Eric Soulé

Tournage à 4 mains. 4 hands Throwing.

2012-02-15T05:38:00.003+01:00

Vieux potier et peintres d'avant garde (1964).

2012-02-07T07:42:00.000+01:00

Série documentaire consacrée aux rites en Asie. Aujourd'hui, Armand et Michaëla DENIS sont au Japon, où ils découvrent des artistes japonais. Tout d'abord, rencontre avec Shoji HAMADA, chef céramiste de renommée, dans son village de Mashiko. Ils observent les différentes étapes de réalisation de ses oeuvres, depuis l'extraction de la terre glaise des collines environnantes, la préparation de l'argile, le façonnage des différentes pièces, les peintres à l'oeuvre, parmi lesquels HAMADA, sur les vases, poteries ou assiettes, puis l'étape de vernissage et de cuisson. Les céramiques sont enveloppées dans la paille avant expédition et HAMADA en choisit quelques unes pour une exposition à Tokyo.Ils observent ensuite les techniques de peintres d'avant-garde, tel Akira KANAYAMA, peintre vivant dans un temple boudhiste, qui utilise une petite voiture électrique chargée d'un pot de peinture avant d'ajouter sa touche personnelle, puis Yasuo SUMI, peintre et professeur, qui peint dans la cour, observé par ses élèves, d'abord avec une ombrelle projetant de la peinture puis avec ses pieds.

Quand l'artisan devient artiste ou le porcelainier d'Arras (1979).

2012-01-30T06:29:00.004+01:00

La production de porcelaine d'Arras fut de courte durée. Au 18ème siècle, la famille DELEMER vendait des faïences aux bourgeois de la ville mais c'est un certain BOUSSEMART qui implanta une manufacture dans sa ville natale en s'associant aux soeurs DELEMER. Elles en prennent rapidement la direction. La concurrence des produits de la Compagnie des Indes fut fatale à la manufacture qui n'exista qu'une vingtaine d'années.Un artiste local a décidé de reprendre cette production. Après de longues recherches, Henri CAUDRON a retouvé les techniques et gestes de la grande époque de la porcelaine d'Arras. Il a aussi communiqué à son fils Louis CAUDRON son amour pour cet art du feu qui fait aujourd'hui la fierté de la cité de Robespierre.

Nic Collins, Potter.

2012-01-15T07:21:00.000+01:00

Moulage en céramique (1912).

2012-01-07T07:47:00.011+01:00

Ce film muet de 1912 d'enseignement professionnel présente la technique du moulage en céramique. Séquences filmées et cartons explicatifs illustrent avec précision l'exécution d'un moule en plâtre et son utilisation pour la fabrication d'objets décoratifs en céramique (barbotine) .

From the Ground Up

2011-12-25T00:01:00.001+01:00

Bol de Steve Harrison cuit lors de ma dernière cuisson suivi d'un article sur la préparation de sa terre.

View of Steve Harrison work wood fired in kiln, follow by a clay process article.

From the Ground Up

by Steve Harrison

Native Porcelains developed from Australian bai-tunze of the Southern Highlands of Australia

This article details my recent research in the use of local materials. Specifically, wood fired porcelain and proto porcelains made from the native porcelain stone (bai-tunze) of the old Mittagong Shire. The nature of the pieces that I have created is such that they represent the geology of the Southern Highlands. They are not the most translucent or the whitest of porcelains. However, they are entirely local and the product of my interaction with my locality. During the development of this work it has been my intention to make a 100% local product. In this regard I have to admit that I have failed, as one of the clay bodies contains 1% of bentonite sourced from outside of the Mittagong shire, but I can live with that. This work is my attempt to produce a local product. With all its limitations and faults, and all its local character. The French have a word, ‘terroir’ that expresses some of this quality.

Image 1. 99% Native bai tunze porcelain bowl glazed with a recipe made from 85% bai tunze and 15% limestone

Better porcelain clays can be bought from the local art supply shop. However, they are made from mostly imported ingredients, from all over the world, New Zealand, USA, Europe, Canada and China, at least the water used is Australian. The net result of this international roast is that everyone’s work has a sameness about it. What was once exceptional has now become commonplace. Globalization has resulted in a situation where we are spoilt by the availability of excellent materials – the very best of each class of ingredient is available here now from every market on the globe. For all their faults, and I’m sure that there are many, this work has a character imposed on it by my choices of technique and my ability to extract suitable materials from my local geology. At this point in time this is the best I can do with what I have discovered. I have used and developed some of the limitations such as the impurities in the raw material to give an exquisite surface flash that is enhanced by the wood firing process. Usually rich red flashing and translucency are mutually exclusive qualities. However, in this case I have managed to coax both from my materials. All the fuel was collected off my land or my neighbours. I made the fire bricks for the kiln by hand, from a local refractory white bauxite clay. Glazes are made from the same porcelain stone or other local igneous rocks, all processed and milled in my workshop.

Image 2. Unglazed native bai tunze porcelain bowl showing a lovely orange flashed surface that is bleached to white on the flame side and showing some carbon sequestration and a little build up of green ash glaze on the fire front.

From one point of view this work can be seen as an intellectual exercise, a strike against globalisation, and that might be true and all that there is to it, until you see and handle the pieces. This work is special, to me, it has the most wonderful quality, a juicy beauty that elevates the soul. The play of light off the glaze and clay surfaces and through the translucent clay bodies is inspiring. There is a very pleasant interaction between the orange flash on the clay surface caused by the wood firing technique and the subtle blue/grey of the proto celadon/guan-like glaze surface. Some of these pots are so translucent that you cannot only see through them, but you can even see the colour of the flashing through the bowl. I have developed my own combination of working methods that are a bit like the ‘Dogme’ theory of film making with a set of limitations that are calculated to avoid the slick look that has become common. For instance, I have chosen not to sieve most of the clay bodies. There is only one material that requires sieving due to the high proportion of organics and lignite. I generally use the bodies and glazes straight from the mill. This has allowed some oversize particles to end up in the mix and can be seen as small scratches in the turning. In some cases there is only 15% difference between the clay body and the glaze, the one material making both clay and glaze. I have taken to calling this material ‘Australian Bai tunze’. As Bai tunze is the name that the ancient Chinese potters gave to the ‘porcelain stone’ which they used to produce their native porcelain and like those early potters I have made pots that have a slight tendency to warp and even show the odd iron spot.

Image 3. Wood fired native bai tunze 2 porcelain bow glazed with itself and limestone. The 2nd bai tunze deposit has a slight trace of iron through it which develops a beautiful red flash.

I have consciously avoided firing these bowls on the rims to keep them flat and symmetrical, rather, I have allowed and even encouraged some warping, which I believe expresses some of the simple natural beauty of this ancient technique. I also work on a slowly revolving treadle style kick wheel. This method of throwing also has its own natural character. There is something about the slow rhythmic pulse of the kick wheel that can cause the very thin wet rim of a finely thrown porcelain bowl to get a slight eccentricity, which I find engaging. Not bent or slumped, just slightly out of whack. Likewise, I have avoided using ribs or profiles in throwing. I decided long ago that I preferred the hint of soft undulations left by my fingers in the surface. I also lift all of the pots off the wheel head with my fingers, I don’t use bats, this also adds its little extra touch of character and in firing I avoid the use of porcelain setters to encourage a little gentle movement in the foot and consequentially the rim. Some pieces do not survive this combination of trials looking their best. However, others survive looking delightfully ‘natural’. Of course they are not natural, far from it. These pots are highly contrived but they look like they have that little something that we have lost in our post modern, post-industrial society. They show a very direct link to the place and methods of their making. I believe that all this gives the work a greater authenticity. It certainly is very rewarding for me as the maker and after all, I’m only making them for me. Fifty years ago the well known Australian potter, Ivan McMeekin discovered a weathered igneous dyke associated with a coal mine in Mittagong, from which he was able to coax a similar porcelain body. Interestingly although these bai tunze materials are not associated with that geological event, which is no longer accessible since a freeway was built through the site, there are however other clays and rocks in the area that are now shown to have the same or even greater potential. The Southern Highlands turns out to be an interesting geological area in that it has produced other similarly useful porcelain, and proto-porcelain materials. Founding members of the Potters Society, Ivan McMeekin, Ivan England and Peter Rushforth were keen users of local materials, not always because of their special qualities, but rather because there was no reliable supply of Australian materials such as felspar at that time. McMeekin’s students Col Levy, Gwyn John (Hansen-Piggott) and Les Blakeborough have also developed bodies and glazes from local sources. However, to the best of my knowledge pots like these have not been produced in this area for fifty years, not since McMeekin’s time at Sturt Workshops. These materials have been here a long time, and I have lived and worked here for close to 30 years. It has taken me almost that long to track down and discover all of these materials. I’ve come to realise that it’s not just the place, it’s the head space. It is only now that it has all started to come together for me, the slow combination of me homogenising with country, like making a frit, these things take time to fully integrate. I have systematically searched the entire Shire, collecting hundreds of materials and making thousands of tests from them. For this show of work, so far I have filled many note books and made many individual batches of porcelains, from 4 bai tunze like materials, 2 primary kaolins and several igneous rocks such as basalt, syenite and granite. My output is small for several reasons, one of them being that I can only carry 10 to 20 kgs of materials out in my back pack at one time from some sites. It also takes approximately 10 days from start to finish for me to crush, grind and process each 5 to10 kg batch of the materials into a workable clay body. Being the person that I am, I have never made up the same batch of body twice. Each batch is different, even if only by a few percent, just to see if I can improve the recipe slightly. The effect has been that I have ended up with 2 distinct types of porcelain, those with, and those without calcium content. This is the crucial ingredient that ultimately determines the fired qualities of the body. In my shows of work at Legge gallery in Sydney, I have chosen to show only the bodies free of calcium, as these are the clays that flash so nicely in the wood firing.

