - The Clay Studio of Missoula

Thu, 17 Jun 2010 04:00:00 GMT

More exciting news and adventures to share! I recently found out that I was chosen for a short-term residency position at The Clay Studio of Missoula in Montana.
So, I'm taking my baby bump out west to Big Sky Country for a bit of an adventure. I'm looking forward to having a month to just explore and create. I have so many ideas and techniques that I want to investigate! The plan is to continue developing the current direction of my work; new sculptural forms I started during my post-bacc at UF.

And the timing is perfect! Not only am I grateful to have an opportunity to do this before the baby comes, but I'll still be in my 2nd trimester (aka the "honeymoon phase of pregnancy") so energy will be up and I'll be feeling great.

So, we've got a whirlwind week ahead as I pack and prepare for this amazing opportunity. Thank you!

Cheers!

Contemporary Clay Biennial - Opening Friday

Wed, 02 Jun 2010 04:00:00 GMT

I am very excited and honored to announce my piece "Urban Pocket" as selected for the Contemporary Clay Biennial at the Art Center, Western Colorado Center for the Arts, in Grand Junction, CO.

The opening reception is this Friday night, and Oh, how I wish I could be there! If you're in the area and able to attend, please take some pictures for me. I'd love to see the show installed!

Contemporary Clay Biennial 2010
Juried by Ceramist and Clay Times columnist Pete Pinnell
May 14 - June 26, 2010
Opening Reception - Friday, June 4, 6:30 - 9pm

Juror Pete Pinnell - Clay demonstration and workshop June 5-6, 9-5pm.

, earthenware, steel, wood backing, 9 x 40 x 4", 2009.

Urban Pocket

New Work - UF Post-Bacc Program

Tue, 18 May 2010 04:00:00 GMT

Finally getting around to posting pictures of the work I did Spring semester at UF. I start exploring a new direction - moving the work from wall relief sculpture to working completely in the round. Like most new ideas, I feel it's taken me some time to digest and think about the changes that I made, and the changes that I still need to make.

I won't lie, this change was definitely a struggle for me! There were days when I felt I had no idea what I was doing - technically or conceptually.

I had problems with clay shrinkage and incorporating found objects. I questioned if the ideas I was hoping to covey were coming through in the work. I had work blow up in the kiln! So, several attempts ended up in the trash or with the shards destined to become more stepping stones for our garden.

But, I kept pushing and reminding myself that "when you feel like you know what you're doing, you're probably not growing."

Now that a little time has passed and I've had a few weeks to process the experience, I am excited about this new direction and the possibilities I see for expanding these ideas. So, here are a few pictures and my artist statement...

Fortis cultivativo, earthenware, steel, glass

(Note: Now on view through July 5 at "Art in Bloom", Marion Cultural Alliance; On Top of the World Location- Ocala, FL)

Natural and manufactured environments coexist within contemporary urban settings. City parks and botanical gardens are thoughtfully integrated into residential developments and commercial centers. These man-made garden atmospheres seem to emphasize an underlying desire to escape the hectic stress of everyday urban life by surrounding oneself with beautiful, natural environments.

Incrementun multi, earthenware, steel, cast glass

(Note: Now on view now through Oct 8 at The Arrowmont 2010 Instructor Exhibition, Gatlinburg, TN)

My sculpture focuses on a self created species: a visual hybrid that reflects both nature and industry. These mixed-media works synthesize plant forms like pods, leaves, and stems with radial mechanical elements and machine parts. The link between industry and nature is emphasized further through materiality. The constructed sculptures incorporate materials such as steel and concrete with traditional craft media such as clay and glass. The textured, crusty, surface treatments of the stylized terracotta forms further suggest the coexistence of these worlds.

Evoco vita, earthenware, steel, cast glass, fused glass

(Note: Now on view June 3-July5 at "Ancient Arts", Marion Cultural Alliance; downtown location- Ocala, FL. Opening reception this Friday!)

The imagined hybrids represent the need for balance in our everyday lives. Parallels can be drawn between industry and work, and nature and pleasure as society strives for professional success and personal happiness.
Thanks again for reading and following along with the changes and progress in m

UF Post-Baccalaureate Ceramics - A Year in Review

Wed, 28 Apr 2010 04:00:00 GMT

It's official. I finished up the special study, post-baccalaureate ceramic program at The University of Florida last week.

Though I had hoped to do more blogging during my journey, I found I ultimately needed to spend more time focusing on being a student and becoming more immersed in my work.

But I did want to take a moment to reflect on the past two semesters - what I've learned, what I'll miss, what I'm excited about for the future. The past few weeks, people kept asking, "So, was it worth it? Did you get everything out of the program you had hoped? Was it was you expected?" My simple answer is a hands-down "YES"!

Our wonderful group led by fearless leaders Nan Smith (far left) and Linda Arbuckle (far right)
Not pictured - Fall Graduate TA Kristin Schimik & Spring Graduate TA Charlie Cummings.

What I will miss the most is definitely the people! We truly had a wonderful group. We worked well together - sharing ideas, constructive criticism, and good times. For me, getting out of my studio at home and interacting with other people was priceless. I learned so much from just working in the same room as these artists! There were definitely ah-ha moments when I would observe how someone was constructing a piece or we would problem solve together.

Overall, I wasn't at school, on-campus as much as I would have liked to have been. It was tough juggling the UF-student world, with my married, Ocala world, but I think I did it without compromising too much of either. Commuting back and forth to Gainesville and coordinating what materials, work, and tools to haul on what days was a challenge. One thing's for sure, I definitely will NOT miss that hour-long commute, the subsequent fight for parking, the bus ride to the art building, and then the commute back home!

So, what did I learn? Wow! That's a hard one to put into words, but I'll do my best to sum it up.

I learned that when you push yourself to stretch in new directions, great things can happen. I learned that if you feel like you know what you're doing, the you're probably not growing enough. (It's also ok not to know what you're doing for a while, but important to keep on working.) I learned to think more critically about my work and analyze it from a different perspective. I gained confidence. I was humbled. I learned new techniques. And I started a new direction with my work.

Our end of year exhibition - Fresh from the Fire
Opening Reception: April 9, 2010, WarpHAUS gallery, Gainesville, FL

Here are a few quick snapshots of the work/artists in our group. None of these photos do the work any justice, so I encourage you to check out the website links where provided.

