Pillow Vases I: Scrolls

One of the first things I did after my divorce was to go and purchase the tableware I had been looking at for years - a set of Colorstone stoneware dishes from Sasaki in a matte black finish. All of the pieces in this range are based on sections of variously-sized spheres - smaller spheres for the bowls, larger ones for the plates and platters. My idea was to have these very simple, elegant dishes for place settings and collect, over time, hand-made serving pieces; I thought the sophisticated spareness of the place settings would be a complement to a varied selection of handmade serving pieces, making for an interesting table for any occasion.

After I purchased the pieces, I started using them - directly and indirectly - in my pottery as molds. I used the salad plate to create my sushi plates and created molds from the coupe soup bowl to form my poppies and other pieces. I eventually invested in additional pieces (not always in the black) simply to use as molds in the studio, rather than constantly raiding my kitchen cupboards. I started using them to make Lace Bowls, then Embossed Leaf Bowls; I used molds I made from them for my Applied Leaf Bowls.

It was when I was making some Embossed Leaf Bowls that I started thinking about using these same forms for making Pillow Vases - mostly closed, pillow-like forms for flower arranging. I thought I could take two molded sections and marry them.

The great thing about this approach is that, while slab bowls can sometimes warp - the technique is generally less consistent than wheel-throwing, by putting two of them together, they hold one another in stasis, making for a piece that maintains a uniform shape.

To start the process, I roll out a slab of clay about 1/4" thick. I cut a circle appropriate to the size of the piece I'm doing and slump it into the mold. Using a damp sponge, I force the clay into the mold as consistently as possible. I also use a very smooth river stone for this step. Once the piece is consistently molded, I use sharp cutting tool to trim it down to the edge of the mold. (The Colorstone as a flat lip which makes this step really easy.) If I'm making a single large opening (which would allow the vase to take a pin frog) or a single small opening (suitable for an ikebana-type arrangement), I'll cut that out using either a cookie cutter or a 1/2" round Kemper Klay Kutter (only for one of the two sections, for the top). I also score the cut edge in anticipation of assembly. I set the pieces to dry - out in the sun in the summer; under the heat vent during winter - until they will release from the molds (which are not porous). In my next post, I'll describe assembling the basic vase.

For the Scrolled decoration, I use a Kemper Klay Gun with one of the round dies. I extrude a length of clay and fabricate three loose arabesques (the clay scrolled at either end with a straight section in the center - the length of these determined by the size of the vase I'm making - Large, Medium, Small or Tiny) and - using shorter lengths of clay - six tight arabesques. (When I first started working with these design elements, my application was much more varied, both in number of elements and relative placement; I found, in doing production, coming up with a consistently satisfying arrangement I can repeat with minimal variation was essential to my sanity.) I flip these over, score and slip them and then apply them to the vase so the three longer pieces almost meet one another over the vases surface and pairs of the smaller ones "bracket" each resulting intersection. I gently firm the to the vase's surface and allow then to dry.

Goth/Steampunk Pillow Vases

In developing a possible product line for the upcoming DetCon1, I thought it might be worthwhile to take some of my existing designs and revisit them with more of a Goth/Steampunk sensibility. For those of you who are unfamiliar with either of these aesthetics, "Goth" relates to a post-punk era subculture which draws upon influences from 19th-century Gothic literature (think Mary Shelley's Frankenstein, for example) and horror films, often characterized in popular culture through fashions reflecting Victorian styles, most often with dark clothing, make-up and hair styles. "Steampunk" is a sub-genre of science fiction typified by steam-powered machinery, particularly in a context inspired by early industrialized Western culture - especially the 19th century. Like the Goth aesthetic, Steampunk is inspired by the works of Mary Shelley, as well as those of Jules Vern and H.G. Wells.

