I have had a good, actually, very good residency for the past three weeks but leave-taking is difficult for me. Off at 6:00 am this morning to the Budapest airport with a kind, courteous and clean taxi service arranged by the ever efficient Emese. Deb was up at 5:30 to sit with me, eat oatmeal, drink coffee and see me off.
The third week was full of surprises in addition to the wonderful two days we spent in Budapest in sweltering conditions… Tim Andrews, a raku artist from Devon, and Marianne Ban from Budapest, a musician who makes small loved objects, were teaching at ICS. Both were most generous with their time and ideas – lots to be enjoyed and learned and as an additional bonus, Maria Gestler arrived with her packed car to load her favourite gas kiln. She is a model for us all, working incredibly energetically, measuring her spaces and filling the kiln as I have seen rarely filled, still working with her beautiful forms and gracing her surfaces with her screen printing and free form brush work.
As my cabbie and I drove through the lush countryside I was moved by the way things had changed so dramatically since I arrived three weeks ago – touching down to a barren, cold land to now have lush deciduous trees in bloom, and the flowers gone all too early because of the unseasonabe 30 degree heat. I thought about the good things at the institute – the wonderful sense of morning with the clanging church bells and the song birds joining in chaotic song – the delight at the end of the day in having a beer or glass of wine with Deb and sometimes an other who would join us after a day of saying little and working in the comfort and stress of our own studios before we went out to dinner, deciding which of our restaurants we would go to. The daily rhythm of the studio will be remembered and definitely missed.
It has been two weeks since I arrived at the International Ceramics Studio (ICS). I have done little but work in my studio so familiar to me as it is the same space I worked in three years ago. Aside from our work, Debra and I go out for evening meals, shop for staples, talk with the other artists and students in residence and spend some time looking at exhibits and the ever wonderful buildings of the town. One more week to finish up after loading the first and only bisque during my stay.
Three weeks is a brief time to do a residency, but I am surprised at the freedom that comes with such a short period for exploration, and also the amount of work that I have been able to complete. And then, there are the artists who move in and out of the space who always have things to offer and exchange, the ever helpful people who work here and do everything possible to make stays worthwhile and creative. There is a very positive energy at the studio encouraged by a working day to rejuvenate the studio grounds (spring clean-up) now that the sun is out after a long cold winter and goulash was made by the returning Bepo and palinka was enjoyed by all.
Debra and I are firing more frequently which is a good thing… Sundays seems to be the preferred day - we load late Saturday afternoon and I get up a couple of times through the night to turn it up and we are hopefully complete to 2300 F degrees around 2. Today is a bright clear day and we like that as there is no walking back and forth in the rain…
Deb is busy, almost frantic actually, getting ready for an exhibit opening next Saturday while I seem to have more time on my hands. We were able to pack this kiln really tightly and are getting more even heat on the top and bottom and actually have back pressure in the bottom peep hole while the temperature still rises.
At 2200 F we are beginning to get a little impatient and shouldn’t be really as this is a critical time in the firing – reduction is completed and we’re trying to equalize bottom and top, clear the kiln all while trying to reach 2300 degrees F, or what is known as cone 10.
We wind down at 3:00 pm, taking longer than we thought – the bottom is again about a cone higher than the top. We will wait the requisite time for cooling to about 250 degrees F and open the following day. Some of the results of this firing are in the colours! Lots to think about and work on.
A workshop and a conference – stimulating , informative – lots to digest. Debra and I traveled to Huntington Beach on the Amtrack Coastal Starlight Express – an awesome way to travel and meet people. The journey was followed by a three day intensive workshop, learning how to properly fire our kiln. We realized we’d been far to heavy handed in making adjustments and were firing too long to get the reduced results we wanted. Paul Geil is a techie nut and his information was interpreted by potter Tom Coleman who was kind of a front man translating information in a more readily understood format for non-techies while giving us lots of helpful throwing and glazing tips. There was enough information to keep us busy for a long while. Two months later we were off by train again to Seattle for a pre-conference workshop with soda firing Australian Gail Nichols and English clay artist Walter Keeler for three days (my choices). This was worth the trip itself. During our two days off we did the galleries (180 exhibits around town and area)and couldn’t begin to see them all, before the conference started on Thursday. It was an excellent eight days of information and interaction, meeting with people we hadn’t seen for a while and becoming reacquainted with old friends. The photographs will illustrate some of our rich experiences and some of the ideas influencing our practice.