Sarah Tancred

Lauren Faust

Hannah Pate

Eric Lewis

Alisha Lewis

Alan Schulte

Ashley Neukamm

Rachel Sonenblum

Sarah Marraffino

Chloe Rothwell

I failed to get a good picture of Rebecca Rhyne's final presentation. She had her work, a series of 5 ceramic heads depicting intense emotion, thoughtfully installed in a small room off the side of the main gallery.

A group shot of my newest work. I plan to do a longer post talking a bit more about the transition I'm making from relief sculpture to work in-the-round.

Though school is done, the learning never truly stops. I finished up the semester full of ideas for new work. I'm looking forward to getting back into my studio to start these new projects.

Also, I cannot wait to get back to into our garden! It has been sadly neglected, and is in need of immediate attention! I often find it ironic that I spend days in the studio making work about being out in the garden. So, it's time for me to get outside, enjoy Spring, and be inspired!

Thanks for reading along. I hope to be checking in more often from now on.

Cheers!

Home from NCECA Philadelphia

Thu, 08 Apr 2010 04:00:00 GMT

Returned home Sunday morning from a busy NCECA (National Council on Education for the Ceramic Arts). It was my first time attending, and I must admit, I was pretty overwhelmed at first. There were so many talks, lectures, discussions, exhibits (over 90 in the Philadelphia area!) people, new tools, fancy equipment, schools, residencies... It was hard to do and see it all. But I had an excellent trip, and left feeling inspired (though a bit exhausted)!

I'm still process and digesting most of the things I saw and info I learned. But I did want to post a few pictures from my trip. Why is it that I never seem to end up taking as many pictures as I think I will? But here they are. I think I just stopped carrying my camera after our first day...

Earth Matters, The NCECA invitational at Moore College of Art and Design.

National Student Juried Exhibition at the University of the Arts' Rosenwald Wolf Gallery
La Mesa - Santa Fe Clay Work by Gwendolyn Yoppolo at La Mesa
My traveling buddies - Nigel and Cheyenne Rudolph. I didn't get any pictures from Off the Wheel (the show Cheyenne curated and was a part of), but it was a great exhibit and they have pics posted at Rudolph Clay Studios.

I added two pieces of pottery to our collection too. A plate by Emily Schroeder. (I bought a cup of hers at Arrowmont Utilitarian Clay Conference in 2004 and it continues to be one of my favorite.) And a plate by Meredith Host from Flotsam +Jetsam. Here's a gallery shot of Flotsam+Jetsam. The work on the right is Rain Harris. Meredith's work on the left and on the back wall.
We also went by The Clay Studio saw some beautiful work and talked to current residents.

That's it. My quick photo tour is complete. It's off to the studio for me. Hope you're enjoying Spring. I came home to beautiful Florida weather and a yard full of azaleas.

Cheers!

What makes an art festival a "Good One"?

Thu, 11 Mar 2010 05:00:00 GMT

A few weekends ago I participated in my first outdoor art festival - The Winter Fine Art Fair at Tioga. I am member of the University of Florida student ceramic group H.O.T (handbuilt or thrown) Clay and the Gainesville Fine Art Association invited us to set up a booth at this year's event. The festival is in its third year, and growing. It rained all day Saturday, but the sun came out for beautiful Sunday afternoon.

Just prior to this, I met someone responsible for organizing a similar event in Ocala, FL. We began discussing festival ideas and planning and it got me thinking.

So, I am asking for advice from artists who have regularly participated in weekend festivals. I will be sharing your comments, so if you prefer, you can email me at info@MeaganChaney.com

What makes a festival a "good one"?

If it's sales, then how did the organizing committee get the word out to buyers? Or do you believe your sales are independent results and do not coorlate with specific events?

Location? Maybe there really is something about escaping to South Florida in February.

Parking? scheduling? help/assistance? communication? reputation? size? quality of other artists exhibited? what is it?!

And, if any artists reading have participated in the Ocala Art Festival hosted in the fall by Fine Arts For Ocala, I would love to know if you have any specific ideas for improving this event.

I thank everyone in advance for your feedback! I am excited about getting more involved in my local art community and will appreciate any suggestions I can pass along to the committee.

Cheers!

Clay and Blogs: Telling a Story

Wed, 24 Feb 2010 05:00:00 GMT

I am honored to have been invited to participate in an exhibit entitled "Clay and Blogs: Telling a Story" to be hosted by the Arts Council of Moore County and held at the Campbell House Gallery, in Southern Pines, NC from October 1 - November 1, 2010. Meredith Heywood of Why Not Pottery is curating the exhibit, which includes over 30 artist-bloggers from around the world!

My good friend, and potter Joy Tanner described the show in a Jan 25th post to her blog Journeys in and Around the Studio. I'm re-posted this with her permission:

"People blog for multiple reasons and even with the numerous pottery blogs out there you can find a variety pack of topics within the medium, or even a variety of reasons why people choose to blog. I think blogging is a great tool for people to see behind the scenes of the potter in the studio and their quiet musings; the ups, the downs, the successes, the failures, the determination to keep going, as well as a particular technique or what they are currently working on at that time.

For me, blogging is a great chance to clarify my thoughts about choices behind my work, and to show my inspirations behind the pots. Seeing those quiet musings in real words is different than just thinking it. Sharing it also helps others learn the voice of the potter behind the pots. I've always felt you can tell a lot about a potter from their pots. Just like people matching their dogs, potters often match their pots! That's why it's so neat for potters to raise their voices and share the inner workings of their studios. Blogging also brings about a sense of community between other potters and artists alike, who can learn, be inspired, or simply relate to the ramblings of the self employed artist."

I completely agree with Joy! While she talks specifically about pottery, I think her comments apply to other blogs as well - sculpture, painting, jewelry, woodworking, etc. Blogging has been a great way for me to share what I am working on and build a community of support.

Thank you Meredith for curating should be an exciting event! I'm looking forward to exhibiting some new work. (Which by the way is undergoing a lot of radical changes. I'll post images as soon as I'm ready for the world to see what's been going on behind the scenes.)

Cheers!

How do you measure Results?

Tue, 19 Jan 2010 05:00:00 GMT

There are certain things I have learned about myself. I tend to measure "results" in quantitative amounts or by actions completed.