Back in September, when my friend Sharon (who frequents these events and puts a great deal of effort into creating unique costumes for them) first suggested that this might be a new market for my work, I took some of the Pillow Vases I had already bisque-fired and tried the four metallic glazes in my repertoire. Metallic Black is a glaze recipe I was given by my first pottery teacher, Gene Pluhar. The other three glazes - Saturation Metallic, Saturation Gold and Palladium - are all from Amaco's Potter's Choice Series. With the exception of the Palladium glaze, all are food safe. For this reason, I never use the Palladium on any piece that might conceivably be used for food or beverage for any species - not just humans. I felt the Pillow Vases were a safe bet, though; I can't imagine someone deciding to use them for food service - in fact, I'm not sure they could!

I glazed up at least one of each style - Rosette, Lace, Frosted, Scrolls and Sea Urchin - in sizes ranging from Tiny to Medium. (I wasn't willing to take a risk with a Large Pillow Vase, as those are sufficiently demanding of materials and my effort that I didn't feel it necessary.) I got together with my best friend, Catherine, to celebrate her birthday with a nice meal out and brought the pieces with me for Show & Tell afterwards; I needed some feedback and Catherine has always been willing and able to provide me with useful insights regarding my work. Generally, she was favorable in her critique; she really liked how the Saturation Metallic and Saturation Gold glazes looked on the pieces, especially the Saturation Gold on the Sea Urchin Pillow Vase.

(The example I had for that was a Small Vase. She liked it so much, she showed me how she would display such a piece in her living room, making the observation that it would have to be much larger to work in that space; I later made her, especially, a Large Sea Urchin Pillow Vase in Saturation Gold and left it for her one time when I stopped by to surprise her.)

Catherine was less taken with the Metallic Black and Palladium glazes, although she did not reject them entirely, merely observing that they did not seem to work as well for the particular designs I was showing her as the Saturation Metallic and Saturation Gold examples. She also suggested that I might investigate doing some plain Pillow Vases - with no decoration at all; she felt those might show of the glazes to best advantage.

I decided to do a series of 24 Tiny Pillow Vases: four of each of the five existing designs plus four plain ones; I also varied the openings - the single small opening, or Ikebana vase; the larger single opening that could take a small pin frog; and the "built in" frog with an array of 17 openings for flower-arranging novices. (Being the obsessive-compulsive person that I am, I made sure that there would be an equal distribution of the three openings across the 24 vases and amongst the 6 designs and four glazes.)

I was very happy with the results, especially with the Saturation Metallic and Saturation Gold glazes. The pieces
glazed with Saturation Metallic looked particularly metallic, especially the plain Pillow Vase (see below, the vase farthest left). The experiment seems to confirm our initial determinations, that the Saturation Metallic and Saturation Gold glazes are both safe bets, with the other two glazes less successful but still acceptable. I'm looking for some additional glazes to try - I've been working with Coyote's Gun Metal Green and have some of their Bronze Temmoku to try. So, it will soon be time to glaze up some more pieces and see how they turn out.

As for the photo shoot, Don and I felt that we needed a different background for these pieces, rather than the wood slice we've used so successfully in the past. We concurred that something more "industrial" would be more appropriate. I found a piece of expanded metal in my store room, one side of which still had some black paint from a previous use. It turned out to be the perfect background for the Goth/Steampunk Pillow Vases and Lace Bowls, as well as for the masks I had done almost 20 years ago.

Masks: The Great Gorgon

I started taking pottery classes in January 1993, a few months after moving back to the Detroit area from a two-year sojourn in Northern California. I had always wanted to do pottery and finally found my opportunity through adult education classes offered through the local school system. The classes were taught in the instructor's classroom - he taught high school studio art, including sculpture and jewelry making; the facility was a veritable treasure trove of tools, from typical pottery equipment to drill presses, propane torches and sandblasters, most of which I eventually used.

