Michigan Mud 2007 : A Pleasure

by Amy Lowell

What a pleasure to attend Michigan Mud 2007 as a participant rather than an organizer!  And the teams of two who presented in workshops I attended doubled my pleasure.  Each duo of ceramic artists worked together to maximize the learning experience, sometimes asking each other insightful questions the audience members might not have thought to ask.  When one artist had reached a point in the demonstration requiring application of technique without explanation, the other would take the spotlight then give it back later in an easy exchange.

The friendship between Laith Karmo and Melissa Mytty, both graduates of CCS and Cranbrook, was evident as they bantered back and forth with enjoyable humor.  Both use slab construction with different results, Laith’s geometric, architecturally inspired piece contrasting with Melissa’s delicate, organic forms.  Neither uses a slab roller because it stretches the clay; both pound out slabs to give them strength.  Both are meticulous in scoring, joining and reinforcing seams and both think about how the surface will eventually be treated as they are constructing and take great pleasure in the finishing process.  The joy of ceramic creation that each of these young artists communicated was infectious.

Daniel Bare and Monica Wilson work in entirely different ways, but each has been influenced by travel and archaeology – Daniel by his sojourn in China and Monica by recent research in Morocco.  Using a saggar, Dan alternates layers of 85 mesh Virginia Kyanite or course grog or silica sand with found objects, and glaze or “fluxing clay” (90 neph sy, 10 grolleg or EPK, 10 flint, adding up to 8 % stain).  The results are reminiscent of pottery found in archaeological digs in China with a modern twist added by the cups and ceramic figures he finds in his favorite second hand store.  During the workshop, Dan filled both a small and a large saggar, finishing each with objects strung on twisted nichrome wire suspended from the top of the saggar.  The glaze was poured in with attention to the shape of the layers and protrusions into the sand or grog the force of pouring would form, as well as the texture the glaze would gain.  Part of the fun of his demonstration was enjoying the variety of decorated cups, animals, and cartoon characters that went into the work.  Each was judged for the probability of slumping and loss of glaze color and placed or enhanced with glaze pours accordingly.      

Inspired by pierced metal lanterns she found in Morocco, Monica demonstrated the process of constructing a large, pierced wall piece.  Since she works alone, weight is a major concern.  She is able to use very thin slabs of clay by strengthening terra cotta with nylon fibers.  To construct lightweight plaster molds, she dips strips of cloth in plaster, draping them over a solid form or within a box, modifying the shape with wet plaster if desired.  The advantage of light molds was evident as she transferred the piece she was working on from a concave to a convex mold to move to the next step of the process.  An important part of her three-part mold is the silicone rubber layer that rests between the clay and the plaster mold.  It allows Monica to control the drying process and provides a soft layer beneath for better piercing.  Using Smooth-On Dragon Skin Q plus baby powder to thicken the mixture, she demonstrated the ease of making this flexible mold.  Another good technical tip she gave is the use of paper clay, not only to join pieces, but to mend dry greenware or even bisqued ware.  Monica whips toilet paper into slip for her paper clay.  To form the demonstrated piece, she rolled out clay, sprinkled it with beach sand, rolled it thinner, sprinkled it with seeds, Spanish moss, or other organic material and draped it over a plaster mold covered with the rubber mold, then trimmed the edges and pierced it.  All during the workshop, Monica generously shared her knowledge and philosophy, inviting and answering questions.          

Elizabeth Lurie and Ann Tubbs are longtime friends who have collaborated on pottery sales and poetry readings.  Their advanced planning for this Michigan Mud presentation made it jam packed with wonderful information and creative approaches.  Elizabeth began by demonstrating rolling cylinders of porcelain using dowels of increasing diameters to thin and enlarge them, then altering them to form elegantly simple vases or ewers.   She went on to throw a large porcelain bowl in two sections, a bottom bowl shape and a top cylinder without bottom, joining them with one expert inversion of the top section still on its bat, then sealing them and shaping with a final throw. Her final demonstration revealed how she uses slab to construct delicate but highly functional platters.  Using leaves rolled into the clay slab, she showed how one can use an old idea in an aesthetically pleasing way by carefully placing the leaves and shaping the edges of the platter.  Revealing the secret of her white on white pieces, she brushed on slip made from her clay body with tin oxide added.  The leaves would be very carefully removed later, leaving their imprint.  The edges are shaved to look thin but are still strong.  The results are quiet, elegant and useful.  Elizabeth’s craftsmanship and aesthetic sensibility are unquestionable, and she shared both with workshop participants.          

For her part of this workshop, Ann Tubbs took participants through the process of creating her maiolica pouring vessels.  Every step of the procedure was accompanied by valuable advice on how to avoid problems.  Using the cone 2 or 3 terra cotta clay body she developed (and is still refining), she threw spouts, handles and closed bodies, assembled one, adding feet and handle while the body was still closed for less distortion, then making the opening and attaching the spout.  A previously bisqued piece was glazed with her maiolica glaze.  She mixed the gum/macloid base for overglaze colorants in a blender and had a supply of colorants ready for the final decoration.  But instead of demonstrating that last step, she invited workshop participants to have fun decorating tiles glazed with maiolica.  Many “stayed after school” to do just that.

Although my work differs from that of the workshop presenters I watched, I gained insight, information and techniques from each one that I will be able to use.  I’m looking forward to the January workshop already!