It’s been a little while since I’ve found time for this website. But we’ve been working overtime since our trip to France this past Spring. A former apprentice of ours operates his pottery studio in Bretagne, l’atelier Terre précieuse, and we enjoyed a trip that allowed exchange workshops with Olivier Ruaud and Alice Urien Ruaud.
Alice and Olivier enjoy producing the variety of their work using Raku firing techniques–in truth a process that we have given up.
However, after putting in more than 20 years with this technique, we had a lot to share, from using Ferric Chloride to spraying pots with alcohol to bring out the copper highlights, through to using horse-hair and feathers on hot pots.
Olivier and Alice have a beautiful studio in what might arguably be one of the most beautiful provinces in France. Their specialty is “naked raku” which relies on a white slip that cracks and allows amazing images of smoked lines on their work. In addition, they use colorful commercial glazes in concert with this naked process.
We truly enjoyed learning some of Alice’s throwing techniques, and since coming home, we’ve enjoyed creating some items that have derived from her process. It’s truly wonderful to know that we can share our skills while continuing to develop our own.
Vic Duffhues (JoVic Pottery, Ladysmith BC) has added a few more spray guns to his collection, making the options for creating greater depth and color on his final work much more fun, and definitely more interesting.
Each application is allowed to dry carefully before another application takes place, but in this particular approach, with less glaze being applied in the way it is sprayed, the waiting time is not extreme as it is with multiple dipped applications.
He’s clearly enjoying the work with this series of teapots and vases on the previously bisqued ware.
It will be fun to see the final results and I’ll be sure to post more pictures.
We always love to teach and share some of our techniques with other potters, particularly those coming to our studio in Ladysmith BC, on Vancouver Island via a guild appointment for a seminar, workshop or simply to see some demonstrations.
We truly enjoyed a recent visit from the Victoria, Vancouver Island potters of the Garden City Guild. Their pleasure throughout the day was more than evident. Lots of great questions made their delight and appreciation clear.
In particular, these potters loved learning about some of our “tools” invented to make our work easier. Vic Duffhues demonstrated wheel-throwing, waxing, trimming, handling techniques and more, showing these potters how he makes goblets, mugs, pansy rings, teapot lids and soap pumps. They also loved the clay art tiles in our kitchen and bathroom, and loved the garden sculptures by Jo Duffhues.
One of the best things about doing these workshops is that we always feel renewed ourselves. Excitement is contagious. We know these potters will go home to, as Pete Pinnell once wisely said: “imitate, assimilate and then innovate.”
We wish them all the best success with their own pottery and clay art and hope they will make a few return visits to JoVic Pottery in the years to follow.
Mocha Diffusion is a very special technique: a process that is almost magical to watch because of the very rapid way that landscapes are formed in front of your eyes.
Whenever visitors come to the studio here at JoVic Pottery, and we have the time to engage with them and show them a few things, a mocha demonstration is often at the top of the list.
Achieving success with the process on pottery often proves very difficult. Everything has to be just right for things to work. The pots need to be almost bone dry. At that stage they will rapidly absorb the slip applied. This slip is quite alkaline. The introduction of an acid can be shown by the addition of colorants to a tea made with boiled pipe tobacco.
If the pots are too dry, the slip just forms ugly blotches and runs. If the pots are too wet, the slip stay wet too long and the “trees” grow well beyond our desired needs right over the edges of the rims. It’s a Goldilocks process, so if the pots are just right, we can quickly make landscape strokes and add a little extra tea in those spots where we’d like a tree to “grow.” We really have a very short window in which to do this decoration and pure concentration is required, as well as a planned approach.
But for our visitors, we have a delightful solution consisting of a piece of plastic that we dip into the slip bucket. The slip stays wet, of course, but almost always works to demonstrate the technique. We watch the trees grow and continue this growth demonstrating not only the wonder of dendrite at work, but also explaining how continued moisture is undesirable on our actual work.
Vic Duffhues has been using this technique for many decades. Yet even with all that experience, he’s not always guaranteed the results he’d like. Now he chooses to exercise this form of decoration only in the early spring, when drying conditions are most easily controlled. The result is that we never have enough mocha pieces and there is always a demand by collectors.
They truly are gorgeous mugs and tumblers and we joke that these are the fastest growing trees in British Columbia.
I once heard an elderly potter say “if I don’t like what I’m getting, I just fire it again.” That was not easy before potters began to fire pottery in electric kilns. In fact, those extra firings often resulted in pots for the yard, if not the garbage can.