Image 4. Wood fired, blended bai tunze porcelain bowl, this body is made from hand picking all the dark fragments of Bai tunze out from the white batch and concentrated here to make a darker, richer, redder body that works well against the richer blue iron glaze made from the iron stained bai tunze, lime, ash and some Mittagong syenite.

The Materials

Bai tunze No1

This bai tunze is a weathered felspathic material which is very high in silica. This weathering has resulted in a small amount of clay mineral being present in the rock, such that after milling it develops a very poor plasticity. However the large amount of felspar that remains unweathered develops a remarkable translucency. The remainder of the material is quartz which helps develop the glaze fit. When I first collected this rock I though that it might be a useful candidate as a glaze ingredient. However it looked so unpromising that it sat on my bench for a long time until I finally got around to testing it. Being a very hard rock and very finely crystalline, I thought that it might be a metamorphosed sandstone or a quartzite. It required primary crushing in a jaw crusher and then several hours of ball milling to achieve the desired degree of fineness for testing. The 100% position on the glaze test tile revealed a vitreous grey surface with a slight sheen. Initial testing as a glaze ingredient involved line blending with calcium carbonate and silica, both individually and together in various percentages. Line blending with calcium carbonate, between 5 and 25%, turned the rock into a range of useful glazes, 15% resulted a beautiful pale blue guan-like glaze. I was quite surprised at this result, but very pleased, as I thought that it might turn out to be just another sandstone sample. (This is not too surprising, as I live in a predominantly sandstone area). The only negative result was the crawling of this viscous glaze, a result that I am not unfamiliar with in this type of glaze, However, crawling is most usually associated with plastic materials, and this was very obviously hard rock and not at all plastic, or so I thought. Reflecting on the crawling I decided that it might be possible that the rock could have some plastic quality. I simply took a small handful of the fine milled powder and mixed it with a small amount of water in the palm of my hand, and unbelievably it became marginally plastic, sufficient to allow a poor coil and push pull test to be made. I have to admit that I was so surprised that it took me a little time to gather my thoughts, but not too long. I soon had a set of shrinkage bars and translucency wedges made and drying. The fired results of this indicated a grey, vitreous shiny clay body with translucency up to 5.4mm thick in reduction and perfect glaze fit with a standard limestone glaze. Throwing was another matter, It was only just possible to throw a small, thick, uneven bowl. But it was possible! My next approach was to line blend this material with bentonite. Body blends with between 1 and 10% bentonite yielded throwable mixtures. However, throwing was difficult and the pieces needed to be small with a simple strong vertical form. Just like most other porcelain clays. This material appears as a hump in the landscape, too small to be called a hill, so because of its high felspar content I decided to call it the ‘glassy knoll’. I was amused that a 1% addition of 'V gum' made it throwable. It then became "the single gum theory from the glassy knoll". I liked that!

I thought a lot about this Australian bai tunze-like material in trying to understand its nature. Examination with a hand lens showed a very fine crystal structure with opaque crystals that I guessed to be felspar, some obvious shiny quartz fragments and only a very few fine black dots that I assumed to be biotite mica. I also compared samples of the broken rock with clean geological samples of felspar in the lump form and compared cleavage planes and fracture angles. Some of these angles fitted together like a jigsaw puzzle, this comparison led me to believe that my bai tunze was primarily a highly felspathic acid rock. The fact that there was little or no flashing on the exposed clay body sample in the wood firings led me to believe that the felspar was one of the plagioclase series, with a small calcium content, probably at the albite end of the series. The calcium content must be small, as there is only a slight tendency for the pots to squat during the stoneware firings in the wood kiln to between cone 8 and 9. However, firing to cone 10 and above caused squatting. This theory however turned out to be wrong. Analysis proved the felspar to be sanidine, a disordered potash felspar. There seems to be enough mullite and secondary mullite to hold it up at high temperatures, with the calcium content low enough to increase the translucency without weakening the secondary mullite structure created by the felspar. This Australian bai-tunze although quite translucent, fires distinctly grey/white in reduction so I assumed that there was some iron content, although it must be small. Finding a material like this has convinced me that porcelain isn’t as remarkable a material as I formally thought. It seems that there are several places around the world were this kind of geology and weathering has occurred and that all that is required is inquisitiveness and ingenuity and translucent porcelain is the inevitable result. When I started this research, I assumed that I would end up making a lot of brown clay bodies and tenmoku glazes by limiting myself to the exclusive use of local materials. So I was pleasantly surprised to find such a beautiful range of eminently usable pale/low iron materials. I also tried another approach, closer to the Chinese model by blending the bai tunze with kaolin. This series of test resulted in a more plastic, throwable body but less translucent. Blends with primary kaolin (from an in-situ weathered dyke) and felspathic flux separated from granite or the bai tunze itself by froth flotation produced several excellent bodies that were throwable and translucent. I have since paid to have this material analysed with X ray fluorescence (XRF) providing chemical analysis as % oxide. This revealed high silica content 76.49% and moderate alumina content 12.93%, nothing exceptional there. The Iron content is negligible 0.56% and titanium virtually nonexistent at 0.13% with sodium and potassium as expected for a weathered felspar 6.53% total. However, the calcium and magnesium percentage was a surprise and lower than I expected at 0.27% in total. This was not enough of the alkali earth fluxes to explain the grey white quality of the fired surface and the lack of flashing. Subsequent firings have shown that this clay/rock does flash in the wood firing, albeit very faintly. It shows a very soft pale orange/pink flash around the foot but it is very subtle and only reveals itself under close examination in good light. I am assuming that the pale nature of this flash is due to the very low iron content.

Image 5. Wood fired native bai tunze 2 porcelain bowl showing strong flame response in the body. The clear nature of the glaze where it is thin at the rim shows that the clay body is very low in Iron.

I decided to pursue the analysis and had mineralogical analysis by X ray diffraction, XRD. This confirmed that the material consists of felspar (disordered anorthoclase), alpha quartz, kaolinite and illite. The illite was a surprise, I have to admit, I am accustomed to thinking of illite as being a rather ‘dirty’ clay mineral, present in secondary or tertiary clays, typically full of extraneous elements which makes them unlikely contenders for porcelain. However, this particular illite is quite likely derived from decomposed mica that was present in the original acid rock. I haven’t had it checked, but I’m assuming that the rock is of a quickly cooled granitic type, possibly aplite because of the very fine crystal size. It’s interesting just what can be interpreted from simple physical testing and observation, but it is nice to have chemical analysis as confirmation.

