With the passing of Thomas Case Apthe world has lost a 110 year potting legacy and tradition. Provides so there is always a distinct transition between the glazed and Palate ad a contrast to the warm earthy surface that the flashing slip surface Introduction of soda creates glossy areas and beautiful fading between the two Stamping the inside surface of the vessel bears an echo of the patterning onĪccentuates and breaks across these markings on the interior. Due to the rather deep impressions I create with the physical act of Is loosely mirror imaged on the opposite facing side of the pot creating aĭistinct left and right side to each piece. These areas of stamping are delineated andįramed by a linear element on one side and a solid black saddle on the How the scale and motif affect the overall design of the vessel. The negative space created by offsetting the patterning so it locks togetherĪnd creates a dynamic parallel of the pattern in the negative space betweenĬlay and bisque fired so I can rapidly carve new variations and experiment with The stamping itself is the dominant decorative element, I am also delighted by Repetition of this single element is for the individual stamp to disappear intoĮlement is individually stamped so that the pattern can stretch and articulate My stamped patterns are built from a single Organic shapes left by the caress of the soda vapor. The regimented linear geometric patterns and the repetition of my stampsĬontrast with and accentuate the curves of the thrown form as well as the Provide a blank canvas for my stamping and for the vapor to flash across and Has led me to a very organic collaboration with the kiln itself. This innate mark making that the kiln creates Surface and the lack of complete control I have over the finished surface. Transitioned into solely soda fired surfaces as I am fascinated by the vapor Hand will find and experience these areas in a very direct way. Is very much about the physical interaction with the ceramic object, theīalance of a piece in the hand, subtle texture over the surface and how the Be sure to join us next month for Heritage Weekend, September 20 - 21, 2014. Thanks to everyone who made the day a success. She said that in the past her activity table was mostly occupied by children, but in recent years she has found that all ages want to share in the fun and it has become much more multi-generational. Sandra has been participated in Guild special events at the Folk Art Center. Sandra Rowland hosted a hands-on table where folks could construct a a landscape or abstract sculpture using wood scrapes - many of which were donated by Buzz Coren who creates beautiful, one of a kind laminated wood bowls. The Carolina Mountain Woodturners were busy all day as they instructed visitors how to make a honey dipper on a mini-lathe. Ed took home the First Place Award in the Carve Off Competition. We were happy to see returning craftspeople along with new artists like Ed Lampert who juried into the Guild last year. Jeff Neil, a box maker from Gray TN, said the only thing bad about Wood Day is that all the people demonstrating wish they could walk around and visit and learn from all the other craftspeople there that day. There were hundreds of people - making their way through Allanstand Craft Shop, the exhibitions on the second level and, of course, through the auditorium to see the Wood Day artists. Wood Day 2014 which took place on August 9 was one of those perfect days at the Folk Art Center. Marlow Gates showing a visitor hands on broom making techniques.Ĭarolina Mountain Woodturners hands on demo
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