Firing pottery at Cone 6 in an electric kiln (in oxidation) wasn’t exciting in the past either. Potters often frowned upon the results, and those with gas or wood-fired kilns which make use of oxygen reduction to bring out the beauty of their glazes swore they would never switch to oxidation. You just could not get a lot of great color development unless you were using commercial glazes–or so it was believed. How could you get that great variation in glazes on your pots if you didn’t have the magic of the reduction fired atmosphere which helped add variety and depth and interest on just a single pot?
But potters love to invent, whether it’s a new tool for their use in the studio, or a new glaze to put on their beloved pots. It seems much of the fun comes from experimenting. While there are still lots of potters quickly dipping their ware in buckets of glaze (and it’s admittedly much less expensive with so little waste), many of us are also using spray booths. This requires a good safe space to work with phenomenal ventilation. It also results in lots of waste of glaze chemicals. The upside, however, is that it enables a very even coating of glaze without the dreaded unintended drips marring the final surface finish.
Not that drips aren’t sometimes desired. But for a potter to be truly happy or excited, those drips need to be placed in such a way as to enhance the work. And since we’re firing in oxidation, and we’re spraying the glazes, well then why not look for ways to enhance color and texture by spraying different glazes onto a pot.
Yes, there’s a lot of experimenting, and not just a few disappointments to contend with along the way. Each glaze causes reactions within the heat of that kiln, and some of those reactions aren’t just to the heat, but to the different glazes introduced.
But back to the original statement, about firing again; it is now not just to salvage failure, we re-fire with intent. We increase the number of firings in order to bring about results we could not otherwise have with the typical bisque followed by one glaze fire. We don’t just add the exciting variety that potters formerly achieved with gas or wood-fired kilns: we have taken that to brand new heights. We don’t have to spray a pot evenly with just one color, we can use bits here and there, spraying gently, choosing a heavier application here and lighter one there.
After our initial bisque firing, we fire glazed pots at lower temperatures to ensure that the glazes adhere or you might say that they are baked on, usually at cone 04 somewhere in the neighborhood of 1900 ° F. Sometimes we add more glazes and again fire at that low temperature before finally firing our pots to maturity (or to a stoneware state) at Cone 6, approximately 2200 ° F. Some pots may have 3, 4, or even 5 firings before we decide they’re finished and ready to sell.
For a final finish, some of our pots are treated to a crawl glaze application, and this, too, is comical when we think about the former “taboo” of having a glaze crawl on our pottery.
With electric oxidation firing, we can play to our heart’s content. We can introduce and generally control the crawl so that it enhances our work. And that’s true for our ash glaze applications as well. Ash glazes tend to run, but instead of worrying about the runs, we carefully introduce them just where we know they are likely to bring about some incredible beauty. The pots that in ages past relied on wood ash to create their glazes, well, I guess we’ve experimented and found ways of using them in an electric oxidation atmosphere.
And just like that elderly potter, we’re happy to believe that we can even re-fire a pot that had previously reached stoneware maturity.
The making of quality stoneware pottery, whether functional or decorative, is far from a rapid process. Aside from clay preparation, pots made require careful drying before they can even be put through their first bisque fire. But just the making is a time consuming thing, especially for large vases that are thrown in two stages.
Getting the neck onto the base requires careful joining; after all, if the pot is not put together correctly, the neck would come free of the vase. Careful smoothing and finishing is needed.
Then there’s a process that allows us to get some color onto the pieces before a first firing–of course not until the pieces are bone dry. We often spray the work with engobes, or brush on slip.
Once the pottery is again bone dry, we’re able to place the work into the kiln for a first firing. We bring them up slowly and cool slowly as well to avoid any potential cracking or warping through this cycle.
The cooled pots then need waxing before we can glaze. If we didn’t wax the bottoms the pottery would end up stuck to the kiln shelves.
Once the waxing is finished, we can get on with the work of glazing. This is frequently a slow process because we tend to use multiple glazes and each coat must be completely dry before we add a next layer. Bisqued pottery is still somewhat porous, and the water base of the glazes is absorbed into the work, requiring careful and total drying between each step.
Some of our pottery is actually put through a few low temperature firings. This ensures that the first layers of glaze are fired on, allowing us to handle the pottery without smudging or accidentally removing some of the glazes. Though the glazes in this case have not reached a mature melt, they are stable enough to handle.