Medusa Rondanini

I tried everything - the wheel, the extruder, the slab roller, the spray booth. I learned about making molds and glazes. I eventually made a cast of my face (with the assistance of another student) and started exploring its potential to express some of my feelings about the experiences I had had in the past few years with my family and during my marriage. Early on, I started a series of dozens of masks, the first of which was an image of Medusa inspired by the Medusa Rondanini, a piece I had studied in college and graduate school. Like a portrait of Julius Caesar I had studied during the same period, I was utterly flabbergasted at the beauty of the piece and it haunted me for years.

Medusa I

Although first mask I made was, not surprisingly, a Medusa, I didn't realize that would be the outcome when started. Utterly ignorant of the best way to pursue this particular process (I would later learn that a relatively thin - 1/4" - slab will do the trick, with some work), I shoved wads of clay into the mold, squishing them together. When the clay had shrunk somewhat, I pulled it out but twisted it a bit, which caused the wad that was the tip of the nose to become skewed. The piece wasn't what I wanted - event though I could "fix" the nose, there were significant fissures between the wads which made the face look coarse and unfinished to my eye (even at that stage) - but I realized it might make an interesting piece nevertheless - remembering the Late Hellenistic or Early Augustan sculpture. I fabricated three snakes and attached them to sinuously embrace the entire face. I finished the piece with a raku firing, using Crackle White glaze for the face and Copper Sand for the snakes.

I pursued the idea further, making three more masks, one very similar to the first, two others with the snakes more complex and inter woven (Medusas II, III and IV, left to right, above), while I was pursuing other mask concepts. I decided to try a really ambitious piece based on Athena's aegis. the goatskin that the Greek goddess of war, weaving and wisdom wore over her breastplate, on which the head of Medusa was placed when Perseus gifted her with it.

I rolled out a thick slab of clay and cut away the center to insert a mask. I added over two dozen snakes, arranged around the face but also extending out onto the slab; I hoped, by anchoring the snakes in a complex network around the face and onto the slab, it would help "knit" the piece together structurally. I also punched three holes in the slab so it could be bolted to a slab of wood for display. The piece - rather miraculously, considering the stresses inherent in its construction and its size and weight, survived the bisque firing. I glazed it as I had most of the others - Crackle White for the face, Copper Sand for the snakes. Additionally, I applied, using the Copper Sand, stars and phases of the moon across the slab.

Firing the piece was a bit of a challenge - due to its weight (very heavy), overall dimensions (a large flat slab) and construction (the mask inserted into the slab and the applied snakes). Amazingly (and this is no exaggeration), the piece survived the raku firing and subsequent smothering in combustibles, only cracking when it was laid to rest on a work table in the studio. (It would be expected that, considering the thermal stresses inherent in a raku firing - in which the bisque-fired clay is  rapidly heated to over 1900 degrees F and, even more quickly, cooled to the ambient temperature, that complex pieces would crack.)

To finish the piece, I collected the sections of the piece and glued the reassembled work to a piece of heavy canvas. Using a propane torch, I scorched a piece of scrap plywood I had cut to size with a table saw. I drilled holes into the wood to correspond to the holes I had made in the slab, as well as four additional holes to take bolts for hanging wire. I took a large piece of black window screening and scunched it up, painting areas of it with copper spray paint, and bolted that between the wood and pottery slabs. I added heavy-duty hanging wire to the back.

This piece was featured in my first solo show, at Planet Ant Coffee House (now Planet Ant Theater) in 1995, as the centerpiece of the "Girls Gone Wrong" wall.

Fall(ing) Leaves II: Menispermum canadense (Moonseed Vine)

The first time I saw this plant in my friend Trish Hacker-Hennig's nursery, I was just enchanted with how the beautifully-shaped shallowly-lobed leaves cascaded over one another to create a lovely green curtain. I learned about this plant - a little-known native vine - Menispermum canadense, or Moonseed vine - and met it for the first time at her native plant nursery in Ortonville, Michigan. I'm always asking Trish about new plants I could include in my garden; when I saw this vine, I knew I had to see if I could grow it and exactly where it would go in my garden - on a sunflower-themed trellis near my rain garden. I added it to my garden in 2012 and, by 2013, it was more than living up to my expectations.