For example, today I finished and shipped work to 3 galleries (amount, action); shaped and grooved 25 glass pendants (amount, action); removed the dead vines, sticks and yard debris from behind the studio (3 trashcans full) (action, amount); spent 1 hour at the gym; you get the idea... I like to start the day with a list and check things off to mark the progress.
However, there is a flaw in this system that I continue to struggle with.

How to feel productive doing "nothing"? And by this I mean the quiet, still, thought provoking moments that require a lot of concentration and soul searching. This is a lot tougher to do! And I usually avoid it by trucking ahead doing things that need immediate attention or have tangible results.

If I had written down "spend 2+ hours thinking and sketching" rather than "come up with brilliant idea for next project" I could cross the former off the list instead of stressing over the latter.

But if I want my work to improve, I have to stop and ask myself the tough questions. Why did I do this that way? What am I trying to say? What do I want to communicate to the viewer? What is my work about? How could I have done so-and-so better? And does anyone really care?

While I believe I know the answers to these questions on some level, it is extremely difficult for me to articulate these ideas both verbally and visually.

Ultimately, I want my work to be the best (technically and conceptually) it possibly can. Being back in school has been a tremendous help with this process. Someone else is now holding me accountable; pushing me to address issues that I would otherwise avoid or procrastinate.

So, do you struggle with similar feelings? How do you slow down the forward momentum to make time for reflection? How do you carve out time for these tasks? How do you tackle the tough questions? How do you keep from getting frustrated? How do you measure Results?

Whew! All those questions call for a glass of wine!

Cheers!
Meagan

PS - Write 1 blog post (amount, action) :)

Stressing the Good

Mon, 21 Dec 2009 05:00:00 GMT

I started playing this game with myself a few months ago. Shortly after I started the post-baccalaureate ceramics program at the University of Florida, I found that my stress level was steadily increasing. I had grossly underestimated how much time would be involved in going back to school, and was struggling to maintain my current work load while challenging myself creatively and artistically.

Sick of hearing myself complain about it, I made a conscious effort to remove the word “busy” from my vocabulary.

I’m finding this new game kinda fun. AND it’s actually alleviated a lot of my stress. By not focusing so much on everything I have to do and how little time there is to do it, I’m actually able to get more done and the whole experience is much more enjoyable. I realized that I was expending a lot of energy worrying, when that energy could be put to better use on positive thoughts and actions.

I guess I bring this up now because the holidays are upon us and 2010 is just around the corner. Like many, I do a lot of reflecting this time of year. What changes did I make? What was I able to accomplish? (check out Alyson Stanfield’s Art Biz Blog and Art Marketing Podcast for my favorite end-of-the-year exercise.) What would I like to do differently? How can I re-prioritize my time? How can I live the happiest life possible?

There's a quote posted in my studio that says “She succeeds beautifully by doing nothing more than being the best possible version of herself.” That is what I want; for each of us to be the best possible versions of ourselves.

Thank you for reading and keeping up with me throughout the year. Happy Holidays to you and your families and I will see you in 2010.

Cheers!

September Summary - School, Studio, Stress, and Success

Tue, 29 Sep 2009 04:00:00 GMT

"Some of the brightest days start out cloudy, some of the best endeavors start out tough, and some of the most wonderful experiences start out challenging. " -Unknown

September flew by and was nothing less than a challenging, exiting month...

Since starting the ceramics post-baccalaureate program at the University of Florida, I've found myself repeating the above quote quite a bit. It's almost become a daily mantra.

I am a creature of habit. Adjusting to a new schedule and routine has been challenging. The commute to campus is challenging. (I hadn't realized I would be spending 10 hours a week in the car!) And pushing yourself to make new, thought provoking, exciting, innovative artwork is a constant, but necessary challenge.

Some days I feel overstimulated and want to begin everywhere at once. I leave class with so many ideas, it's tough knowing which to investigate first. Right now though, I'm trying hard to absorb as much as possible, without filtering anything too soon.

There's been a lot of sketching and researching happening as I investigate new concepts and forms. Most of my ideas still seem unresolved, but the prospect of new, better work keeps me going strong.

Meanwhile, work continues in the studio at home. Progress is coming along nicely on this sculpture commission. Here's the scale drawingand a few of the unfired forms.

My obsession with glaze testing also continues... I wanted to see how my glazes reacted when overlapped and layered with each other. I did a series of 17 of the 12" test tiles using 42 of my favorite cone 04, low fire glazes. (Only 5 tiles are shown in the above picture.) There were some fascinating results that I cant wait to put to use in my new work!Test tile with more overlapping and layering of underglazes, terra sigillata, lowfire crawl and lizard skin glazes.
So, life and art continue. I don't know about you, but I'm looking forward to the many adventures October has in store. (That, and a little bit of pumpkin pie!)

Education is for the Soul

Wed, 26 Aug 2009 04:00:00 GMT

Yesterday I started a post-baccalaureate program in Ceramics at the University of Florida. It's a one year/two semester program for students interested in developing technical skills, aesthetic sensibilities, and personal concepts.

My decision to go back to school was based on several factors.

Technique - My work has shifted from being predominantly glass to predominantly clay and I'd like to further develop my technical understanding of materials, process, and techniques.
Community - After working alone in the studio for the past couple years, I wanted to work among other artists sharing ideas and engaging in critiques.
Artistic Development - I felt like it was time to get out of my comfort zone and push myself. I want to be asked those "hard questions" about my work. Why do I make the work that I do?
Opportunity - juried shows, lectures, visiting artists, art openings, network with other artists and professionals, etc.

We had a great first class yesterday! Our instructor, Linda Arbuckle, is an amazing artist and is just full of information! I left class feeling energized and inspired. Our first project is due on Tuesday. We will each be giving a power-point presentation defining our concept of interest and showing sources/inspiration images that support that idea. Research! I love it! And have already checked out a rather large stack of library books.
Back to school also means a shift in my studio routine. While I will continue to blog, fill gallery orders, and complete commissioned work, I want to allow myself the time needed (and required) to get the most out of this program. This year is going to be more about process than product.

I'm looking forward to sharing this next chapter of learning, personal growth and artistic development with you.

"What sculpture is for a block of marble, education is to the soul" - Joseph Addison

Thanks for reading!