Bai tunze No2

Bai-tunze No2 is a weathered igneous rock that has intruded through the local sandstone. This weathering has resulted in a large amount of clay mineral being present. The original rock has completely disintegrated such that it has become a grainy, slightly sticky, fine, sand-like material. It doesn’t need to be crushed, as it slakes easily, but needs milling to develop its very poor plasticity. It appeared that it had lost a lot of its flux content during weathering and had become primarily a kaolinitic material, it didn’t fully vitrify at the 100% sample, it crazed heavily with a standard limestone glaze indicating high alumina and lower silica. Because it isn’t white, it obviously has an iron content. The net result was a material that flashed well in wood firing, high in alumina, low in silica and with some alkali. When I first collected this rotten rock, I though that it might be a useful candidate as a glaze ingredient. It took a lot of limestone and silica to make it into a celadon glaze. It became obvious that it was a useful candidate as a bai tunze. One that could be blended together with my other collected and processed minerals to produce a range of porcelain clay bodies. The bodies that I developed with a high content of No 2 bai tunze have a tendency to craze but develop a splendid red/orange wood fired surface flash with marginal translucency. Analysis results showed kaolinite, illite, montmorillonite and quartz, an iron oxide content of 1.8%, titanium very low at 0.13%, alkalis at 5% and calcium oxide also very low at 0.03%. Hence the very good flame response.

Oxide Bai tunze 1 Bai tunze 2 Kaolin 1 Kaolin 2 Pegmatite Floated felspar

SiO2 76.49 56.92 47.03 51.08 77.91 75.64

TiO2 0.13 0.35 0.50 1.19 0.09 0.06

Al2O3 12.93 24.49 37.67 32.31 12.63 13.98

Fe2O3 0.56 1.80 0.55 1.37 1.12 0.77

MnO 0.01 0.01 BDL 0.01 0.05 0.01

MgO 0.24 0.45 0.06 0.33 0.06 0.42

CaO 0.03 0.03 0.03 0.05 0.25 0.16

Na20 1.20 0.46 BDL BDL 2.88 3.39

K2O 5.33 4.42 0.39 0.83 5.32 5.72

P2O5 0.05 0.09 0.20 0.16 0.03 0.02

SO3 0.02 0.01 BDL 0.01 0.02 0.02

LOI 2.12 10.79 13.84 14.43 1.14 1.37

Total 99.11 99.82 100.27 101.77 101.48 101.56

BDL = Below Detectable Levels

The two examples above follow the Chinese archetype of porcelain development. I have also produced two series of porcelains based on mixtures of primary kaolin, felspar and silica. These on the other hand follow the European path of porcelain body development. I noticed a small occurrence of white clay in a road cutting. It turned out to be very small indeed, but very pure, a small lens of kaolin in sandstone country rock. There are many of these in the district. However, they are usually quite sandy and grey firing. They can be coaxed into useful stoneware bodies, but they are invariably grey and definitely opaque, usually containing up to 6% titanium and 1 to 2% iron. Kaolin No1 unusually turned out to be extremely pure. It was very short with the only obvious impurity being a very slight vein of yellow ochre staining passing through it. When this clay was blended with felspar and silica extracted by flotation from an orange/brown granitic material, it proved to be able to be developed into an extremely white and translucent porcelain body showing translucency up to 6.6 mm thick in reduction and 7.5mm thick in oxidation. Plasticity was virtually non-existent, but this was over come by the addition of bentonite. To this end I tested 13 different bentonites, both natural and synthetic, Australian and imported.

The Queensland material ‘Trubond’, proved to be as useful as any and economical as well, as was the Western Australian product, ‘Bentonite A’.

I think that I have been able to determine the provenance of this sandstone lens kaolin. It appears to be a weathered igneous dyke, primarily because of the signs of metamorphism in the surrounding country rock and must have undergone subsequent leaching and weathering. Analysis revealed 47% silica, 37% alumina, 0.5% iron, and all other traces as less than 0.0X% or below detectable levels. This is the whitest and most translucent of the bodies that I have been able to develop, albeit, the most difficult to throw.

Another porcelain paste that I have been able to create is based on a weathered igneous dyke. It was developed along the lines of the previous example, that experience informed my judgement and sped up the development process. I found that this clay was a primary kaolin weathered from an igneous intrusion, this was inferred from the remnant effects of upward thrusting on sandstone on either side of the intrusion. This site was contaminated with irony shale bands and a lot of lignite and other organics. A series of bodies were prepared along the lines of those previously discussed. The best of these yielded a porcelain showing translucency up to 4.9 mm thick in oxidation and 4.2 mm thick in reduction. Although this series of bodies was not as pure and translucent as the others, I persisted with it because it was quite plastic and enjoyable to throw. Analysis revealed that it consisted of Kaolinite, Dickite (a closely related clay mineral to kaolinite), Nontronite, (a smectite, similar to bentonite, where iron replaces alumina in the crystal lattice), the remainder being Quartz. The material showed 51% Silica, 32.3% alumina, Iron at 1.37% with Titanium at 1.19%. Soda was below detectable levels and the Potash was 0.83% with Calcium at 0.03 and Magnesium at 0.33%. Although the titanium and iron were both above 1%, it was still possible to develop workable translucency, although less translucent than the other bodies. Possibly putting the lie to the ‘titanium eliminates translucency’ theory The above combination of clay minerals resulted in a quite plastic clay body which was capable of bonding large quantities of non-plastic felspar and silica and still remain throwable. Its strength at high temperatures due to its high kaolinite content allowed me to introduce several percent of calcium carbonate as a secondary flux without sustaining any noticeable slumping. The effect of the addition of calcium carbonate bleaches any iron oxide present increasing whiteness and increases the quantity of body glass developed increasing translucency. As long as a critical level is not passed, the porcelain will still hold its form at stoneware temperatures.

If calcium is not added, the resulting porcelain body is less translucent but produces a beautiful surface flash when wood fired. For this reason I avoided the use of calcium carbonate as secondary flux and put up with the lower translucency, but rejoiced in the development of the beautiful wood fired surface flashing.

Processing

The Processing of these rocks and clays involves a series of steps depending on the nature of the material as it is found in the field. Bai tunze 1 is a very hard rock which is minutely crystalline and does not respond to calcining. Calcining is not an option for batches that are destined for use as a body ingredient. This rock requires a jaw crusher to break it down to a workable size for further milling. I have found that it is beneficial to mill these materials in several small batches over different time periods to gain a material of several different particle sizes. The resulting bodies are more workable if they contain particles of several different size gradings. The greater percentage of the bodies are milled very fine with smaller additions of courser material that has been milled for a shorter time. This results in a clay that is better structured and stands up better on the potters wheel.

The kiln and firing

All the firing was done in an extended throat Bourry box kiln. All the wood was sourced form my property and that of a neighbour. The kiln was built from home made fire bricks produced from a local deposit of white to off/white bauxite. The bricks were hand made in a slop mould and pre-fired before construction. The basic clay is quite iron stained and very few of the resulting bricks are white, more consistently orange and brown. I made them as insulating refractories by incorporating various amounts of used coffee grounds obtained from the local café. These were collected and sun dried before mixing with the hammer milled bauxite. As this was intended to be a fully local project I felt the need to incorporate the flourishing contemporary café culture/coffee culture that is so all pervasive in modern first world life and culture. My thesis and the work devolved from it is so quaint and old fashioned that this is one of my few concessions to contemporary life.

The results

The results that I have been able to achieve are far better than I could have let myself believe were possible. When I first started out on this project, I didn’t even know of the existence of most of these raw materials. Nor did anyone else. It was common knowledge in the district amongst potters that there was no local source of white felspar or granite. But it was there just waiting to be discovered, and what beautiful materials they are to work with. I am so privileged! I have been making pots and exhibiting for fourty years now and I’m very pleased and consider myself so fortunate that I’ve been lucky enough to discover and work with all these wonderful local materials. However, I’m also aware of the truism that “the harder you work the luckier you get”

Steve Harrison,

Balmoral Village, Australia.

Christmas Sale on Etsy shop.

2011-11-30T05:35:00.002+01:00

Marché de Noël sur ma boutique Etsy.

La céramique de Bizen aujourd’hui, oeuvres des Fujiwara

2011-11-22T12:51:00.005+01:00

Du jeudi 1^er au jeudi 8 décembre 2011 à la Maison de la culture du Japon à Paris.

Situé dans le département d’Okayama, Bizen est, au Japon, l’un des six centres historiques de production de céramique dont les fours sont toujours en activité. Son histoire a plus de mille ans. Cette exposition présente quelques anciennes poteries de Bizen des époques Muromachi et Momoyama (XIV^e-XVI^e siècle), et des céramiques de Fujiwara Bizen créées par trois générations de céramistes de la région.

