Ceramic artists list
> Ceramic artists list 100. Tim Rowan 99. Graciela Olio 98. Michal Fargo 97. Ryan Blackwell 96. Ellen Schön 95. Francesco Ardini 94. David Gallagher 93. Elizabeth Shriver 92. Jason Hackett 91. Patricia Sannit 90. Bente Skjøttgaard 89. Steve Belz 88. Ruth Power 87. Jenni Ward 86. Liliana Folta 85. Kira O'Brien 84. Annie Woodford 83. Kwok-Pong Bobby Tso 82. Bogdan Teodorescu 81. Kimberly Cook 80. Paula Bellacera 79. Debra Fleury 78. Cindy Billingsley 77. David Gilbaugh 76. Teresa & Helena Jané 75. Marianne McGrath 74. Suzanne Stumpf 73. Deborah Britt 72. Kathy Pallie 71. Els Wenselaers 70. Kjersti Lunde 69. Brian Kakas 68. Marie T. Hermann 67. Mark Goudy 66. Susan Meyer 65. Simcha Even-Chen 64. Barbara Fehrs 63. Shamai Gibsh 62. Natalia Dias 61. Bethany Krull 60. Amanda Simmons 59. Arthur Gonzalez 58. Chris Riccardo 57. Akiko Hirai W 56. Johannes Nagel 55. Rika Herbst 54. Liza Riddle 53. Chang Hyun Bang 52. Virginie Besengez 51. Jasmin Rowlandson 50. Chris Wight 49. Wim Borst 48. Rafael Peréz 47. Guðný Hafsteinsdóttir 46. Cathy Coëz 45. Merete Rasmussen 44. Carol Gouthro 43. JoAnn Axford 42. David Carlsson 41. Margrieta Jeltema 40. David Roberts 39. Patrick Colhoun 38. Abigail Simpson 37. Signe Schjøth 36. Katharine Morling 35. Dryden Wells 34. Antonella Cimatti 33. Cynthia Lahti 32. Carole Epp 31. Blaine Avery 30. Ian Shelly 29. Jim Kraft 28. Wesley Anderegg 27. Connie Norman 26. Arlene Shechet 25. Young Mi Kim 24. Jason Walker 23. Peter Meanley 22. Shane Porter 21. Jennifer McCurdy 20. Yoichiro Kamei 19. Debbie Quick 18. Ian F Thomas 17. John Shirley 16. Grayson Perry 15. Vivika & Otto Heino 14. Georges Jeanclos 13. Daniel Kavanagh 12. Nagae Shigekazu 11. Matthew Chambers 10. Tim Andrews 9. Claire Muckian 8. Adam Frew 7. Maciej Kasperski 6. Roxanne Jackson 5. Keith Schneider 4. Celeste Bouvier 3. Tim Scull 2. Kim Westad 1. Sara Paloma

Techniques

Interview with David D. Gilbaugh (The Tectonic Method)

David D. Gilbaugh (The Tectonic Method)
Author: Ileana Surducan
Category: Techniques
Published in Ceramics Now Magazine Issue 2

The objects you create realistically mimic the texture and look of wood stumps, roots and branches. What is your connection with this natural element, and why did you choose to investigate it in ceramics?

Human emergence is the overarching theme of my sculptural work; as metaphors for that I use the aging tree as well as the natural land features of the earth. My life connection with trees and land extends from childhood when I remember exploring the woods and mountains of Colorado with my older brother and friends. Today I continue my fascination and exploration with the woods and mountains here in Southern California, where I live a short walk from the local foot trails of the San Gabriel Mountains. Ceramics is the most appropriate medium for me because clay seems to know what I want and interacts with me in a very agreeable way. The characteristics and behavior of clay seems to have a common goal with me as if it wants to behave in a way that yields a pleasing result. Clay naturally takes on the characteristics of wood and earth.

David D. Gilbaugh Ceramics - Interview for Ceramics Now Magazine

David D. Gilbaugh: Racemosa, 2011, sculpted teapot, 4”(W) x 11”(H) x 8”(D), hand-built slab, B-mix stoneware paper clay with grog, cone 10 reduction, black stain brushed in crevices, water washed iron and rutile stain. Permanent collection of the American Museum of Ceramic Arts.
View more works of David Gilbaugh


In order to make your work, you use a special process called the Tectonic Method. Tell us more about this technique. How did you develop it and what are its characteristics?

The Tectonic Method is a sculptural technique that utilizes the same tectonic forces that shape and texture the surface of the earth’s crust. These forces include stretching, compressing, and twisting. I begin with an idea of the sculptural object I am going to make and the pieces that will make it up. I then cut a piece of clay from the block that is roughly in the shape of what I want. I then use specialized wire hand tools to pre-texture what will be the visible surface. Next, I “naturalize” the pre-textured clay by tossing, slamming, or dropping the clay against the table top in a way that distorts the tooling of the pre-textured surface. The textured surface is not touched by the hand or tools from then on. The result is a dramatically textured form that is very natural looking. I call this a “tectonic form.” I then use specialized techniques to join together numerous tectonic forms to create a “Tectonic Sculpture” like “The Imaginist” or “The Bearded Ghoul.”