Glass - Kiln Casting and Slumping

Thu, 20 Aug 2009 04:00:00 GMT

Finished up these tile plaques this week. This series of 6" x 6" x 1" plaques incorporates kiln cast glass and slumping, so I thought I'd share a couple pictures of the glass process today.

Finished Wall Plaques

Unfired glass stacked into steel molds. The molds are lined with fiber paper so the castings wont stick. Yes, I use the same L&L ceramics kiln to fire both ceramics and fused glass, and it works beautifully! I do have separate sets of selves, and 2 different types of kiln wash (aka shelf primer) though.

Kiln castings after being fired to 17250F. Interested in my glass firing schedule?

Check it out here.
In my kiln, this firing is set to Program #5. The kiln castings after the glass has been taken out of the mold and cleaned up a bit. Each "brick" is between 1/2" to 1" thick. Slicing the cast "bricks" with a table top tile saw.
(My least favorite part of the process. So loud and messy!)But it's worth it! The colors and patterns of the glass castings are revealed after they are sliced open. They've always reminded me of geodes. Once I have the slices, they 're cut down to size with a hand held glass cutter/scoring tool. The windows are also coated with the same primer/kiln wash that is on the shelves. This allows the glass to slump through the clay opening with minimal stress and cracking on the glass.

The pre-fired, glazed tiles are loaded into the kiln upside down, with the glass covering the window opening. They are then fired to 1300oF.
This is Glass Firing Program #2 .

After firing, the kiln wash/shelf primer is cleaned off with a damp sponge and the glass is glued back in with 100% silicone adhesive.

Here's a tile without the steel backing.

Well, there's a very quick runthough of what I've been up to this week in the studio. If you have any questions about any part of this process, please just let me know. I'm happy to share info!

Cheers!

Glazing - My Process

Thu, 06 Aug 2009 04:00:00 GMT

Hi there!

I've spent most of the week happily glazing away in the studio. Many more Mini Sculptures and Tile Plaques in the works! And while I've talked to many potters and ceramic artist who find glazing/decorating tedious, this is my favorite part!
After the clay has been bisque fired, I organize the work by size and style and then get to work labeling. (Those of you that know me are laughing at the words 'organizing' and 'labeling' - I know, I know, I cant help it!)
Anyway, using a pencil, I go through each piece, decided which glazes will be used where, and then write a code or abbreviation for the glaze in that spot. I have about 70 glazes mixed, but really only use about 35-45 of these on a regular basis. So there are a lot of codes, most of which would look like gibberish to anyone else!
Then I go through each glaze one at a time, applying it with a small #6 brush. It becomes a "glaze-by-number" and I'm able to sit back and enjoy my favorite podcasts (This American Life, or Wait, Wait Don't Tell Me, etc.) or listen to audio books. (Recently I listened to and loved Animal, Vegetable, Miracle by Barbara Kingsolver. Thanks for the recommendation Betsy!)

I've found that listening to podcasts or books during the day passes the time extremely quickly, I learn a lot of information, it keeps my mind focused on positive things rather than worrying (see previous post) AND I'm able to get tons of glazing done! A Win-Win situation all around.

Do you have any routines, habits, or techniques that make "tedious" tasks pass with more ease and enjoyment? Or, any podcast or book recommendations?

Well, those ceramic tiles and Mini Sculptures are in the kiln now, so I should probably go check on them. Thanks for reading a bit about my process.

Cheers!

Balancing Work and Life

Tue, 28 Jul 2009 04:00:00 GMT

How do you balance "work" with the rest of "life"?

When you love the work that you do, how do you distinguish between work and play? Professional success with personal success?

It feels kinda like those cartoons with the angel on one shoulder and devil on the other. Except sometimes it's tough to tell who is who.

One side is excited about the new work that will come out of long, productive hours in the studio. The other side wants to skip studio time, work on our vegetable garden, finish remodeling the laundry room, and go for a bike ride with my husband. Then my thoughts switch to keeping my website updated, posting to this blog, and working on new marketing ideas. Then back to wanting to schedule lunch with a friend, or where I'm going to find malt extract for that new bread recipe I just found.

All of these things are tasks that I actually, honestly, enjoy! So I want ALL of them to be a part of my life. So I am accepting the fact that striving for a balance will be a life-long task involving lots of checks and balances.

So does that also mean...
less hours in the studio = less income?
less hours in the studio = less success?
Or ...
less hours in the studio = more time spent on the rest of my life? (family, friends, hobbies, exercise, gardening, travel)
less hours in the studio = more sources of inspiration for time spent in the studio?
less hours in the studio = more success?

Our society seems to value and praise the Overworked and Busy individuals. I'm beginning to think that there's a better way to go through life; A slower pace with the enjoyment of simple pleasures. (And for a woman with workaholic tendencies, this is MUCH easier said than done, I admit!)

What I do know is that I want more days to be filled happiness and joy, than consumed with than worry and stress.
These are some of the things I have been thinking over these past few weeks. After working like a mad woman all Spring and early Summer to prepare for my exhibit at the Appleton Museum, I'm enjoying a slower pace with time for reflection. (Or maybe the Florida heat is making me delusional)

Whatever your thoughts, hope your finding (or making) time for all the things you want in your life.

Studio Construction - One Year Later

Fri, 17 Jul 2009 04:00:00 GMT

It was one year ago today that we passed our final inspection on the studio and I started moving in!Construction took 8 months and we literally did the work ourselves. We learned so much about zoning, construction, building codes, regulations, nail guns, and electrical! The only tasks we didn't tackle were pouring the concrete slab, plumbing and drywall. We brought in the experts for that.

So, I thought I'd take a moment and reflect on some of the construction milestones...

Getting ready for concrete

Raising the first wall

With wall framing complete, we moved onto the roof trusses.

Working awayInstalling the metal roof

A photo with the house wrap, windows, and roofWorking on electrical. Gotta have enough power for those kilns!

The drywall crew at work.Finishing touches and trim.

I feel extremely fortunate to have such a fantastic space to work in! I am amazed how much studio work I have been able to accomplish this past year. But it's good to remember how much hard work and dedication it's taken to get to this point.