Fired on glazes really help with some of our more complicated glaze applications. Crawl glazes, for instance, cannot be applied to glazes unless they have already been fired on at a lower temperature. By their very nature, as reticulating glazes, they would pull up any immature glazes they were placed on and instead of an attractive crawl, exposing lovely sub-surface colors or glazes, they’d end up exposing some terrible peeling effect that exposed clay.
Each kiln load has us looking forward to seeing whether what we envision at the start of making our work actually lives up to our hopes.
With the glazes applied, the final drying begins.
Once we’re sure the pots are dry, we can carefully load the kiln. Great care must be taken with vertical vases that have crawl glazes applied near the base.
A slight bump and the glaze will fall off the pot, potentially leaving bare spots where they might not be desired, and also fusing to expensive kiln shelves or other kiln furniture.
Some of the final results pleased Jo Duffhues immensely–not so Vic. He’ll likely take the vases he’s not thrilled with and apply additional glazes for yet another re-fire.
I have to remind him that some of our customers love the pieces that he is not excited about at all. The trouble is that when we work we have an idea of the outcome we’re seeking, and if things don’t turn out that way, we tend to think it’s a failure. It’s very hard to get past that kind of negative response. But since I love these pieces, I think they’re a great success.
Yes, these are the vases that Vic is seen making in the images above. Now it’s just a question of who wins the argument–will they be fired once again?
We consider ourselves potters; however, since we can’t afford to spend a great deal of money on professional photography, we also need to be capable of shooting our pots in order to post them on our website, use the images to send to clients, or to send them to galleries and shows to be judged.
Like so many of our peers, we struggle to create the best images we can. We have set up a photo “booth” in our studio. We have lighting and a very good camera, but as our granddaughter might say: “the struggle is real.” We occasionally see an incredible picture of someone’s work, and though we know it to be good, we also recognize that the photo has elevated it to great. Pots in pictures can only tell part of the story. Touching, lifting, and a close examination of the work is needed to complete anyone’s judgment.
Some glazes lend themselves to photography, particularly if they enjoy a matt surface. Others, especially those that have lustres or shiny translucent glazes present even professional photographers with a significant challenge.
One of our most beautiful ginger jars, complete with multiple layers of glaze and an ash glaze to grace the shoulders of this lidded vessel, came out of the kiln presenting just such a challenge. We recognize the fact that for us, taking pictures of this beautiful lidded vessel has proven more than difficult. Nothing we did actually does this work justice. Take a look for yourselves, and if you have any suggestions, please send them our way. Of course, as always, we invite you to come to our studio to have a look and feel for yourself.
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.
There’s some exciting new work coming out of the kilns at JoVic Pottery in Ladysmith, BC. Vic’s been experimenting with layered ash glazes, and has gone a bit beyond layering with engobes and 4 glazes, now going up to 6 glazes. The results are stupendous, and when combined with techniques that allow for the glazes to “break” on tactile surfaces, well, WOW. Here’s the most recent platter. I’m sure you’ll agree this one is beautiful!
Over time we obviously develop. Our skills have improved over the last 3 decades, and we’ve continued to develop new and exciting glazes and decorating techniques. However, we have a customer who had purchased a full dinnerware set about 20 years ago–thankfully, it’s a set they and their extended family members continue to love.
Last year, this couple came to visit and discussed the possibility of giving their parents a similar set. We had to revisit techniques we rarely employ. But the idea of a son wanting to give his parents dinnerware for Christmas proved irresistible. They modernized by requesting hexagon rather than wheel-thrown plates for a set that included 8 dinner plates, 8 dessert plates, 8 soup bowls, a butter dish and a platter.
Vic’s now packing this set. We’ve been able to send pictures along the way sharing the progress with the son and his lovely wife. They live in India. Their parents are in Alberta.
We were so happy with the final results, and we know that these lovely pieces will grace the table and bring the family a deep sense of joy and connection–even with the tremendous geographical distance. This stoneware dinnerware set will remind both families of many great celebrations, and this Christmas will be a special first shared sense of celebration using our wonderful JoVic Pottery.
And the work continues for special custom orders meant for Christmas gifts, including hexagon shaped dinnerware plates and dessert plates… though working around a studio dog can sometimes proves tricky.
Of course some of the pottery that has been through the multiple firings is now beginning to find its way into our showroom.
This year’s studio tour will run a full five days. Be sure to pick up a brochure at our studio and enjoy yourself on this lovely self-guided tour through our beautiful area just north of Ladysmith and south of Nanaimo in the Cedar and Yellow Point area of Vancouver Island.
