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Shamai Gibsh

Interview with Shamai Gibsh - Ceramic Technique, September 2011

Interview with Israeli ceramic artist Shamai Gibsh - Ceramic Technique, September 2011

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→ The interview with Shamai Gibsh is featured in Ceramics Now Magazine - Issue One, Winter 2011-2012.

Ceramics Now Magazine
: What was the starting point in your investigation with Saggar firing and Terra Sigillata painting?

Shamai Gibsh: Terra sigillata painting intrigued my imagination when I was a teenager.  At first, I saw Venetian vases decorated with black and white figures and later with color painting, as part of the history and heritage of the eastern Mediterranean board. Years later, when I was already a ceramic artists, I researched terra sigillata and the rediscovery of it in the 20th century, and started to apply it to my work. I tend not to use glazes in my work, except for exterior mural work. Thus, the use of terra sigillata over the last 15 years enabled me to reach a non shiny and a very appealing color palate, and when fired within saggar vessels in the presence of organic materials or smoked firing, appears to have exiting results. I fire within a saggar, which is an enclosed clay vessel that holds the specific organic material, to get the desired results. Over the years I have used many forms of organic materials like saw dust, salt Marché, pine needles, various seeds and fruits. These days, I mainly use pine needles collected from two forests; one in the Carmel mountains and the other one close to my studio.

Installation “Stelae 2011”, 235x213x55 cm. Stoneware, Terra sigillata, Saggar firing.


Tell us more about the process of constructing your works. Does it take much time, do you have to make many preparations?

The manual part of my work: wheel throwing, hand building murals and sculpting occupy a large part of my time. However, these come after an idea has been formed following considerable thoughts, planning and designing. Naturally, I am influenced by my roots, the immediate cultural and social environment and by the exposure to anything that touches us as human beings. Therefore, yes, it is a lengthy process.

My preference of the use of sagaar firing also contributes to the prolonged preparatory phase in my work. Bone-dried vessels, made out of white stoneware clay, are covered with three layers of terra sigillata, occasionally decorated with copper cuttings and bisque fired to cone 06. Metal soluble are also used for decoration, and the objects are inserted into clay vessels (saggars) which are just a bit larger than the fired object, and filled up with organic materials, mostly pine needles, pretreated with different oxides. I fire in reduction to around 1000C.

Preparation of murals varies. At times terra sigilata is applied in different layers on a plaster board in a reverse pattern, followed by a thin layer of liquid clay. When in a leather-hard state, the board is lifted and cut into tiles, bisque fired and only than saggar fired. In other instances, tiles are painted with terra sigiillata, applied with layers of various copper cutting and even painted with oxides and metal solubles, bisque fired and saggar fired.

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  • Shamai Gibsh

    Shamai Gibsh's profile on Ceramics Now Magazine - View his works

    Owner of a Cramic Studio in Jaffa, Israel, Shamai Gibsh’s activities include wheel throwing, hand building and sculpturing.
    My ceramic works are focused on esthetic designs. Techniques include: Saggar firings of objects covered with terra sigillata and terra sigillata printing, reduction, Raku and oxidation.

    I get inspiration from my environment and surrounding. Jaffa, an 10,000 years old port city a part of Tel-Aviv  in Israel - a very old and full of history with its colors and textures, unique architecture and multinational has a big influence on me.
    Typically  I burnish and cover with terra sigilata, at times I use copper and soluble salts (Metal chlorides like silver, gold, cobalt), and saggar fired inside clay vessels with organic materials typically pine needles.

    For the last 11 years I’ve worked every summer at the Harvard ceramic Studio. My sculptural work an been inspired by the life in israel, the political situation in Israel, as well as my recent traveling to China and Korea. There I took a path of a single 3 dimensional object instead of using multiple objects like in my “wall” Aestela exhibition. Each one of these sculpture represents a wall-barrier.

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  • Shamai Gibsh: Walls 4, 40x10x35 cm. Stoneware, smoke firing.

  • Shamai Gibsh: Installation “Stelae 2011”, 235x213x55 cm. Stoneware, Terra sigillata, Saggar firing.

  • Shamai Gibsh: Installation “Stelae 2011”, detail, 235x213x55 cm. Stoneware, Terra sigillata, Saggar firing.

  • Shamai Gibsh: “fly Away”, 49x28x10cm. Stoneware, smoke firing.

  • Shamai Gibsh: Tea pot “Jaffa”, 45x15x35 cm. Stoneware, porcelain, Oxidation.

  • Shamai Gibsh: Plate, D: 30x6 cm. Porcelain, naked raku #2

  • Shamai Gibsh: Plate, D: 30x6 cm. Porcelain, naked raku.

  • Shamai Gibsh: Bottles, D:12-15 cm, H:35-42 cm. Stoneware, terra sigillata. Horse Hair Raku.

  • Shamai Gibsh: Bottles, D:8-14 cm, H:12-20 cm. Stoneware, Glaze, Soda firing.

  • Shamai Gibsh: Urn, 35x45 cm. Stoneware, terra sigillata, saggar firing.

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