My message to you today is - don't be afraid to jump in and do it! We had never built anything like this before. We got a zoning book, made lots of phone calls, asked lots of questions, read library books, and would stop mid-construction sometimes to go check online for how to do something. We set small goals along the way and tried to focus on one thing at a time. And it has all been worth it!! Every step of the way.

If you're thinking of building or remodeling a studio space, I'd love to hear from you. I'm more than happy to help answer any questions that I can!

Happy Building,
Meagan

For more, check out the Studio Construction archive tab in the right side bar.

Now, if we could just get that AC installed! It sure is hot here in Florida!

Museum Exhibit -The Photos are Back!

Tue, 07 Jul 2009 04:00:00 GMT

Sunday was the official closing of my exhibit at the Appleton Museum. I've had a busy month of travel (literally out of town the last 4 weekends in a row!) so I feel like the exhibit was just installed yesterday! How quickly a month passes.

Thought I'd share a few pictures and my artist statement for those of you who couldn't make it by the Appleton. (Photos by Russell Martin Photography)

In and urban setting, nature is often organized and controlled. City parks, botanical gardens, arboretums, and courtyards contrast industrial concrete and steel, allowing us to reconnect with nature. The plants selected are colorful, clean and fragrant, producing a manicured and idealized environment.

My current work explores and celebrates the city garden and our urban scenery. The goal is to stylize botanical forms by creating simplified shapes that reflect the organization of a planned city landscape.
For many, the simple act of gardening provides a welcome respite from everyday urban life. Overall, I strive to recreate feelings of comfort and harmony through composition, color and texture.

Thanks for reading. Hope you enjoyed the quick, online museum tour.

In The News Ocala

Sun, 07 Jun 2009 04:00:00 GMT

If you get a chance, check out today's edition of The Ocala Star Banner.
Thank you Dave Schlenker for the great interview, article and photos! If anyone is able to find a link to the online article, please let me know, but I suspect it's only available to subscribers. :)

And Thank You everyone who came to the demo, talk and reception yesterday!! It feels amazing to have such wonderful support!

Feeling very grateful,

A Day for Celebration

Sat, 06 Jun 2009 04:00:00 GMT

June 6, 2009 - Today is a big day! It fees like one of those days when the stars and planets align and everything works in your favor.

Not only is this my 100th post* but it is also my 1 year blog-anniversary. I want to thank all of you who have been reading and following along this past year. It's been a pleasure to share experiences and get to know may of you through your comments and blogs!

And (though maybe I shouldn't admit this) I also graduated from high school 10 years ago today! Yikes! But as cheesy and cliche as it sounds, I couldn't be happier with where I am right now! Thank you to all of the wonderful people in my life.

The Opening Reception for my first large solo show is this afternoon at the Appleton Museum. I will be spending the day enjoying time with friends and family and relaxing after weeks of hard work and preparation. If you're in the Ocala, Florida area, please come by. I'll be giving an artist talk and demonstration from 1:30-2:30 and the reception will follow until 5:00pm.

So, today seems like the perfect day to celebrate and reflect on life's milestones! I hope you find some way to do the same today.

Cheers!!
Meagan

Outburst, Earthenware clay and cast glass, 37" x 34" x 2", 2009.

*The content of this blog was transferred from my original blog www.ClayandGlassblog.com in November 2012. Some posts/comments were omitted or lost in the transfer.

Museum Installation in Progress

Wed, 03 Jun 2009 04:00:00 GMT

We're almost finished installing the exhibit at the Appleton Museum! All that's left is some of the wall text, lighting and a few other details. Thought I'd give you a sneak peak of the show...

Just starting to install. Nothing like fresh, gallery-white walls!A view of the space after the templates have been hung in place.
And the work starts to go up...

Paul, David and Katrina - Some of the wonderful staff I've had the privileged of working with at the Appleton! (Not pictured, Steve and Lindsay) Thank you for all of your help!

A few of the works with the templates safely rolled up and to the side.

Well, that's if for now. I've got to run back over there to drop off some business cards.

Hope to see you at the Opening this Saturday!

Planning an Exhibition Layout

Fri, 29 May 2009 04:00:00 GMT

Well, I'm happy to report that all of the artwork for my show at the Appleton Museum is finished, boxed, and ready for pick up! Installation begins Sunday afternoon. Due to the fact that the Museum is currently without a Curator, I have been given the task of designing the exhibition layout as well as assist with installation.

One of the best things I ever did throughout college and the years immediately following was work at various art galleries. If you can work part time in a gallery, I highly recommend it! Not only is it a fun place to work, the skills you'll learn are indispensable! Everything from how to submit a clear, professional exhibition proposal to shipping artwork to PR/marketing to techniques for making labels and properly hanging a show. As an artist, I found it endless helpful to know how things "worked" from the "other side."

So, when I was told that I would be the curator my show at the Appleton, I did not panic. Rather, I simply called upon another set of learned skills.

I do not have a fancy Computer Aided Design (CAD) program to help me render the layout in graphic 3D. Low-tech graph paper, colored pencils, and scotch tape worked just fine. Each sculpture was drawn to scale and cut out so that they could be easily arranged. Having an idea of where each piece is going to go, should help installation run much more smoothly. Stay tuned for more photos of the installation progress as well as the finished show. Thanks for reading and following along with me as I prepare for my first Museum exhibit!

Best,
Meagan
.
Urban Bloom: Ceramic Sculptures by Meagan Chaney
June 5 - July 5, 2009
Appleton Museum of Art
Saturday, June 6
1:30 - 2:30 Artist talk and Demonstration
3:00 - 5:00 - Opening Reception

Making Fused Glass Cabochons

Tue, 19 May 2009 04:00:00 GMT

Yesterday, while the kiln was firing with a load full of ceramic work for the Appleton Museum exhibit, I took advantage of the time to switch gears.

In late June I will be part of an exhibit at the Green Hill Center for Art in Greensboro, NC. They have asked for a grouping of 45 of my Mini Sculptures to be installed on the wall. (I am excited to see them hanging collectively!) My newest Minis included the addition of fused glass cabochons. My supply of these was running low, so I decided it was time to restock.

Thought I would share how to make fused glass cabochons. (Cabochon - a "stone" with a convex top and flat bottom.)

Using a glass cutter, I score lines at 1/4" intervals. I'll make all the score lines first, and then...