This is a perennial woody vine that tops out around 18-19 feet. It can  travel via stolons, colonizing other parts of your garden, but has not done so obnoxiously in my yard. Unlike grape, it does not have tendrils but clings by winding around supports; the vine has been able to "reach" from the trellis on which I trained it across short distances to wind itself around other nearby structures. I have not yet seen any flowers on my specimen, but that could be because it hasn't matured enough to make the investment in fruit and flowers. The plant's common name comes from its crescent-moon-shaped seeds. All parts of the plant are toxic to humans. I need to do more research but I'm wondering if, like Parthenocissus quinquefolia (Virginia Creeper), it is toxic to mammals but edible for birds. (I suspect there is something that can eat the fruit to aid in seed dispersal but I haven't been able to find any information on that as yet.)

The most interesting thing to me about the leaves is how the stem actually attaches to the mid-green leaf's underside at a point slightly inside the leaf margin. The main veins radiate out from that point. The prominent veins translate well to this medium, making a distinct impression in the clay. The lobed form is quite popular - I believe because it is reminiscent of most maple leaves.

When I first started observing the plant, I immediately associated it with a glaze with which I had just started experimenting - Arctic Blue, from Amaco's Potters Choice series. Like the Indigo Float glaze from the same series, Arctic Blue has a lot of green in it, although it is much lighter than Indigo Float. I immediately thought to pair it with my proprietary Mason Stain mixture - 50% Titanium Stain and 50% Green-Ivy Stain - for a recipe I refer to as "Spring Green". This stain really works well with the green undertones in the glaze.

I have been able to reuse these leaves to a certain extent but it is best to pick them fresh; they can be then be rehydrated for multiple use.

The Process

Once I've harvested the leaves, the first step is to roll out a slab of clay that's about 1/4" thick. I follow my usual procedure of rolling out the slab, pulling back the canvas to loosen the clay, folding the canvas back and flipping over the slab and canvas, pulling back the other side of the canvas to begin working on the clay. I use the flat edge of a metal kidney to "scrape away" the canvas texture (if you don't do this, you will not get as clear an impression of the leaf's veins, which can be critical with species with more subtle texture). I finish removing the texture by running the rolling pin over the slab. Now I'm ready to place the leaves for the next step.

South Bend and Beyond

Had a wonderful trip to South Bend, Indiana, and other locations Thursday and Friday.

Dropped off work to CircaArts Gallery in South Bend, where I met Kathy, the owner, and her supervisor, Zoe the long-haired black-and-white kitty, who gave me a much needed feline fix and seemed to approve of me; you can see a picture of her overseeing Christmas decorating on their Facebook page. Then it was up to South Haven, Michigan, and a stop at the South Haven Center for the Arts, where I met young Phoenix, a young all-black lady (about four months old) who loved to stand up on my shoulders and lean into my head as she looked out the window - another much appreciated feline fix.

Then I headed toward Kalamazoo where I stopped at Hidden Savanna Native Plant Nursery to see my friend Chad and pick up some American Beech, Dwark Chinkapin Oak, Black Oak and Sassafras leaves with the help of his four-year-old son, Henrik. Then I dropped work off at Nature Connection Kalamazoo with my friend Laurie Russell, stopped at the Expo Center to visit with my friend Cleve Hayes of Puddingstone Farms, then finally to my friends' Bob and Julie to for some great food, great talk and a very comfortable bed.

Friday I "did" Ann Arbor (as much as I "do" Ann Arbor), with stops at Rovin Ceramics for 500 pounds of clay, my friend Carol's to share some pottery with her (where I met her Siamese Saatchi, who is the first cat to remind me of my trans-species soulmate, Gus), the The Ann Arbor Art Center to drop off work with Amy and meet Nathan, picking up some more Cherry Republic Barbeque Sauce and seeing my friend Jill and replenishing my stock of 18-year-old Balsamic Vinegar and Fused Meyer Lemon Olive Oil at Fustini's Oils and Vinegars. A good trip!

