On Form

Borrowing from musical form and analysis terminology I have started to produce a couple of base forms for several reasons. I'm getting a sense of how much clay to grab for a given size and working on a consistent, flared vase shape with the thought that I'll see how much curve I can get without having the top droop. It turns out those early English Normans were right about a heavy bottom when you need an arch (pre-flying buttresses).

So my form for the last two weeks started out the same. Spend a lot of time centering, it really saves drama later. This is true for singing and dancing as well, I suppose any performing art. And wheel work with clay has a definite performative element that I never thought of until now.

From that form I produced two vessels that were 'machined', meaning I chose to use tools other than my hands to finish the outside surface, and I compressed the bottom of the pot multiple times for strength as well. I trimmed the bottom in a separate leather hard state.

The first form was entirely generated on the wheel and is merely a flaring cylinder. To the second piece I added an organic element prior to the leather hard trim session. I removed the vessel from the wheel and let it dry with a fan for about 30 minutes. Then I took a thumb and two fingers and formed the top of the vase into curls. I am still working on that piece and will not trim the bottom until next week. With luck I will also be able to apply a little imprinting using metal dyes for a ring around the bottom and perhaps an emblem of some sort. I might add a little something inside that only I would be aware of, as well. With the imprints, the glaze pools slightly inside and gives a two-tone finish that is alluring and somewhat tactile. With both pieces using a sponge to smooth the surfaces after the piece has dried will give the glaze a smoother finish.