Such a rich few months since the completed installation of the kiln – looks beautiful, doesn’t it? Deb and I have fired it a couple of times but know we need to know so much more about it to make it really work.
In the interim since the summer, I’ve cleaned up a wasp ground nest and released the queen (not me exactly doing this) canned with my friend Gladys (seems she and some of our friends have been doing this for years) made multitudes of Christmas cakes for the season with my friend Daphne (almost all gone) as well as spent many hours working in the studio throwing on the wheel, perfecting my inlay techniques (still having a challenge with over glazes) and casting my tiles. I’m pleased with some of my work but still have a way to go. I need to get some of my work photographed and update the website as well, but for the most part, the work has been steady and learning “what I forgot” is constant.
Debra and I were fortunate to take a workshop with Paul Scott at Emily Carr in the fall – lots of wonderful information but like anything, even though we went to work on the techniques right away, doing it is much harder than it looks. However, it is good to be back in the studio – now, if I can just do the blog more consistently!
Well, installing the venting is taking longer than I thought it might – seems we like taking holidays in the summer and it’s difficult to synchronize us all. That however changed today as the venting gentlemen are here working as I write.
I spent a few days on Hornby Island visiting some of the local artisans there and generally being inspired by their work and their ability to work in a relatively isolated environment through the year. I have been spending time “learning what I forgot” – a little frustrating but after so many years of not being in my studio on a regular basis. I have found it a challenge to establish a routine and get down to work – partly because I am not having a huge amount of success.
However, there are glimmers of light and that of course comes with regular work in the studio and diligence in recording what I have done. A few examples of my recent low-fired work…. Hopefully, I’ll soon have some medium and high fired work to show.
It is about a year ago that Debra and I talked about purchasing a gas kiln and it finally arrived this past week – it took six men to clear the way and pivot it around a tight spot but it “the beauty” as Debs calls it, is finally safely tucked away in my studio. We need to hire a sheet metal specialist to cut a hole in the roof for the venting and then Deb’s talented hubby T-Bone will do the pipe-fitting and we’ll be ready to fire. Fortunately, the gas line was in when I installed a gas furnace for heating when I built the studio, so the structure is there. Continue reading
I landed in Rome and took the Eurostar to Firenze – so impressed with the timeliness, cost and effeciency of the train system. Arrived at my hotel at 2 for checking in – it is open 24 hours a day with the exception of between 1-4 pm – no doubt for siesta which I grew to love. I passed the time in the square across from the Duomo and campanile with other tourists sitting comfortably on the stone benches in the hot sun, and drinking in the local sidewalk cafes. At 4, I was taken around a nearby corner to San Lorenzo Square to a bed and breakfast, more of a pension with an open window facing the square – it was heaven to have relative quiet after Istanbul and to indulge myself in galleries, good wines and naps – and much the same in Venice a week later – what lovely transition time before I returned to Vancouver. No jet lag…. Continue reading
Leaving ICS with Debra and her husband T-Bones to spend a rainy, windy weekend in Budapest at the wonderful Gellert luxuriating in the baths, walking the streets of this lovely city so rich in visuals and history, while enjoying the unique food and the warmth of the people.
On Tuesday, up early – Deb and T to make one last trip to the Great Market Hall and I wanted one last dip in the pool (never made it). We made our way by taxi to the airport – about a half hour away – quick, inexpensive with the added benefit of a courteous driver. I do wish I spoke some Hungarian though … such a challenging language and so few of the people speak any English here it makes real communication challenging. That said, I did enjoy the people and look forward to the next time I am fortunate enough to visit.
Istanbul.. Continue reading
The last few days have been ones of musings and reflections about our explorations during the last few months while we do the inevitable cleaning, sorting and packing up of our studios and rooms.
We unloaded the large gas kiln on the weekend and were greeted with a few surprises…. lots was packed in, and gas kilns have a life of their own once they are bricked up. Jakab’s brick support for my tall form worked in part but a real sculptural element was added when one of Debra’s backdrop walls toppled on it during firing and caused what Jakab laughingly calls the domino effect – I think he and Klari have seen pretty much everything in terms of clays and firing in their many years here with visiting artists and students. Continue reading