Né en 1899, Kei Fujiwara est le premier représentant de la lignée des potiers Fujiwara Bizen. Il a d’abord vécu de sa plume à Tôkyô, écrivant des romans-feuilletons pour des journaux, des recueils de poèmes… Mais à 40 ans, il retourna dans sa ville natale et se lança dans la création de céramiques de Bizen. Son style libre et audacieux est le reflet de l’âme de cet artiste qui remplaça son crayon par la terre. Son fils, Yû, apporta davantage de dynamisme et établit le style caractéristique des céramiques de Fujiwara Bizen : simple, clair, direct. Père et fils ont été désignés Trésors nationaux vivants. Fils de Yû, Kazu Fujiwara assure brillamment la relève en créant des œuvres empreintes d’équilibre.

Défournement.

2011-11-14T12:57:00.001+01:00

Unloading.

Rémy Debouttière

Natacha Brosset

Quercy Golsse

Eric Soulé

Steve Harrison & Janine King

Ingrid Paul

Justin Dutel

Agnès Lemoine

Enfournement.

2011-11-04T01:40:00.000+01:00

Tumble stack loading, just few shelves on the front.

Prochaine cuisson du 5 au 8 novembre.

2011-10-27T07:44:00.003+02:00

Avec Rémy Debouttière et Quercy Golsse.
Next firing from 5 to 8 november.

Hamada. A bowl.

2011-10-21T06:55:00.000+02:00

Paul Davis.

2011-10-15T06:24:00.001+02:00

Demonstration lors de la conférence de cuisson au bois à Bröllin en septembre 2010.
Demonstration during the Fall 2010 Woodfiring conference in Bröllin.

Kim kyungduk, Korean potter.

2011-10-07T07:10:00.004+02:00

Isezaki Soh.

2011-09-30T07:31:00.003+02:00

Throwing Moon Jars.

2011-09-21T06:54:00.003+02:00

Makoto Hatori, potier de Bizen.

2011-09-14T07:03:00.000+02:00

Enfournement, cuisson et résultats.
Loading, firing, pots of Bizen.

Industrial pottery in USA 1926.

2011-09-07T07:17:00.000+02:00

Ryo Mikami pit fired sculptures.

2011-08-30T07:22:00.001+02:00

太古の響きThe Ancient Echoes.

2011-08-21T08:39:00.003+02:00

Iwami Shinsuke Throwing & Trimming.

2011-08-14T07:50:00.007+02:00

During the Mungyeong 2011 Teabowl Festival. Many views.

옹기이야기.

2011-08-07T07:06:00.000+02:00

Ken Matsuzaki - Throwing Teabowls.

2011-07-30T07:02:00.004+02:00

Haut-parleurs en céramique. Ceramic speakers.

2011-07-21T07:39:00.001+02:00

Pas de plastique, juste du bois, du liège et de la porcelaine pour des haut-parleurs conçus par Joey Roth.
Just made from porcelain, cork and Baltic birch by Joey Roth.

Isaac Button, country potter, part 4.

2011-07-14T06:12:00.000+02:00

Isaac Button, country potter, part 3.

2011-07-07T06:10:00.000+02:00

Isaac Button, country potter, part 2.

2011-06-27T06:07:00.000+02:00

Isaac Button, country potter, part 1.

2011-06-21T06:05:00.000+02:00

Ian & Moraig benefit auction. Vente aux enchères pour Ian et Moraig.

2011-06-14T23:31:00.002+02:00

Ian Jones and Moraig McKenna's beautiful Gundaroo home and gallery was recently destroyed by fire. This auction is part of a benefit sale hosted by the Canberra Potters' Society. It is also a great opportunity to acquire pieces from some of Australia's best known potters, as well as Korean master Lee In Chin! All work has been donated in support of the benefit.

La maison et la galerie de Ian Jones et Moraig McKenna ont récemment brulé. Cette vente aux enchères, qui leur est destinée, est accueillie par la Canberra Potters' Society. C'est aussi l'occasion d'acquérir le travail de fameux potiers australiens, ainsi que du maître coréen Lee In Chin ! Toutes les céramiques ont été données pour la cause.

Frise chronologique céramique.

2011-06-14T00:10:00.001+02:00

Liste non exhaustive.

Ex-pots cassés au Musée Saint-Raymond. Broken pots in Saint-Raymond Museum.

2011-06-07T06:50:00.000+02:00

Histoire de restauration jusqu'au 2 octobre.
La collection du musée Saint-Raymond comporte 500 vases grecs et d'Italie du Sud, céramiques peintes exhumées à partir du XVIIe siècle, la majorité exposée pour la première fois. Restaurations anciennes et restaurations actuelles sont mises en perspectives, à la lueur des nouvelles technique de démontage et de nettoyage.

Amphore panathénaïque, région d'Athènes, 430 avant J.C.

Amphore de type Nola, région d'Athènes, 430 avant J.C.

Dans la restauration antique, on utilisait l'eau-forte pour nettoyer, de la colle forte ou des mélanges a base de gomme laque et de pigments, parfois des renforts métalliques ou de papier, des stucs pour combler et des peintures imitant le dessins d'origine.

Coupes à figures rouges, region d'Athènes, attribué à Makron, peintre du potier Hiéron, 480-470 avant J.C. La colle à base de caséinate de calcium et les repeints des anciennes restaurations ont été supprimés lors du démontage-remontage de la dernière restauration.

"Une perfection dangereuse : la finalité de l'entreprise était alors de redonner unité et beauté à l'antique. Cependant, dans le même temps, le souci de l'authenticité de l'objet, l'affirmation du devoir de fidélité envers l'antique entrent en jeu : le principe d'une restauration visible est recommandé par James Millingen et divers érudits qui, de Naples à Paris, dénoncent la "perfection dangereuse pour la science" que recherchent les virtuoses de la restauration des vases.", panneau dans la salle d'exposition.

188 céramiques à vernis noir restent à restaurer, produites entre le VIe et le IIIe siecle avant J.C. et déposées dans des tombes.

Steve Harrison Exhibition 1-18 June.

2011-05-27T06:28:00.004+02:00

"Precious Little. A collection of small porcelain bowls at Watters Gallery, June 2011.

These works that I have created for this show are very small and intimate. They are like little gems - jewels from my kiln, from my life. They are created as part of an attempt to live an honest life of commitment to art, creativity, and compassion, while being environmentally aware and caring.

My bowls are as perfect as I can make them, but they are not perfect, they are just what they are. They represent me at this time and place and in this way they are deeply flawed. They are also as perfectly beautiful as I can make them, however it is a strange beauty of imperfection, such that they have to be accepted as they are, with all their beautiful faults and flaws. So here am I and this is my work. These bowls are neither perfect nor imperfect, not beautiful or ugly, they represent neither success nor failure, they are just what they are.

They are not complete until they are handled, held gently, cupped in your hands, used and really explored through the intimacy of the mundane rituals of sharing food. That is when they come alive, in your hands, when you sense their weight and balance, the feel of lip on lip. Each one has a story embedded in its form and surface. It’s not obvious, it takes time to explore, but it is a rewarding tale to be discovered by the patient pilgrim. They are most complete when they enter another’s story and start to share what they embody.

These few objects are all that there is to show for my year’s work. Precious little return for my year’s efforts. For this show I have concentrated on working with the naturally occurring native porcelain stone that I discovered locally just over one hundred moons ago. All the work was fired in my hand-made potters kiln constructed from my own firebricks that I fashioned myself from local clay. They were then fired with wood grown locally and glazed with my luscious, soft melted and slowly fused glazes that I created from the same porcelain stone as the pots and then mixed with other ground up stones and ashes, collected and prepared from within my immediate locality. Working with these specially selected materials has allowed me to create these tiny, light and delicately pale objects that glow in the sun. They are a direct product of me in my environment. I have been thinking about how I can live more gently, causing as little damage as possible, while living a creative life. Creating objects like these is part of my answer.

Nothing in life is ever certain, although I sometimes wish that it was. The use of locally collected rocks and stones adds extra layers of uncertainty to any perceived outcome. There is a natural variability inherent in the use of small lenses of clay and tiny volcanic dykes and sills. Added to this the variations in collecting methods, and the natural seasonal variability of such fickle and capricious materials as wood ash makes replication of any bowl virtually impossible. This choice of method and material suits my quixotic ways. It is this particular combination of approach and circumstances that make these works mine and I rejoice in their singularity.