Break them over a small container with breaking pliers.
(You could also use the tile nippers that are used for mosaic work.)

After all that scoring, cutting and breaking -

an assortment of apx 1/4" square fused glass color chips

This was my very first kiln. It's an Evenheat Hot Box Mini Kiln, and is wonderful for small scale fused glass work. The shelf is only about 4" square, but you can see how many cabochons I am able to do at one time. The other great thing about this kiln is the section with the controller and heating elements can be lifted off so that the glass can be loaded easily.

After arranging the 1/4" chips for firing, the kiln is placed back on the base.

The lid is placed on top, and now we're ready to fire!

Because these glass pieces are so small, there's little concern for thermal shock from heating/cooling the glass too quickly.

I turn the kiln on high and set a timer for 15 minutes.

After 15 minutes, I visually start to check the progress by lifting up the lid. The kiln has a pyrometer that reads the temperature, but I've had more success by looking in on the progress inside the kiln. This firing ended up taking me around 30 minutes.

Here's a look inside after everything is all cooled off.

What makes this work is the 1/4" volume control rule for glass fusing. I won't go into technical, scientific details, but think of it like this - glass wants to be 1/4" thick. If it is thinner than this it will pull in on itself. If you stack multiple layers of glass on top of one another, they are going to spread out until the average thickness is 1/4". Here's a chart I made a while ago to help explain this.

Now it's time to select the right size and best color cabochon for each Mini.
100% silicone adhesive is used to attach the two together.
This was a quick rundown and overview of this process. I'm happy to explain anything in more detail, just leave a comment or email me - info@MeaganChaney.com

Happy Fusing!

New Wall Sculpture and Work In Progress

Wed, 06 May 2009 04:00:00 GMT

Here are a few more new and in-progress ceramic sculptures for my upcoming exhibition "Urban Bloom" at the Appleton Museum of Art. The Opening Reception is Saturday June 6th from 3 - 5pm. I will also be giving an Artist Talk and Hands-on-Demonstration just before the reception from 1:30 -2:30Scent of Childhood, Earthenware clay, 43" x 36" x 1"

Hearts Ease, earthenware clay, 33 x 20 x 1"

Patience, earthenware clay, 26 x 22 x 2"

Daybreak, earthenware clay, 24 x 16 x 1 1/2"

Anticipation, earthenware clay, 43" x 58" x 1"
(This piece was too large for my current photo set up, so I took this quick shot instead. The plan is to get installation shots at the Appleton next month.)

In-Progress, Untitled. Scale drawing taped to the design wall.

Thanks for reading and checking in on what's been happening in the studio! After my much-needed and overdue mental and physical break last week, things have been going great!

Cheers!

A Studio Spring Break

Tue, 28 Apr 2009 04:00:00 GMT

I had a "first" on Saturday. And not a good one. For the first time in my life, I did not want to go to the studio! And this was not just a small feeling. I hate to admit it, but it was more like dread.
Big red flag!

As soon as I realized I was feeling that way, I knew I had to change something. I've been in the studio working like a mad woman for the past 6 weeks; 7 days a week, 8-12 hours a day in the studio + early mornings and late nights fitting in the business side of work.

I will not complain. Because I still love what I do! I love being busy. I love making art. I am very happy with the work I have been making, and do believe the pressure of having a full exhibition schedule (click here for details) has pushed me to new creative directions. (Who doesn't work better under deadlines?)

But I was overdue for a break- feeling exhausted and drained of any creative energy. So, my husband and I spent most of the weekend gardening. Planted a few vegetables and cleared out another section of yard for a grapefruit tree, lime tree and some more veggies.

It made all the difference in the world! I was able to get into the studio yesterday morning, refreshed and even more productive.

Do you ever get like this? What do you do to bring yourself back into balance? How do you keep yourself from feeling overworked in the first place? I'd love to hear your thoughts and suggestions!

Feeling refreshed,
Meagan

Ceramic Sculpture - In Progress

Tue, 21 Apr 2009 04:00:00 GMT

Here are a few Work-in-Progress pics...

Drawing images/ideas to scale.

From the scale drawings, tracing paper patterns are made and used to cut out the clay slabs for construction. I make these large sculptures much the same way that I make the Minis.

Scale drawing for ceramic sculpture. Some of these are finished and images are posted here.

Untitled- In Progress, Highwater's Lymen Red Earthenware Clay, 32" x 21" x 1"

Untitled - In Progress, Highwater's Lymen Red Earthenware Clay, 32" x 22" x 1"

Thanks for stopping in. Back to the studio for me!

New Ceramic Sculptures

Thu, 16 Apr 2009 04:00:00 GMT

Hi there! Sorry I've been away for awhile. My computer was in the shop recovering from a serious virus. Thankfully, I didn't lose any files, and things seem to be up and running smoothly!

Here are a few quick pictures of what I've been working on in the studio the past month for my June exhibit at the Appleton.

Honey Breeze, earthenware clay and steel; 30" x 25" x 1"

Generations, Earthenware clay, cast glass, 34' x 35" x 2"

Unfolded, Earthenware clay, 29" x 29" x 3"

Fresh Delivery, Earthenware clay, 24" x 20" x 1"

French Lily, Earthenware clay, 18" x 11" x 1"

That's it! Got to get back to the studio! Thanks for reading and checking out my new work.

Best,

Promoting your Art - Part 2 of 2: Writing a Press Release

Thu, 09 Apr 2009 04:00:00 GMT

Writing a Press Release – A Short Story

In the last post I shared a few of my favorite promotional tips and how a series of recent marketing efforts led to my Upcoming Exhibition at the Appleton Museum of Art.

Today, I’m going to continue with that story, talk about writing a Press Release, and list a few resources for technical information.

Here goes…

I knew that the opening of my exhibit at the Ocala Civic Theater was only 2 weeks away, and that it was really considered “too late” to send a Press Release. I could have used this as a legitimate excuse to say “oh well, I’ll write one next time”, “Next time, I’ll be more on top of my promotion and marketing,” “Next time, next time…”

Oh, how many times have I told myself this already!?! For years I’ve been collecting sample press releases, notes on the proper format, websites, etc. But, until a few weeks ago I had never actually written one. Why? Because I'd Rather Be in the Studio!*

But, this time I decided to write one. I figured at the very least it would be good practice. You know, get me over the hump of having never been through the motions of writing one. And maybe, just maybe I’d get a listing in one of the local publication’s Calendar of Events. That’s it. No more. No less.