You’ll find an endless variety of beautiful hand-made gifts, in our own studio and in the many other wonderful studios and gift cottages taking part in the wonderful annual event.
Tour hours are 10-5 daily, November 19 – 23. and there’s a terrific map in the brochure.
Aside from mixing, pugging, wedging, throwing, trimming, handling and drying pots before they ever go through that first bisque firing, we frequently add yet one more technique: we add layers of sprayed on engobe to the bone dry work. Here are just a few pictures of Vic Duffhues doing just that.
In some cases, the pots are sprayed with what we might call the main engobe, and in case you’re wondering what that is, I’ll explain. There are multiple techniques used to add color and depth to pottery. Slip, possibly most commonly used, is a wetter version of the clay itself, sometimes with an oxide added for color. It is generally applied to pottery that is considered leather-hard, well before a pot is dry enough to be fired. Engobes generally have a much lower clay content, and they can be applied to a wider range of pottery in various stages. Like slips, they can have colorants added, including commercial stains or oxides.
We like spraying layers of color onto our work and usually do this when the pots are bone dry. We generally use an engobe for the first application, allowing it to dry before adding another different engobe, or sometimes a smoother and finer Terra Sigillata. There are many recipes for engobes, slips and terra sigillata available and each will work differently depending upon time of application, clay body, firing temperatures and so forth. As with all underglaze applications, potters have to experiment and fine-tune before coming up with a version that works best for them.
When these pots are once again bone dry, they are fired in the kilns to somewhere in the neighborhood of about 1000 ° C or approximate 1950°F, all depending on how hard or soft we want the pots to be before we apply final glazes. If you’re curious about firing temperatures, you can consult this chart from Bellevue College.
Many of our pots actually go through three firings before we reach that final finish we’re seeking. During our second firing, which we also do at a lower bisque temperature, we can fire on glazes so that they will be stiff enough to allow handling, but soft enough to allow for further glazing. We do this to add depth and richness and texture, a step that ensures that glazes will marry in the final firing. One of our final glazes is actually frequently called lizard skin or alligator glaze. It has to be applied to a pre-fired underglaze because it is actually a reticulated glaze, meaning that it shrinks more than the glaze surface underneath. The shrinkage during drying and firing leaves the surface beneath this glaze visible. This technique would once have been considered a glaze flaw and named a crawl glaze, but it has become rather popular in the last 15 or so years being deliberately applied to decorative pottery. Our studio is unique in the way the technique is applied to functional stoneware pottery.
This post is just a fun way to share some pictures I took of my favorite potter the other day. He’s gearing up for our annual studio tour. I’m so glad he continues to love working this way and he’s been making pots since 1979, and has certainly honed his skills at our amazing Ladysmith, Vancouver Island studio: JoVic Pottery. Come visit.
This year, the annual Cedar and Yellow Point Artisans’ Christmas Tour will start at JoVic Pottery. The tour starts on November 19th and runs for a full five days through to and including Sunday, November 23rd. We’ll have lots of extra brochures for those of you who have yet to get your hands on one. It’s an exciting tour, and the brochure provides a terrific map to assist you on this self-guided foray into the studios and gift shops of the members of this arts association.
Whether you’re looking for art to add to your own collection or some gifts for those lucky recipients on your Christmas gift list, you’re bound to find something special. There’s fabulous variety available too: amazing First Nations art by Noel Brown, whose artistry can be found in galleries around the globe and includes hand carved copper, silver, gold and platinum jewelry as well as traditional cedar carvings; glass work created by Ted Jolda, including his collectible Christmas: paintings, prints and more by the talented Kathy Barnson; and more paintings by Lauren Kent; furniture and wood works painted by the award winning Claudia Lohmann; furniture and jewellery from Yonder Wood; up-cycled funky functional furniture and natural art at the Fern and Feather. But that’s not all, there are wonderful studios that specialize in plants, seeds, herbs and herbal products for your home and garden, including: Hazelwood Herb Farm, Fern Gully Garden, and Seeds of Victoria. Foodies will find special gifts and delicious ingredients at Fredrich’s Honey and Yellow Point Cranberries. There are some quilts, and special Christmas temptations at some of the other locations as well from quilts to iron works, and of course you’ll find our stunning functional and decorative stoneware and raku pottery here at JoVic Pottery, and more pottery at the Blue Ox too.