These are the last bowls to be fired in my old kiln. This old kiln has given good service over the past decade or so but the effects of the continual exposure to the flying wood ash at such very high temperatures has dissolved a lot of the surface of my inferior hand made firebricks causing them to spall and degrade to the point where they were crumbling away. I enjoyed working with that old kiln, it allowed me to create work of great charm and subtlety.

I am never sure how my efforts will reward me. I try not to think about it too much and just accept the consequences of my actions. However, I do keep careful notes, and in this case I apparently made good choices and this specific ‘flame lens’ design was very productive in facilitating some lovely wood fired ceramic qualities.This beautiful old kiln having served me well, has recently been demolished and a new hand-made kiln of a different character has replaced it. I also built this new kiln from self-made fire bricks fashioned from my local refractory bauxite clay, this new design will inevitably create works of a slightly different nature, so these bowls are the last of their kind.

Creating works like these is one of the ways in which I am attempting to make sense of my life. These bowls are some of the way-markers of that life. They represent me and my work, here and now. They are part of my artistic language with which I describe and share this precious little part of my existence.", Steve Harrison.

Small Kamaka Pottery anagama.

2011-05-20T06:18:00.000+02:00

Building Bizen's kiln Notes.

2011-05-10T06:49:00.000+02:00

平成１８年８月中旬から、約４ヶ月かけて窖窯を自作しました。ブログには窯作り時々の事を書きましたが、ここレポート風に纏めておきました。。 ※この窯の形式は正式には穴窯ではなくて半地上式単房登窯ですが、備前の呼び方に従ってここでは窖窯とします。

Défournement. Unloading.

2011-05-02T23:46:00.001+02:00

Premier coup d'oeil rapide sur quelques pots. First look on some works.

Première cuisson au bois virtuelle internationale : de gauche à droite, rangée du fond : Markus Böhm (Allemagne), Lee et Yolande Clark (Canada), Quercy Golsse (France), Ian Jones (USA). De gauche à droite, rangée du milieu : Justin Dutel (France), Zygote Blum (USA), Gabrielle Hondius (France), Armelle Léon Bitterolf (France), Agnès Chapelet (France). De gauche à droite, rangée de devant : Marnic De Lange (Belgique), Elena Renker (Nouvelle Zélande), Eric Soulé (France).

First international virtual wood firing : from left to right, back row : Markus Böhm (Allemagne), Lee et Yolande Clark (Canada), Quercy Golsse (France), Ian Jones (USA). From left to right, middle row : Justin Dutel (France), Zygote Blum (USA), Gabrielle Hondius (France), Armelle Léon Bitterolf (France), Agnès Chapelet (France). From left to right, front row : Marnic De Lange (Belgique), Elena Renker (Nouvelle Zélande), Eric Soulé (France).

Cuisson terminée. End of firing.

2011-04-26T12:01:00.049+02:00

Le petit feu puis le grand feu ont eu raison de toutes les montres à l'avant et à l'arrière, 1320°c partout. Seule la 1350°c reste debout devant. Une grosse réduction dans la nuit de lundi à mardi puis fin de cuisson en oxydation.

Lee et Yolande Clark, canadiens venus en résidence à Puicelcy à l'atelier de Quercy Golsse, totalement engagés dans les cuissons au bois et qui produisent un magnifique travail, nous ont rejoint à la fin de la cuisson. Voir leur blog.

All cones down front and back, 1320°c everywhere. Only 1350°c cone straight front. Strong reduction the last night and oxidizing finishing.

Lee and Yolande Clark, wonderful canadians wood firers, in residence at Quercy Golsse studio, join us for the firing. See their blog.

Début de cuisson. Start the firing.

2011-04-23T12:30:00.002+02:00

Fin d'enfournement et début du bassinage.
Loading the firebox and start the drying stage.

Enfournement. Loading.

2011-04-20T23:42:00.004+02:00

Six marches enfournées du fond à l'avant. Sur la première étagère, Lee et Yolande Clark (Canada), Gabrielle Hondius (France), Markus Böhm (Allemagne), Justin Dutel (France), Marnic De Lange (Belgique), Ian Jones (USA), Ingrid Paul (France), Elena Renker (Nouvelle Zélande), Quercy Golsse (France), Zygote Blum (USA), Armelle Léon Bitterolf (France), Agnès Chapelet (France), participant à la première cuisson au bois virtuelle internationale. Merci à tous d'avoir jouer le jeu !

Six steps loaded back to front. On the first stack, Lee et Yolande Clark (Canada), Gabrielle Hondius (France), Markus Böhm (Germany), Justin Dutel (France), Marnic De Lange (Belgium), Ian Jones (USA), Ingrid Paul (France), Elena Renker (New Zeland), Quercy Golsse (France), Zygote Blum (USA), Armelle Léon Bitterolf (France), Agnès Chapelet (France), join in the first international virtual wood firing. Thanks to everybody to play the game !

Derniers pots avant la cuisson. Last work before the firing.

2011-04-19T05:46:00.001+02:00

Grès blanc et mélange de grès blanc-grès de saint amans-porcelaine.
White stoneware and rich iron stoneware-white stoneware-porcelain mix.

Cuisson de Février.

2011-04-16T07:19:00.001+02:00

Fired on february.

Ayumi Horie, dry throwing. Tournage à sec.

2011-04-14T07:23:00.002+02:00

Akio Takamori pottery head. Tête d'argile.

2011-04-07T07:16:00.002+02:00

The Train Kiln: Preparation, Construction and Firing.

2011-04-01T06:59:00.000+02:00

Scott Darwin Cornish. Thesis submitted to the College of Creative Arts At West Virginia University In partial fulfillment of the requirements For the degree of Master of Fine Arts In Ceramics.

Abstract
My thesis is a documentation of the building and firing of a special type of wood kiln called a train kiln, or coffin kiln. I designed the kiln using the materials that were available to me at little or no cost. My goal in this project was to design and build an efficient, user-friendly kiln, which produces unique results on fired work. Included in this thesis is documentation of the building, loading and firing of the kiln, as well as material and tool lists, kiln specifications, and a firing schedule.

Nic Collins packing and unpacking. Enfournement et défournement de Nic Collins.

2011-03-27T07:46:00.001+02:00

Fuel.

2011-03-14T07:55:00.009+01:00

Cutting bundled pine slabs for the next firing. Ballots de delignures de pin pour la prochaine cuisson.

Contemporary Anagamas: The Modernization of Medieval Japanese Kiln Design.

2011-03-14T07:54:00.000+01:00

Hunter Stamps Department of Art The University of North Carolina at Asheville One University Heights Asheville, N.C 28804-8509

Proceedings of the National Conference On Undergraduate Research (NCUR) 2001 University of Kentucky, March 15-17, 2001 Lexington, Kentucky

Abstract

The purpose of this project is to study the history and modernization of ancient Oriental kiln design and construction, focusing on the medieval Japanese wood-firing kilns called anagamas. These kilns originated approximately 400 A.D and flourished through the seventeenth century in the pottery centers of Japan, China, and Korea. The construction of anagamas faded in the Orient in the eighteenth century because the scale of pottery production rose and the technology did not exist to construct large enough anagamas to meet the demand. When the traditional design eventually filtered into the United States in the 1960's the implementation of modern technology allowed for larger and more complex anagamas to be constructed. This research explores the most efficient way to incorporate the historical evolution of Japanese wood- firing kilns into the contemporary design and construction of a modern anagama in a university setting. The research included traveling and researching ten anagamas across the United States while drafting the design for the University of North Carolina at Asheville anagama. The research culminated in the successful construction and firing of a modern day anagama on the university's campus.

L'Alandier s'expose.

2011-03-01T06:43:00.000+01:00

Association de potiers et ceramistes installés dans le sud-ouest de la France qui partagent la même passion pour les cuissons au bois à haute température.
Exposition du 4 au 13 mars 2011 à Puycelsi.

L’Alandier is an association of wood firing ceramicists based in the southwest of France. The primary goal of the association to develop awareness and knowledge of high temperature wood firing created in the southwest of France.
4 - 13 march : exhibition at Puycelsi.

