Lately, I’ve been dreaming brilliant colours. There are two distinct drives working their way through my dreams. First up, I’ve been wanting to get back to some folk-art painting. I realize that the hours spent glaze-painting one single pot really do little to add to our income. However, I also know that if I don’t follow through on this kind of drive, my creativity will dry up altogether and I won’t be able to work in clay at all.
This has made me think about earning a living as an artist. Why is it that a painting fetches so much more money than a clay vessel that has been painted with glaze? It takes me far longer to paint with glazes on pottery than it ever took to do an acrylic or watercolour painting. That being said, I’m finally able to console myself by remembering that the painting side of this is truly actually my creative hobby. The clay end is what I do for a living. I’m able to combine the two. Perhaps someday these special pieces will earn someone a profit. Isn’t it so often true that the artist has to die before value is attached to the work?
But back to the two drives…. The second push coming my way feels somewhat retro. My first piece in this series made me think of Piet Mondriaan. It was after doing the “painting” on that piece that I found myself “googling” Mondriaan, and I realized that the work I’m doing is far more colourful. So what was that influence. Perhaps it’s what comes from having been one of those teens in the 1960’s. Perhaps it’s pop-art. Whatever it is, I must say that it’s all painstakingly slow work and has caused some major stress to my neck. However, even when I can feel the neck muscles cramping, the lactic acid bumps building, I’m unable to walk away. I keep working on and on.
I totally love the results of my colourful phase in clay,whether applied to wheel-thrown work or my slab-ware. I’m hoping our customers will be equally delighted. I’m using a clear over-glaze sprayed onto the work. It results in a shiny surface that is totally pleasing to the touch and absolutely delicious to see. It must be said, though, clear shiny glazes are probably the most difficult to photograph. These items are best seen in person.
The brilliant colours I’m using come from commercial under-glazes. As always, our own glazes are completely safe for use with all foods and beverages, and the commercial under-glazes are also safe, derived via fritting. All these pieces are dishwasher safe as well.