Fall(ing) Leaves I: Tilia americana (Basswood)

Tilia americana (Basswood)

It's been over five months since I last posted and a lot has been going on. I may get to all of that but I decided that perhaps the best way to get back to posting routinely might be to do some short posts on recent, seasonally-appropriate work - sort of easing myself back into the saddle.

Considering that we're well into Autumn now, I thought I'd "crib" from my Facebook page and do a series of posts on "Fall(ing) Leaves". with some photos of some leaves I've done as well as some information about the plants they represent.

We're going to start off with Tilia americana, American Linden or Basswood. This is the native relative to the oft-seen Little-leaf Linden, or Tilia cordata. This species favors moist woods - nearby they can be found at the Environmental Interpretive Center at U of M Dearborn. Shorter than the European species, they top out at about 80 feet and have the broadly columnar form common to the genus.

They are among the latest blooming of our native tree species and are often referred to as "bee trees" for their fragrant, nectar-rich flowers, which hang pendulously to protect the precious nectar from being washed away by early summer storms. The flowers and the rounded, woody, pale gray-green nut-like fruit are joined to a pale green bract. The dark green leaves (paler underneath) are broadly ovate to cordate (heart-shaped) with serrated margins and are, at six inches in diameter, twice the size of the European species.

I collect most of the leaves I use, although there have been occasions when folks have generously "donated" leaves, which I always appreciate. Some leaves need to be used fresh, while others can not only be re-hydrated but even reused (oaks are especially resilient). Basswood leaves are on the delicate side, so I try to use them before they dry out.

There's a great deal of synchrony in my work in that I strongly associate certain colors - both stains and glazes - with certain types of leaves. I'm also constrained in my choices by a limited range of stain colors - especially as my (somewhat rigorous) aesthetic requires that I use stain colors that are somewhat close to a color the leaf would be at some point in its annual cycle. Because these leaves are relatively dark, I decided to use my Green - Peacock Mason Stain and combine it with Amaco's Potter's Choice Blue Rutile. The combination has been very popular - these leaves generally walk out the door.

2013 Annual Spring Garden Tour

Saturday, June 1, 2013, 10:00am-2:00pm

Free and open to the public!

The Gardens. Cheryl's life-long love of Clematis and more recent obsession with native plants are both immediately apparent as you arrive at the property.  Designed as an educational space rather than a design show-stopper, the gardens include dozens of Clematis, representing over 10 species as well as large-flowering hybrids, and over 200 species of native plants, ranging from Spring ephemerals to large trees - all nestled in a typical 40x120 urban lot in the heart of the Motor City.  Become acquainted with some of the lesser-known small-flowering species Clematis varieties and the beauties of our native flora, as well as cost-effective sustainable gardening strategies.

Cheryl's garden was featured in the July 2009 issue of Michigan Gardener and she penned the first article on native plants to appear in that publication, in May 2012, as well as her most recent article on Clematis which appeared in that publication's April 2013 issue. She has another article on natives slated for 2014.

Everything Else.  We also feature local garden art, live music and refreshments, as well as two hands-on workshops. Last year's Hypertufa Planter Workshop, led by Chris Hopp of Farmbrook Designs, was a huge success, so we'll be offering it again. Guests will also have the opportunity to work with local artist Christine Laikind to create a unique botanical monoprint using materials from the gardens. (There is a charge for the workshops. The rest of the event is free and open to the public.)

The 2012 Summer Garden Tour was a great party, with over 100 folks enjoying the gardens, art and entertainment - we hope you can join us to make this event even more fun and exciting.

All events are at 3903 Grayton St., Detroit, MI 48224. Contact Cheryl at cenglish@blackcatpottery.com for additional information about the workshops. Register online using the buttons to the left.