After it was written and proof read by a couple others, I made a few phone calls. I’ve been told over and over again that writing a great press release can be a waste of time if you send it to the wrong person So, I called the main phone line for the publications and news agencies I was interested in, and simply asked to whom I should email a Press Release regarding and upcoming art exhibition. It was that simple. I had all the contact info within 15 minutes.

I also sent this same Press Release to a woman at the Appleton Museum I had met at several networking events. She called me the following day explaining that the Museum is starting a series of exhibits featuring Florida artists, and asked if I would be interested in participating.

Lesson Learned: Had I taken the easier way, happily working along in the studio instead of spending time promoting my work, I never would have received this call. Instead, I put time into my marketing and will have my first museum show this summer -

Urban Bloom: Ceramic Sculpture by Meagan Chaney
June 5 – July 5, 2009.

Tips:

Resources – look to other well written Press Releases and use them as samples. Create a folder for these samples and other helpful information of formatting, templates, etc. (see the list of links below)
Plan Ahead – Schedule in time for writing and sending your Press Release well in advance! (The earlier the better. But better late than never!)
Write – use the samples as guides and follow the format!
Phone Calls and Contacts – Find out exactly who to email the press release to.
Send it and Be Positive! – Even if they don’t publish your story or announcement this time, maybe your name will be more familiar next time it comes to their inbox.

Helpful Websites:

There are a ton of websites out there that can answer questions on content, formatting, and timelines. Here are a few of my favorites for technical information on writing a Press Release and other Art Marketing Strategies and Advice.

Art Biz Blog by Alyson Stanfield
(I also recommend Alyson’s weekly Art Marketing Action Podcast for excellent “tips and tricks for your art career”)

PR Web: Press Release Newswire

The Center for Participatory Change

These should get you started. I’d love to hear your stories of Press Release success and for other tips or websites you’ve found helpful.

Happy Writing!
Meagan

*I'd Rather Be in the Studio: The Artist's No-Excuse Guide to Self Promotion, by Alyson Stanfield

Promoting your Art - Part 1 of 2

Wed, 01 Apr 2009 04:00:00 GMT

Self-promotion is not a bad word! I believe promoting your work is much different than used-car salesman "selling". I do not believe that all marketing is "selling out" or that it belittles the work. Effective promotion helps get your work seen by potential clients and collectors. And, often the reality of pursuing and maintaining a life-long career in art means that you will have to learn how to make your art profitable. $$$

First, you have to believe in your work and be your own biggest fan. No one knows your work better than you! If you're waiting for someone else to jump in and promote your work for you, you could be waiting a long time! Not that this doesn't happen, but until that glorious day, you better learn how to do it yourself!

So, I'm going to post a two part series highlighting a few of my favorite promotional tips, and explaining how these efforts led to my Upcoming Exhibition at the Appleton Museum of Art.

Networking - Meet people, talk to them and remember their names! I am a member of a young professionals group here in Ocala, FL. I met a woman that works at the Appleton last year and have stayed in touch. I knew who to send a Press Release to, and maybe my name stood out a bit because we'd met on several occasions. (More on this in Part 2 of this post series.) Recommended reading: How to Win Friends and Influence People by Dale Carnegie. (I listened to the whole audio book in 1 day.)
(Network goes for online social networking too. Facebook, Twitter, MySpace, etc. Though I admit that I still trying to get the hang of these!)

Search for alternative spaces to show your work. This could mean a couple things:

1 – Places that do not typically show art (restaurants, salons, coffee shops, banks, doctor's offices, etc.)

2- Places that typically show art, but art that is not typically your style. I have a show installed now at the Ocala Civic Theater, a venue that I would qualify as the 2^nd type.

To illustrate a couple of points on promotion and alternative spaces, I’m going to tell the story of how this show came to be. The Theater has a large wall in their entrance lobby that is often used to display art - aka paintings. When I approached the Theater to ask about their exhibition policy, I was quickly informed that there was no room to exhibit sculpture in the lobby. I continued to pursue the opportunity; explaining a bit about my work and addressing some of their concerns. I was sent to speak with another person. Same response."Sculpture? We can’t show sculpture!" I was sent to speak with another person. Same response. You get the idea.

Understanding that my work is atypical from what they generally exhibit, I finally decided to do the following....

Create a PR packet or write an exhibition proposal. In addition to including my artist statement, resume, and bio, I printed a few images and explained how to install my work. I did not send a CD in this situation; adjust your packet to your target audience/jury. I thought printed images would grab their attention quicker than a CD or website address. My purpose was to demonstrate how sculpture would work within the parameters of the Theater lobby. I received a phone call 2 days later and had my choice of dates for the exhibition.

So, how did I go from this exhibit to receiving a phone call from a museum? Find out in Promoting your Art - Part 2... Writing a Press Release!

Happy Marketing!

Daily Art Muse

Fri, 27 Mar 2009 04:00:00 GMT

My work was featured yesterday on Daily Art Muse. Thank you Susan for the unexpected and wonderful write-up!

"Daily Art Muse is an online space where artists find snippets of daily inspiration to keep their creativity flowing." Author and polymer clay artist, Susan Lomoto, writes three or four times each day (Mon-Fri) on art that "tickles my muse and stirs my imagination."

Hop on over and check it out!

Cheers!
Meagan

Coming Soon (I promise) - A two part series on what I've learned about art marketing and self promotion. Stay tuned...

American Style Article

Wed, 25 Mar 2009 04:00:00 GMT

Looking for a fun, inspiration read? Check out the April 2009 American Style. Inside you'll find the article "Crafting a Dream House" showcasing the HandMade House, a joint effort by HandMade in America and Biltmore Farms to build a custom home that includes more than 100 artists.

I had the privileged of being a part of this project last fall, and was excited to see an image of my work was printed along with the article!

Release, Earthenware, 40" x 78" x 2", 2008. On view now at the Ocala Civic Theatre.

There's also an interesting article on the woodblock prints of Ilse Buchert Nesbitt and some amazing work in polymer clay.

Happy Reading!