Plan to make the tour into a few fun days. With some terrific dining choices, from the Crow and Gate, the Wheatsheaf Pub, The CoCo Cafe, to The Cottonwood Golf Club, and some outstanding Bed & Breakfast choices in our area, you’ll be on a holiday getting ready for the holidays to follow. Check the map for yourself, and enjoy a great stay in our beautiful community on Vancouver Island.
It’s a little late, but with luck, not too late. There’s a terrific pottery sale in Parksville tomorrow. It’s at the Parksville Community Centre, 132 Jensen Avenue, from 11 AM ’till 5:00 PM. (click on the highlighted address to access the map)
The Art Of The Fire holds it’s annual holiday pottery show and sale this Saturday, October 11, 2014 – Some of Vancouver Islands best potters will have work for sale. Come and watch how it’s done. LIVE DEMOS – Throwing and Hand-Building demo’s, great food, a raffle of wonderful pots by several potters and … Oh yeah, bring something if you could, for the local food bank.
Regular members of this group of potters include Gordon Hutchens, Jane Murray Smith, Al Bubnys, Anne Marie Veale, Sue Taylor, Gordon James, Martha James, Cori Sandler of Cori Sandler Pottery, Dee Aguilar, Larry Aguilar, Shirley Phillips,Richard Lonsdale, and Janet Moe. This year’s guest artists, delighted to join this fun event are: Vic Duffhues from JoVic Pottery, Al Knutsen, Neil and Anita Lawrence, Hanna Lewandowski, Shirley Phillips, Ellen Statz, John Robertson, and Harriet Hiemstra.
Vancouver Island potters create some of the most outstanding vessels, from the purely artistic and decorative, through to truly exciting and beautiful functional pottery. There will be refreshments served by Grandmothers to Grandmothers. Be sure to enjoy a lovely day–We hope to see you there.
Arts on the Avenue is just a few days away–this coming Sunday. This is the 16th or 17th (not sure) time this fabulous event will take place in Ladysmith. You can peruse some of the pictures taken last year by clicking on this link to the Gallery. You will, as always, find us there too. We try to make sure that every year has us bringing some of our newest work for this home-town street event.
This year’s line-up of artists is as terrific as ever, and we’re counting on the weather to cooperate and make this another fabulous day. But let me tell you about some of the fabulous pottery we’ll have ready for our collectors and new customers alike… better yet, let me show you.
The stoneware pot shown above is definitely one of my favorites to come out of the kiln this past week. Vic’s alligator finish, layered engobes and glazes, and the gorgeous form, all work together to invite the eye and hands to love this vase. Ah yes, this one is worth drooling over.
There are other gorgeous vases too… including the one shown right with a delicious fat bronze detail on the neck.
Of course we will have a series of gorgeous mugs, and some of them will have that fabulous layered alligator finish, but we also have a few with a new ash-glazed combination that is really stunning. The ash comes from the Mount Saint Helen’s eruption.
And there are some lovely tea lights coming out of the last few firings–they’re perfect for romantic dinners, relaxing atmospheres for that soothing bath, or just simple soft mood lighting.
We’re excited to continue to enjoy the beauty of our Vancouver Island home here in the Oyster Bay area of Ladysmith, BC. It’s a place that constantly provides inspiration–but come and see for yourself and discover why so many artists, artisans and talented crafts people make this place home.
Summer is upon us and we’re gearing up for the annual Arts on the Avenue show. This special event has been running for about 16 years, and this year’s line-up of fabulous artists promises to make for another exceptionally beautiful day. It takes place on August 24, 2014. The location is First Avenue in Ladysmith, between Warren and Buller Streets. They, of course, will be closed to traffic, making for a delightful pedestrian experience. So come on out between 10 AM and 4 PM for an incredible day overlooking Oyster Harbour.
We’re hard at work in our own studio to make sure that we have everyone’s favourite mugs on hand for this show–and plenty of them too. They’ll be “muscled” or “textured” for that personal comfortable fit. Making mugs requires so much more effort than many people realize. Aside from mixing, pugging, wedging, and weighing out the appropriate clay balls for throwing on the wheel, our mugs also have to stiffen to a leather-hard stage before they can be handled.
Vic likes to “pull” the handles, but to ensure consistently beautiful handles, he starts by preparing a whack of them ahead before attaching to the stiffened mugs and then pulling them into shape almost using a “cow-milking” motion.
The mugs are then carefully dried before they can be put through a low-temperature bisque fire in advance of receiving layers of glazes and engobes. Much of our work now experiences several low-fire applications of engobe and glazes before a final glaze firing can take place.