Setting and Firing : Makoto Hatori bizen kiln.

2011-02-27T07:08:00.000+01:00

Traditional & Contemporary Swedish ceramics from selected wood- & coal-fired kilns.

2011-02-21T07:36:00.000+01:00

18 swedish ceramists working in as many different kilns from various parts of the country - each with their individual expression both in shape, colour-palette and surface texture. Their work spans a broad spectrum of the ceramic field ranging from traditional classic salt glazed vessels from coal-fired kilns built in the 17th century, over work strongly influenced by the asian cultures and ceramic tradition fired in Japanese tunnel-kilns (anagama-kilns/technique) to sculptural and non-figurative work fired utilizing more unconventional methods.

Fired by Passion: Dragon Kiln Firing.

2011-02-14T07:33:00.015+01:00

This 40-minute video journal shows a traditional dragon kiln wood-firing in Singapore which took place in 2003. One of the only two surviving kilns in Singapore, the Thow Kwang dragon kiln is an important part of Jurong's heritage. In this video, the Tan family and a group potters share their knowledge and passion as they rediscover the art and joy of wood-firing.

Firing pots with Masakazu Kusakabe in his Smokeless Kiln - Miharu, Japan.

2011-02-07T07:57:00.007+01:00

Partir c'est mourir un peu ...

2011-02-02T05:31:00.001+01:00

Photos de Jean-Frédéric Coviaux.

Svend Bayer part 2.

2011-01-27T08:32:00.006+01:00

Svend Bayer part 1.

2011-01-21T08:10:00.007+01:00

Tournage au tuyau. Pipe throwing.

2011-01-14T07:30:00.001+01:00

Takeryo Kawaguchi

2011-01-07T07:30:00.006+01:00

Mashiko Pottery, 1937 - part 1

2010-12-27T06:45:00.002+01:00

The Rise of a Great Tradition: Japanese Archaeological Ceramics from the Jomon Through Heian Periods, 10,500 B.C.-A.D. 1185.

2010-12-21T08:20:00.000+01:00

Publié en 1990 par Japan Society Gallery suite à l'exposition du même nom à New York en 1990, Gina Barnes, Richard Pearson et Richard Mellott nous livre une suite d'articles sur la créativité des céramiques Jōmon, les céramiques des agriculteurs Yayoi, celles des Kofun, les pots Sue, les céramiques des périodes Asuka, Nara et Heian, accompagné de nombreuses photos couleurs et noir et blancs, plans de sites de fouille et reproductions de motifs.

Shigeyoshi Morioka.

2010-12-14T07:19:00.015+01:00

Nanban vessels. Link above. More pics here, here and here.
Poterie Nanban. Lien ci-dessus. Plus de photos ici, ici et ici.

Seto and Mino Ceramics.

2010-12-07T07:38:00.000+01:00

Publié en 1992 par University of Hawai'i Press, Louise Allison Cort nous présente les plus belles pièces de la collection de la Freer Gallery of Art. Après un bref rappel historique et géographique, elle détaille chaque pièce, la replace dans son contexte historique et technique, des pots Sue, en passant par la production des Grands Fours du 16e siècle, puis par la periode Edo, pour finir avec les "Momoyama revival" du 19e siècle. Chacun est illustré par une photo en noir et blanc et parfois en couleur.

Un superbe livre désormais épuisé.

L'esprit Mingei au Japon.

2010-11-27T07:13:00.000+01:00

Publié en 2008 chez Actes Sud à l'occasion de l'exposition "L'esprit mingei au Japon, de l'artisanat populaire au design" au musée du quai Branly, ce livre nous expose l'idée du mingei, son développement, les arts populaires dans et en périphérie du Japon, différents regard sur le design du Japon moderne.
Accompagné de nombreuses photos couleurs.

Shoji Hamada: A Potter's Way and Work.

2010-11-21T07:37:00.000+01:00

Publié par A&C Black Publishers en 1974 et en 2004, ce récit de Susan Peterson nous livre quatre mois partagé dans l'atelier de Shoji Hamada avec son entourage en 1970. Elle décrit en détail la vie de l'atelier ( préparation de la terre, tournage sur tour à bâton, émaillage, décors) et les cuissons (four à biscuit et noborigama).
Le tout accompagné de nombreuses photos couleurs et noir et blanc.

Ben Richardson : 'Working Fire'.

2010-11-14T07:04:00.003+01:00

Ben Richardson. Working Fire. Feature. from Glen Dunn on Vimeo.

Ben Richardson : 'Fire works'.

2010-11-07T07:14:00.006+01:00

Tsujimura Yui.

2010-10-27T07:37:00.001+02:00

L’expérimentation d’un four de potier médiéval.

2010-10-21T07:20:00.017+02:00

Sébastine Jesset, archéologue, a publié sur le site de l'Inrap (Institut national de recherches archéologiques préventives) un article accompagné d'une vidéo.

Porcelaine.

2010-10-14T07:49:00.003+02:00

Raw porcelain work, fresh and dry for the next firing.
Porcelaine crue pour la prochaine cuisson.

Firing and Building kilns now in Japan.

2010-10-07T07:29:00.039+02:00

A Nanban firing now on Togeii's weblog. Take a look.

Une cuisson Nanban en ce moment au Japon sur Togeii's weblog.

Kiln building 'workshop in taku 2010', featuring special guest artist Craig Edwards. Craig will be designing and supervising the construction of a two chamber catenary anagama incorporating fiber/IFB insulation under the floor and over the entire shell.

This workshop is for anyone interested in building a wood kiln, and wants to learn how with a hands on approach. We want this to be a workshop where you learn everything the books leave out.

The workshop will be held October 15th - October 22th, 2010 in Taku, Japan. Taku is located in central Saga prefecture, just a stones throw from the pottery centers of Karatsu, Arita, and Imari.

For news updates and pictures related to the workshop, please see:

http://karatsupots-workshop.blogspot.com

Construction d'un four à Taku au Japon. Workshop du 15 au 22 octobre avec Craig Edwards comme invité spécial.

A suivre sur http://karatsupots-workshop.blogspot.com.

Folk Art Potters of Japan: Beyond an Anthropology of Aesthetics

2010-09-28T07:23:00.020+02:00

Publié en 1997 par University of Hawai's Press, Brian Moeran nous livre ici une étude socio-économique du mouvement Mingei : communauté potière, organisation sociale, entre-aide, développement économique et déclin.
Accompagné de quelques photos en noir et blanc.

11e rencontres internationales de céramique à La Borne.

2010-09-20T07:51:00.009+02:00

La Borne l’amour du feu 11e Rencontres internationales de céramique.

Première semaine à partir du lundi 20 septembre

Cuisson du four Talbot par les artistes invités.

Situé à la Borne d’en Bas, à l’Atelier Talbot qui fut le lieu d’activité d’une longue lignée de potiers Bornois, ce four couché traditionnel d’une contenance de 16 m3 date du début du XIXe siècle, il est inscrit à l’Inventaire supplémentaire des monuments historiques.

Deuxième semaine

lundi 27 septembre

Cuisson du four Anagama au Centre de céramique contemporaine.

Rencontre des artistes invités au Centre de Céramique Contemporaine, conférences- diaporamas.

Intervention de Jean-François Bourlard à l’Atelier Talbot.

Mardi 28 septembre

Début des worskhops à l’Atelier Talbot avec Georges Sybesma, Sandy Lockwood, Kevin Lips, Daniel Lafferty et Rafa Perez.

Cuisson expérimentale « larmes de Vénus » avec Thierry Landault et duo avec Jean-François Bourlard.

mercredi 29 septembre

Workshops à l’Atelier Talbot avec Ray Cavill, Jeon Moon Hwan, Jeon Sung Cheol, Chester Nealie et Charles Bound.

Cuisson « à la broche » avec Jean-François Bourlard.

jeudi 30 septembre

Workshops à l’Atelier Talbot avec Joy Brown, James Kasper, Linda Christianson, Masaho Ono, Nic Collins, Judith Duff et Ian Jones.

Cuisson d’un four « bouteille » avec Terry Davies.

vendredi 1er octobre

Fin des workshops à l’Atelier Talbot.

Intervention de Jean-Francois Bourlard.

samedi 2 octobre

Vernissage de l’exposition des 8 céramistes ayant cuit le four Anagama, à 19 h au restaurant Le Kilomètre à La Borne. Exposition jusqu’au 31 octobre.