Exhibiting at the Appleton Museum of Art

Fri, 13 Mar 2009 04:00:00 GMT

There's great news to share with you! This afternoon I received a phone call from the Appleton Museum of Art here in Ocala, FL. They would like to feature my work this June in their balcony gallery! Needless to say I am very excited about this opportunity!

But this also means that I have 2 1/2 months to make 164 linear feet of work. It's time to get busy. Really Busy! I will be spending even more time in the studio, and even less time on the computer. But when a museum calls wanting to feature your work, you don't say, "let me think about it." You jump in full force with plenty of focus and determination.

Whisper, earthenware clay, low fired crawl glazes, 20" x 16" x 1 1/2"

I do hope to write a post soon on how a little art marketing, self promotion and a positive attitude helped make this opportunity happen. Until then, thanks for reading and sharing the excitement with me! It's going to be a crazy spring time around here. Hang on!

Low Fire Clay Slip - Recipe and Technique

Thu, 12 Mar 2009 04:00:00 GMT

A few years ago I started incorporating clay slip trailing into my work and have been having lots of fun with it. Here's the recipe for you to try.

Pete Pinell's White Slip
40 OM4
40 Talc
10 Silica
10 Nepheline Syenite
-------------------------
100

+10 Frit 3124
+7 Zircopax

(You can also add a few drops of sodium silicate - a deflocculant that helps reduce viscosity and makes the slip easier to apply with a slip bottle.)

There are a variety of slip trailing bottles out there in many shapes and sizes. You'll want to experiment with a few until you find the style that you enjoy most. Some things to think about 1) the size of the tip opening can have an effect on line thickness it creates 2) how hard is the plastic? You're could be squeezing for awhile, so you want a bottle that's softer and easier to work with. 3) how much slip do you want it to hold?

Ron has a great post here on how to construct your very own slip trailer.Try drawing a practice line first to check thickness and to make sure the bottle isn't clogged. A sewing needle can be used to unclog the tip if needed.

Squeeze and draw away! It's a lot like decorating a cake. I like to wait until the clay is leather hard because the clay forms are easier to hold and work with at this stage.

A sample of slip stippling.

A group of unfired, slip decorated Minis.

A few glaze fired sample of how glazes will "break" and pool over the slip giving the surface added depth and dimension.

More glaze fired samples.

If anyone's interested, I'd be happy to share the above 2 recipes. Just let me know. Hope you're able to do something creative today!

Enjoy! I'm off to the studio!
Meagan

PS - More on the materials and process I use can be found here.

Clay Slab Construction

Wed, 11 Mar 2009 04:00:00 GMT

Today, I thought I would briefly share the basic handbuilding techniques I use to make my Mini Sculptures. There are many different hand building methods and techniques for working with clay, but here are a few of my favorites...

Clay Tools Needed: rubber rib, scoring tool (or a needle tool), a rubber stylus, wooden rib, slip trailing bottle. All of my work is slab built from lowfire clay. Using a slab roller, I roll the clay out to 1/4" thickness. (Before I had a slab roller I used a rolling pin and 1/4" wooden dowels to keep the thickness even.)It occurred to me one day making biscuits, that the same process could be applied to my Minis. I now have biscuit cutters in a variety of sizes and the process is much, much quicker It also keeps the sizes more consistant. (Don't worry. These aren't the same cutters I use on the weekends for fresh parsley, rosemary and buttermilk biscuits.) Oh, I like the clay to be a little wetter than leather hard when I start work work with it.

Each mini is made up of 2 circular slabs. The base is 1/2 smaller than the top. A rubber rib is used to smooth the surface of the clay. I also like working ontop of fabric interfacing instead of canvus because the weave is finer and leaves the clay surface smooth. The top is then pinched into a small bowl-like shape The edges of the top and bottom are scored (aka scratched)......and a slip of the same clay body is brushed on help attach the two pieces. The top is placed ontop of the bottom, carefully working the seams together.

Using a wooden rib, I then go around the piece and smooth and attach the two pieces, conceiling the seam.

Fingers also are helpful...

Once the piece if formed, I use my rubber stylus to draw/carve decorative lines or veins.

Again, fingers are great for smoothing those lines.

Now, I leave the piece alone until it is leather hard and then incorporate slip trailing/stippling. More on that tomorrow - including the lowfire slip recipe I like to use.

If you have any questions, or other tips for clay slab construction, I'd love to hear from you!

Thanks for reading!

Tile Plaque Variation and Process

Wed, 04 Mar 2009 05:00:00 GMT

Finished up some plaques with my newer tile style yesterday. Thought I would post a few quick pics of the process.

Sketching ideas - thinking about design, layout and composition, line, texture, mood

Tiles drying and waiting to be bisque fired.

The backs of the bisque fired tiles with glass inserts.

These clay tiles were rolled out about 3/8" thick so that I could carve a place to inset the glass for slumping. Here the glass has been fused, slumped, ground down to sit flush with the back of the tiles, and then attached with 100% silicone adhesive. (sorry, I forgot to take pictures of all of those in between steps.)

Side few of tiles showing added dimension with the slumped glass.

Finished group of Tile Plaques
The glass I used for these pieces was created the same way as my line of fused glass pendants. I hope to eventually write a post detailing that process and technique. Until then, you can see pictures here.

Thanks for finding a moment in your busy day to check in on what's been going on here.

New Work - In Progress

Tue, 03 Mar 2009 05:00:00 GMT

After a frustrating studio week last week, I think my thoughts have settled down a bit. Whew! I'm feeling much more like myself now.

Here are a few images of the pieces I made while allowing myself to just "play" and enjoy the process. We'll see where they take me. I don't know about you, but for me it can be difficult at times to just create without being overly critical of my creations. Left and right brain interference.
The forms of this wall piece are more involved than my usual work and I incorporated some of the slip stippling that I have been doing on my Minis. I still want to push this idea further, and work on activating the negative space between the 2 forms a little more.

I'm also playing around with the idea of grouping my Minis into different configurations. Here's my first attempt at this.
I fired a bisque kiln off last night, and it's cooling now. It's mostly loaded with this new, experimental work, but there are a couple orders and a few pieces for the solo show I have at the Ocala Civic Theater in a few weeks. In the mean time, I'm switching back to glass work to finish up a few tile pieces. Pictures soon.

Off to the studio!