If you can’t make it to Arts on the Avenue, don’t worry, our studio is open and we’re always glad to welcome visitors. Our garden is still in bloom, and we’re right near Page Point Inn. We’re also more than happy to tell you about our community here, and have brochures that will guide you on the Cedar and Yellow Point Artisan Trail.
Be sure to enjoy Vancouver Island’s stunning beauty and the artists and artisans who find their inspiration all around.
The Ladysmith Waterfront Art Gallery recently set up a special show in conjunction with the Crafts Council of British Columbia. It celebrates the 40th anniversary of the council. The show was by invitation only. Vic decided to create a truly amazing dinnerware set. The show is wonderful, with quilts and paintings and delightful furniture. The dinnerware set stands out as exceptional in this lovely creative environment, and I hope Ladysmith and area residents make sure they visit the gallery before this special show closes on August 25th.
The pieces are stoneware, wheel-thrown, and have received multiple glaze applications and added firings to allow for the texture on the rims of the plates and create the delicious depth and coloring of the work. He rounded out the display with several other fabulous pieces, including a gorgeous ginger jar and a teapot. However, I think whoever ends up owning this remarkable dinnerware will be able to gloat that they are serving their food on functional art!
To aid the display, we took our oak harvest table, made for us by Mennonites in Waterloo County about 30 years ago, and refinished the table top. The table legs and drawer details still need to be refinished, but time was short, so only the top got done. But this table has seen so much use and dare I say abuse over the years, and it’s great to see how beautiful the top looks following some TLC.
This dinnerware is a one-of-a-kind set. The work involved is truly labor-intensive. The plates not only received multiple glaze applications requiring extra firings, but the final “alligator” glaze on the rims also meant having to wax the interiors of the plates and carefully sponge away any excess of the alligator glaze. Vic’s love of functional stoneware is apparent in this gorgeous set, and he’s now determined to create one special set per year.
After several years of operating our online shop, we have discovered that it is far easier to handle customer requests more personally and are happy to manage orders following email and telephone contact with clients.
There are numerous reasons for this change. Most important of all is that it allows us greater creative freedom. As Vic puts it: “you cannot go to a GM dealership and expect to purchase a ’57 Chev.” That may seem like a stretch, but the fact is that we are constantly exploring and as a result, our work is always changing. Having a shopping cart on our site restricts us to a continuous production of items we must then have in stock. We are artists and do not operate a factory, so this goes against everything we strive for in our creation of beautiful functional and decorative stoneware and raku pottery and art.
Our collectors can always ask us to create something using a former glaze or pattern. We will do our best to meet such a request. However, mines change, clay and glaze ingredients change, standards change, and our work also changes.
We will continue to post images of our latest works on our website, and will attempt to provide our internet browsing customers with a price before taxes and shipping. If an item seem and requested has already sold, we’ll do our best to provide a similar item, exchanging emails with photographs to ensure agreement.
Our second reason for discontinuing the shopping cart feature on our site stems from the fact that that the cost calculated by the Plugins required for this online shop is, in our opinion, exorbitant as well as labor intensive. We must measure and weigh each item before we can even post an image. We must commit to specific cartons and packaging. It all boils down to a great deal of extra work before an item is even sold.
As Venture Card holders with Canada Post, we’re able to provide an excellent service which is far less cumbersome at our end when it comes to packing and shipping and is also more reasonable for our customers. We’ve been very successful shipping stoneware and even raku pottery around the world and we enjoy working with the staff at our local postal office.
Your interest in any of our work is always appreciated, and should you see something you think you’d like, we welcome an email to get things started. We will happily respond with photos and specifics to ensure your continued pleasure in our work. We will always welcome personal contact, and for those of you hoping to acquire our special dinnerware, we will always recommend a studio visit. That said, we will continue to ship our work to our collectors and welcome new customers.
After spending a week with Don Ellis at Metchosin International Summer School of the Arts (MISSA), Vic’s re-inspired to do more with Raku. That has resulted in both of us working with raku clay again. I’ve been using some Industrial Raku, with the reminder that this is not a particularly white body of clay. Vic’s been using WSO, but though this clay fires up nice and white, which is terrific when it’s used with a white crackle glaze, it’s also terribly groggy. At MISSA, Vic was hearing about Soldat 60. He picked some up, and yesterday he started making some pots with it. I can hardly wait to see the final results and will be posting some pics later of the new pieces he’s throwing. In the meantime, Edward McCrea came by and started taking some pictures of the firings.