This last kiln load had us both smiling with glee. There are some gorgeous functional pieces, like the wine bricks and the tall stemmed goblets with crawl glaze decoration that take function to art and are absolutely perfect for entertaining special guests.
Crystalline layered glazes with final ash glaze layers (Mt. St. Helen’s Ash actually), and fabulous tenmoku liner glazes on the interior which make the wine bricks not only functional, but allow them to become decorative vases or utensil holders.
And how delightful are large ginger jars with beautiful lids?
Should you want to use this beautiful jar as a vase, you might enjoy setting the lovely lid slightly to the front and side to give it an extra wow appearance.
Also fresh from the kiln are two lovely lidded pots, again glazed with Mt. St. Helen’s ash layered over crystalline glazes. The similarity of these pieces comes from the skill of glaze applications–but slight tweaking of the process ensures that though the pots are alike, they remain unique.
Note the wonderful slip application–a treatment put onto the pots when they’re just slightly stiffened. Combing through the slip adds texture to the shoulders of the pots and also aids the “breaking” of glazes showing up color beneath the layers.
And the last vase here is a delight to hold and would be wonderful displayed with or without flowers. It, too, shows the benefit of slip-combed decoration which adds depth and texture. Engobes and crystalline glazes, sprayed over a period of several days to allow sufficient drying between applications adds so much visually and texturally. Come visit our studio in Ladysmith, BC on Vancouver Island to enjoy not only looking at, but touching and collecting work that brings art to function and function to art.
One of the things we love about being artists as well as artisans and also potters (and yes, the distinction is deliberate) is the fact that we are able to continue to experiment with a vision to always improving all our work. Our studio is not limited to work that creates art for art’s sake. We also create functional stoneware, and by its nature, this means a certain amount of production, in other words, repetition. Without the added joy of striving to make this work fresh by developing new glazes and styles, we’d soon reach a level of boredom and mediocrity that would make our work become a form of drudgery.
Years of experience and practice naturally also changes the work. Our own growth, starting in 1979, stems from the knowledge gleaned from many years of such practice and experience. However, our work is also a reflection of our interests, and is additionally influenced by the nature around us here on beautiful Vancouver Island. Testing glazes, developing new approaches, searching for ways to bring our vision to life helps us to bring a reality to our vision.
Vic has become more and more keenly interested in pushing limits when it comes to glazing, and these days he loves spraying layer after layer of glaze on some of his pots. Unlike other potters who traditionally limit techniques that might use ash or crawl glazes to decorative pottery, Vic enjoys seeking ways to incorporate these techniques into production and functional ware. His goal is to make each piece, whether it be a mug, a goblet, a bowl, an urn, a teapot, or those incredibly unique one-of-a-kind decorative items into art. Functional stoneware pottery is the bread and butter income for our studio, while the decorative work is the dessert. But since every single piece created is made by hand, it needs to fulfill us at a creative level too.
I found myself thinking about the development of our glaze technology over the years. Initially my own experiments involved learning about each of the ingredients by firing them separately onto small bowls. This let me see what worked as a flux and what worked to stiffen and so on. The next step involved combining these elements to understand what happened in synergy. My original glaze tests were all done by trial and error. I learned heaps, but the results weren’t often exciting or of use. Even the glaze chemistry courses didn’t add much to my working results. In time we learned about glaze unity and began to understand much more about the interaction between elements at different temperatures and using varying approaches to bringing our kilns to our desired temperature, or holding the work to soak at a specific temperature, or cooling the work in specific cycles. Of course many of those things weren’t really possible either before the onset of computer controlled kilns which we can set up to suit ourselves.
Picasso, one of the most prolific artists of all time, started out by following the rules before intentionally breaking them and developing his unique style. Likewise, authors like James Joyce, intentionally breaking all the norms of English, stands out for us as a literary giant. Sometimes people who read such works are confused, as are those people who just don’t get cubism, or abstract art. I would say that the artist who not only understands and can follow the rules of art is also the artist who can choose to break those rules. Isn’t that actually the mark of true art–a way to move forward and find a new expression for your work?
The joy of creating is fraught with failure–at least in terms of work that we can sell and earn from. But there is no failure at all when the work teaches us so much, and when it both teaches and delights us, it keeps us interested. We continue to strive for ways to break the rules and find new expression.
At JoVic Pottery, here in Ladysmith on Vancouver Island, it has been our privilege to participate with families memorializing and keeping the ashes of their lost loved ones. We’ve been able to make urns in either a stoneware or raku process. We have made them shaped as Traditional Ginger Jars, or as more round, spherical shaped vessels. We have even had the honor of holding a candlelight service at our studio for one of our customers–a service for which we closed our studio to all but the family and friends in attendance–a customer who has become a treasured friend.
As potters, we have the joy of helping people celebrate all of life’s special moments from birth to graduation from college, for weddings, anniversaries, holidays, birthdays, and more.
But perhaps the most sacred of all is that moment of transcendence from the physical to spiritual stage in a loved one’s life.
The lidded vessels made by request can also filled and sealed with the ashes of the deceased at our studio. This is done with the utmost respect. Stoneware vessels are sealed with wax, and in some cases with an additional item that belonged to the departed loved one. For instance, in one case a beautiful gold chain was worked into the closure. Out of respect and for privacy, these dedicated and specially created urns cannot all be shown in such a post as this. It is important to note, however, that we are willing to individualize such special vessels whenever possible.
Should a customer choose a lidded vessel from our showroom, we’re delighted to assist with sealing if requested.
However, we’ve often found that people want us to create their urn specifically. We then make the vessel from start to finish with the love and respect, with special intention, adding unique touches that celebrate the loved one who has moved on. Custom urns generally take up to two months to complete and range in price from $250 to $450.