Parcours de céramique à Leuven.

2010-09-17T07:12:00.002+02:00

A partir du 17 septembre vous pourrez participer à des ateliers ouverts, assister à des conférences ou visiter des expositions . Leuven sera là ville de céramique pendant 5 weekends à 15 emplacements.

Le parcours est une coopération entre l’académie de Leuven SLAC, M-museum, les ateliers d’Arts de Leuven

et 4 ateliers de céramique. Vous trouverez le programme complet sur www.keramiekparcours.be

Le 2 et 3 octobre l’atelier Blauzuur tient portes ouvertes. Vous êtes les bienvenus entre 12 et 18 heures. Vous pourrez admirer notre four Anagama en pleine ardeur.

Linda De Nil - atelier BLAUZUUR - Reigersstraat 8 - Sint-Joris-Weert - http://home.scarlet.be/blauzuur/

Hara Kennji.

2010-09-14T07:44:00.004+02:00

Première conférence européenne sur les cuissons au bois. First European Woodfire Conference.

2010-09-07T07:18:00.223+02:00

La conférence fut très intéressante, avec de multiples interventions : Miroslava Randová et Petr Novák sur les cuissons au bois en République Tchèque, Judith Duff sur les fours marmotte en caroline du Nord, Anette Mertens sur les four dragons et les famille de potiers, Isah Bolaj Kashim sur les fours à bois nigérians passés et actuels, Fred Herbst sur le glassagama-four à bois hybride pour verre et céramique (voir le site du domaine de Boisbuchet), démonstrations de tournage par Robert Barron, Priscilla Mouritzen, Owen Rye, Jason Hess, Coll minogue and Robert Sanderson from The Log Book, Mary Ann Steggles, Steve Harrison, Paul Davis, Ben Richardson, Michal Puszczyński, Janet Mansfield, Markus Böhm formidable organisateur, et bien d'autres.

Many speeches during this very interesting conference. See links above.

Entre autres :

Including :

Un four à bois Phoenix (conçu par Michael) en briques légères cuit au sel en 10h par Michael Sälzer et Beate Thiesmeyer.

A Phoenix wood fire kiln (designed by Michael) in soft bricks. Salt wood fired in 10h by Michael Sälzer and Beate Thiesmeyer (see link above).

Un four associant une soufflerie et l'envoi de sciure qui permet de monter très rapidement en température. Lowell Baker a poussé son four jusqu'à 1300°c.

The Lowell Baker kiln fired with a saw dust injection burner rising quickly peak temperature of 1300°c.

Un four à bois remorqué de Mateusz Grobelny avec une injection finale de sciure à haute température.

The Mateusz Grobelny's wood kiln on a trailer with final sawdust blower in action.

Les 12 mini fours à bois des apprentis allemands cuits avec chacun un type de bois particuliers pendant 24h.

Twelve mini wood kilns fired by students of three vocational schools with one kind of timber each during 24h.

Un bol acheté à Elena Renker, une potière néo zélandaise qui fait des shino dans son four à bois.

A bowl i bought from Elena Renker studio potter in New Zealand making wood fired shino wares.

First European Woodfire Conference. Now !

2010-09-02T08:19:00.002+02:00

1st European Woodfire Conference

September 2010

Bröllin Castle,

Germany

Premiere Conference Européen de Feu au Bois

Septembre 2010

Chateau Bröllin,

Allemagne

MADE BY POTTERS - MADE FOR POTTERS

This international conference aimed at exploring current research and trends in wood firing will be held at Bröllin from 2nd to 5th September 2010.

Bröllin Wood Fire will run over more than three days, and is expected to attract around two hundred delegates from Europe as well as oversea

Well known keynote speakers will address a series of questions, follow-up forums will give an international overview and discuss technical and aesthetical issues. Exhibitions will be held to coincide with the conference – aimed at presenting a wide survey of wood fire practice. Forums will be held each day, as well as demonstrations, exhibition openings, kiln firings and social events.

There will also be Pre-Conference Workshops in the week leading up to the Conference. After the conference we offer excursions to places of interest for woodfirers, for example to La Borne, where a part of the pre-conference of the AIC general assembly will be held some days later.

We are very glad that we found Bröllin Castle as the ideal place for the conference: a huge manorial ensemble in the east of east-Germany and for that reason easy to reach, not yet fully restored and for that reason full of possibilities. To benefit from these possibilities we will need many helpers, indeed an event made by potters, but not only for potters!

Conference languages will be English and German with translations. Conference organised by kalkspatz e.V.

Hasegawa Natsu.

2010-08-28T07:23:00.010+02:00

Building Your Own Kiln: Three Japanese Potters Give Advice and Instructions.

2010-08-21T07:59:00.001+02:00

Publié en 2004 par Kodansha International en 2003, Lucy North traduit les propos d' Hiromi Itabashi, Roppo Tamura et Noaki Kawabuchi. Chacun présentant chronologiquement la construction détaillée d'un petit four à gaz, d'un anagama et d'un jagama (four bambou pour le style Nanban).
Le détail des cuissons est accompagné des plans des fours et des courbes.

Science and Civilisation in China Volume 5: Chemistry and Chemical Technology, Part 12, Ceramic Technology.

2010-08-14T08:46:00.000+02:00

Publié en 2004 par Cambridge University Press, Rose Kerr et Nigel Wood nous livre d'une manière scientifique les matières premières et techniques de la poterie chinoise du paléolithique jusqu'à nos jours : rappels historique et géographique, les terres (terre cuite, grès porcelaine) du sud et du nord de la chine, les différents types de four dans le temps et l'espace, les techniques de façonnage, les émaux, les pigments et décors et enfin les influences technologiques en Asie et entre l'Asie et l'Europe.

Le tout accompagné de nombreux dessins, photos et tableaux d'analyse des terres et des émaux.

968 pages d'informations fascinantes.

Testing clay. Essai de terre.

2010-08-07T07:35:00.035+02:00

Pour la prochaine cuisson, grès blanc et porcelaine, ainsi que quelques essais de GSA et GRM additionnées de néphéline.

For the next firing, white stoneware and porcelain. Some new mix of french iron rich stoneware with nephelin.

Modern Japanese Ceramics: Pathways of Innovation & Tradition.

2010-08-01T07:00:00.044+02:00

Publié en 2007 par A Lark Ceramics Book, écrit par Anneliese Crueger, Wulf Crueger et Saeko Itô, ce livre présente une variété de styles à travers le Japon, de Kyûshû à Hokkaidô en passant par Honshû.
Après un bref rappel historique, et techniques de production, les fours sont répertoriés sur une carte et les styles sont détaillés et accompagnés d'illustrations couleurs.

Le livre se termine sur la présentation de quelques potiers au parcours et au style plus individuel.

Classic Stoneware of Japan: Shino and Oribe.

2010-07-27T07:01:00.005+02:00

Publié originellement séparément en 1982 et conjointement en 2002 par Kodansha, Ryòji Kuroda et Takeshi Murayama nous livrent l'origine, le contexte historique d'apparition, les fours, la terre et l'émail, le rapport à la cérémonie du thé, les potiers récent du type Shino.
De même pour l'histoire, les maitres du thé, les techniques, les fours, les influences potières réciproques du type Oribe.
Accompagné de nombreuses photos couleurs, notes et plans de sites de fours anciens.

An anagama step by step.

2010-07-21T07:13:00.003+02:00

Slides showing the building of an Anagama at Leksands Folkhögskola in Sweden.

Musashi.

