So these were the original wonky pots that I made out of frustration of wanting to make the sort of work I wanted rather than being a production potter. The idea was to make them with plenty of chunky grog so fine details wouldn’t be possible. The slip was then dribbled down the pots and they were shock to encourage the slip to keep dripping
You may remember my post on Saggars and some of my results. I really want to talk a bit more how these wobbly pots are made.
It was when this wonky pot gained traction on instagram and ended up going to live in Portugal I decided it was time to make some more wonky pots.
Naked wobbly pots awaiting their decoration. They are made from a secret stoneware earthenware blend with some iron oxide added for effect. They were thrown loosely and then treated to a beating with a piece of 2 by 1 that was in the workshop.A stream of porcelain slip launched towards the wonky pots. I fill a cup of slip and fling it as hard and fast as I can.the impact of throwing the slip on the pottery sends it flying off in all directions. this is a different round of throwing slip to the video andthe splash is so violent there are still particles of slip in the air.Another batch of wonky pots all slipped and drying in the garden.Not all my wonky wobbly pots are saggar fired these days, this was fired next to the saggar and has gone to live with the amazing Lighthearts in Brum whom I owe a lot to.
I really love to make these, and I really want to make more, I don’t care about function with this form, I just want to create something different. In fact I want to make them more wobbly, wonky and uncontrolled.
I don’t make anything simply and I need more iron oxide and terracotta to make another batch of wonky pots.
I want to know as an audience if there is anything you want to see more off from my pottery videos or blog articles? Please just let me know in the comments below.
So I was given the opportunity to run some workshops for LEFTCOAST our local arts organisation and I decided it was as good a time as any to start the business back up again. I have been thinking about starting up again anyway but this was the major kick I needed to get going.
After doing the second week of the Nurph Chat I have even more questions I think I will have to start asking people. I think there is so much more we need to discuss about how we can improve our social media presence and really analyse how we are going about that. I need to put together a plan to really fins out a bit more about how everyone is using Instagram, and then work out if there are any trends across the board. As my research is on these technologies I really want to understand it all better and…
A video posted by Joseph Travis (@redfoxpottery) on Aug 16, 2015 at 4:51am PDT Recently I keep trying to write about the work of Ayumi Horie, James Gurney, Austin Kleon and so on. But every piece I write becomes torrid and dry, or it becomes a gushing piece “they are amazing”, “aren’t they creative” or “aren’t they really driving their work on”. I once wrote a piece about how annoyed I was about a particular ceramics writer always started a piece of writing about where he had come across the makers work; it became 100% about him rather than about…
Last time I wrote about the importance of a narrow focus, I considered writing this one about having a broad focus. I changed my mind when I remembered Michael Kline’s post “play the Pro” which was about how we are all hobbyists at times. Michael has been playing around with slip inlay, and spent quite some time with the work under wraps until he felt more confident with it. But this playfulness in the working process brings a level of joy. Having closed down Red Fox Pottery in 2012 I stepped away from clay to become an art teacher. Teacher…
This is an extract from a talk first given at the Material Matters Seminar at Manchester Metropolitan University on 10th December 2014. It was presented with the following Svend Bayer YouTube video in the playing Background. It was originally published on my research blog. In my early twenties I started searching for my own identity, I was stuck 200miles away from home studying the most hands on of all the classical science degrees, chemistry. Though as hands on as chemistry was there is something very hands-off about concentrated Hydrochloric acid that had a permanent place on my workbench. My…
Listening to Stefan Andersson on the Potters Cast I realised certain things about my work. I want my pottery work to evoke an emotion, to make people thing about the object and perhaps change their ideas. I am ruled by my emotions but feel uncomfortable sharing them professionally, despite that being what the pots need sometimes.