2010-07-12T08:32:00.001+02:00

" Depuis quelques temps, avant que n'éclatât cette scène de ménage, il se tenait devant la boutique à regarder les potiers avec une fascination puérile. Les deux hommes, à l'intérieur, n'étaient pas conscients de sa présence. Les yeux rivés à leur ouvrages, ils semblaient entrés dans l'argile, en faire partie. Leur concentration était totale.
Musashi eût aimé travailler l'argile. Depuis l'enfance, le travail manuel lui plaisait ; il croyait qu'il aurait su tout au moins fabriquer un simple bol à thé. Or, à ce moment précis, l'un des potiers, un homme qui approchait de la soixantaine, commença à en façonner un. Musashi, observant l'adresse avec laquelle il mouvait ses doigts et maniait sa spatule, constata qu'il avait surestimé ses propres capacités. " Quelle technique il faut pour faire une pièce aussi simple que celle-là ! " se dit-il avec émerveillement.
Dans un coin de la boutique, sur un comptoir de fortune fait d'un vieux panneau de porte, se dressaient des rangées d'assiettes, de jarres, de coupes à saké, de cruches. On les vendait comme souvenirs, pour la misérable somme de vingt à trente pièces de monnaie, à des gens qui montaient au temple et en redescendaient. Le caractère humble de la cabane en planches formait un saisissant contraste avec la ferveur des potiers voués à leur tâche. Musashi se demandait s'ils avaient toujours assez à manger. La vie, à ce qu'il paraissait, n'était pas aussi facile qu'elle le semblait parfois."
La pierre et le sabre, Eiji Yoshikawa, p.169-170, Ed. J'ai lu, 2007.

Stronger, faster, cheaper ...

2010-07-07T07:53:00.004+02:00

Shibuya Kurodatoen gallery

2010-07-01T07:55:00.001+02:00

1Fl. Metro Plaza, 1-16-14 Shibuya, Shibuya-ku, Tokyo, Japan 150-0002
Tel +81- 3- 3499- 3225
Fax +81- 3- 3499- 3235
Office Hours 11am～7pm
E-mail : info@kurodatoen.co.jp

La Céramique Japonaise, le guide du connaisseur.

2010-06-28T07:12:00.001+02:00

Écrit par Adalbert Klein et publié en 1984 par l'Office du Livre, cette traduction (d'Aude Virey) du livre Japanische Keramik von der Jomon-Zeit bis zur Gegenwart nous présente les étapes de la poterie japonaise, depuis les préhistoriques Jomon, Yayoi et Sue, puis les moyenâgeux 'Six Fours anciens' et enfin la porcelaine du XVII et XVIIIe siècles.

Un mot aussi sur la cérémonie du thé et ses Raku, Shino, Oribe, Bizen, Shigaraki, Karatsu et Hagi ; la poterie de Kyoto ainsi qu'un chapitre sur le XIXe siècle et le XXe siècle.

Pottery in Jingdezhen.

2010-06-21T07:52:00.003+02:00

Antique market, big pot factory, traditional pot production. A quick view of throwing and glazing ...

Porcelain making in Jingdezhen, Jiangxi Province, China. Artisans throw, glaze and paint porcelain. This technique has been used for over 1,700 years and is still alive today.

Musée régional de la Poterie de Ger.

2010-06-14T07:46:00.000+02:00

Au XIXe siècle, Ger est un centre potier qui occupe plus de 700 ouvriers produisant principalement des pots en grès, cuits à haute température (1260°), exportés dans tout l’ouest de la France.

Shino theories.

2010-06-07T07:30:00.001+02:00

Two articles on shino glaze.

The principles of shino : 'Over the past few weeks I have been asked by several potter friends about the materials for Japanese shino glazes and their equivalents in the west. I haven't actually used a shino glaze for about fifteen years ...' by Euan Craig.

The Name Shino : 'Kanji for Shino: 志野しの Shino. If you use the Kanji above to search Google, you will find Japanese shinos that the word shino does not pick up. These are the root kanji for Shino ...' by Lee Love.

Kick wheels (1)

2010-06-01T06:30:00.003+02:00

In GR Jars, Vigan, Ilocos Sur, Philippines.

hand wheels (8)

2010-05-28T07:26:00.001+02:00

A man using a buried truck axle as a potters wheel to make roof tiles. The circular tubes he makes are split in half creating two semi circular roof tiles, similar to Chinese style roof tiles.

hand wheels (7)

2010-05-21T06:24:00.001+02:00

In Rajasthan, northern India.

Cup. Tasse.

2010-05-16T07:02:00.012+02:00

Basket. Panier.

2010-05-15T07:52:00.019+02:00

Stoneware.

Grès brut.

hand wheels (6)

2010-05-14T07:21:00.000+02:00

Vase.

2010-05-13T07:25:00.014+02:00

Vase.

2010-05-12T07:13:00.005+02:00

Vase.

2010-05-11T06:33:00.007+02:00

Re-fired under embers.

Recuit et embraisé.

Bol en porcelaine.

2010-05-08T07:04:00.004+02:00

China clay bowl.

hand wheels (5)

2010-05-07T07:18:00.000+02:00

In Kathmandu.

Bol en grès.

2010-05-06T09:21:00.006+02:00

Rich iron stoneware bowl.

Eric Soulé

Tournage à 4 mains. 4 hands Throwing.

Vieux potier et peintres d'avant garde (1964).

Quand l'artisan devient artiste ou le porcelainier d'Arras (1979).

Nic Collins, Potter.

Moulage en céramique (1912).

From the Ground Up

The Materials

Bai tunze No2

SO3 0.02 0.01 BDL 0.01 0.02 0.02

Processing

The kiln and firing

The results

Christmas Sale on Etsy shop.

La céramique de Bizen aujourd’hui, oeuvres des Fujiwara

Du jeudi 1er au jeudi 8 décembre 2011 à la Maison de la culture du Japon à Paris.

Défournement.

Enfournement.

Prochaine cuisson du 5 au 8 novembre.

Hamada. A bowl.

Paul Davis.

Kim kyungduk, Korean potter.

Isezaki Soh.

Throwing Moon Jars.

Makoto Hatori, potier de Bizen.

Industrial pottery in USA 1926.

Ryo Mikami pit fired sculptures.

太古の響きThe Ancient Echoes.

Iwami Shinsuke Throwing & Trimming.

옹기이야기.

Ken Matsuzaki - Throwing Teabowls.

Haut-parleurs en céramique. Ceramic speakers.

Isaac Button, country potter, part 4.

Isaac Button, country potter, part 3.

Isaac Button, country potter, part 2.

Isaac Button, country potter, part 1.

Ian & Moraig benefit auction. Vente aux enchères pour Ian et Moraig.

Frise chronologique céramique.

Ex-pots cassés au Musée Saint-Raymond. Broken pots in Saint-Raymond Museum.

Steve Harrison Exhibition 1-18 June.

Small Kamaka Pottery anagama.

Building Bizen's kiln Notes.

Défournement. Unloading.

Cuisson terminée. End of firing.

Début de cuisson. Start the firing.

Enfournement. Loading.

Derniers pots avant la cuisson. Last work before the firing.

Cuisson de Février.

Ayumi Horie, dry throwing. Tournage à sec.

Akio Takamori pottery head. Tête d'argile.

The Train Kiln: Preparation, Construction and Firing.

Nic Collins packing and unpacking. Enfournement et défournement de Nic Collins.

Fuel.

Contemporary Anagamas: The Modernization of Medieval Japanese Kiln Design.

L'Alandier s'expose.

Setting and Firing : Makoto Hatori bizen kiln.

Traditional & Contemporary Swedish ceramics from selected wood- & coal-fired kilns.

Fired by Passion: Dragon Kiln Firing.

Firing pots with Masakazu Kusakabe in his Smokeless Kiln - Miharu, Japan.

Partir c'est mourir un peu ...

Svend Bayer part 2.

Svend Bayer part 1.

Tournage au tuyau. Pipe throwing.

Takeryo Kawaguchi

Mashiko Pottery, 1937 - part 1

The Rise of a Great Tradition: Japanese Archaeological Ceramics from the Jomon Through Heian Periods, 10,500 B.C.-A.D. 1185.

Shigeyoshi Morioka.

Seto and Mino Ceramics.

L'esprit Mingei au Japon.

Shoji Hamada: A Potter's Way and Work.

Ben Richardson : 'Working Fire'.

Ben Richardson : 'Fire works'.

Tsujimura Yui.

L’expérimentation d’un four de potier médiéval.

Porcelaine.

Firing and Building kilns now in Japan.

Folk Art Potters of Japan: Beyond an Anthropology of Aesthetics

11e rencontres internationales de céramique à La Borne.

Parcours de céramique à Leuven.

Hara Kennji.

Du jeudi 1^er au jeudi 8 décembre 2011 à la Maison de la culture du Japon à Paris.

The Name Shino : 'Kanji for Shino: 志野しの Shino. If you use the Kanji above to search Google, you will find Japanese shinos that the word shino does not pick up. These are the root kanji for Shino ...' by Lee Love.