Early in my ceramic studies I began developing The Tectonic Method when I was laying them out on the table top to stretch them out. I could see that stretching clay gave it beautiful patterns of cracks and fissures. I soon discovered that cutting the surface of the clay before stretching it resulted in natural patterns that are easy to reproduce and incorporate into sculptures. The method developed very quickly from there. Since those early experiences stretching clay I have found numerous applications by other ceramists who used stretching as a texturing technique and even a throwing tool designed to apply patterns to vessels thrown on the wheel called the “Steve’s Tool.” A bit of research reveals that stretching clay to achieve decorative textures in clay is a very old tradition. What distinguishes the Tectonic Method from other stretching methods is that it includes specialized techniques for pre-texturing the clay, numerous tossing methods for naturalizing textures, and construction methods for building large clay sculptures that can be prone to slumping to the side during firing. The Tectonic Method is a start-to-finish method of forming and constructing both small and large clay “Tectonic Sculptures.”


Many of your objects are made from paperclay. What are the paperclay’s properties and why did you choose to work with it?

Paperclay is extremely versatile clay that works well with my purposes, especially the Tectonic Method. It remains workable even when it is dry. At bone dry it can be drilled, sawed, and even rewetted. Many ceramists try paperclay and find it difficult to use so they go back to what they were doing. This is unfortunate, and I believe it is because it is the change itself that is the real challenge, not the clay. Paperclay is not difficult to work with at all; it is only different and takes getting used to. Before I began throwing with porcelain I was told it was much more difficult than stoneware to throw. However, it is not more difficult, it is only different in its properties, so the artists must be able to adapt their skills and learn new ones to work with it successfully. I also find paperclay is more economical because it can be very easily reconstituted and go from dry to plastic overnight. If a piece is broken it can be reattached even if it is dry - instead of going in the trash, and the list goes on. However, the primary reason I use it is because of the dramatic textures it produces when it is “pre-textured” and stretched.

> Subscribe to Ceramics Now Magazine and sign up for the monthly email newsletter.

Read More

  • Interview with Max Cheprack, Clay extrusion - Techniques, May 2012

    TECHNIQUES, May 2012: Max Cheprack

    / Read more articles in Ceramics Now - Issue Two

    Ceramics Now Magazine
    : You are studying Industrial Design at the Holon Institute of Technology, Israel, and recently you underwent a research project on clay extrusion. What are its concepts? Tell us about the technical process.

    Max Cheprack
    : The extruding clay project started in the third year of my studies, for B.design in industrial design, when I first met the manual extruder in ceramics course. After learning various techniques in the field of ceramic design, I was fascinated by the option to create clay objects using replication. The Semi-industrial process of extruding clay enables the creation of precise and complex objects easily and quickly. Extrusion allows me to design the inside of the object, something that the rest of the techniques do not allow. Extruding technology allows to produce a closed and complex object, and therefore very strong. This allows the expansion of production beyond the products we know today. In addition, this technology brings new aesthetic to the ceramic field.

    As an Industrial designer who is interested in manufacturing technologies, I moved away from the dies that come with the manual extruder Kit, and I began to assemble a set of basic dies with complex shapes. Later, I have built an extruder which works on pneumatic piston, in order to free both of my hands. This allows me to make variety of manipulations on the objects like bending and cutting.
    In order to explore the limits of this technology, I decided to make a stool. The stool is a challenging product for extruding clay process because it is a relatively big product, which must be strong enough to bear persons weight, and should be able to connect with other materials.

    My inspiration is taken from a local element of the Middle East - Mashrabiya. Though the project ended as part of my design studies, for me he is a starting point to new possibilities in ceramic design.

    Max Cheprack Ceramics - Clay extrusion

    Max Cheprack, Chairs made with the extruding machine

    What was the most difficult part in creating the necessary tools for the project? Did you get any help?

    The hardest part in this project was to understand the size relation between the size of the die and the amount of power that needed to push the clay. First I played with the manual extruder that we have in our workshop and then I made different dies to check how complex things can be. After realizing clearly how things are working I wanted to make the next step towards an extruder that will free both my hands to make manipulations on the objects while it is being extruded. I consulted with an engineer who just gave me a headache with schemes numbers and stuff that I couldn’t understand, so I decided to use a pneumatic piston as my base for the machine and after many trails with different pistons and die sizes I made one small extruder and one big extruder.

    Read More

  • Interview with Suzanne Stumpf, Interactive sculptures - Techniques, April 2012

    TECHNIQUES, April 2012: Suzanne Stumpf, Interactive sculptures

    / Read the full interview in Ceramics Now - Issue Two

    Ceramics Now Magazine
    : The versatility of your work is very inspiring and makes the viewer ask himself whether he should play with your works or just to admire their universe. When did you begin to create such intricate pieces?

    Suzanne Stumpf: Thank you for your kind words. I began to create interactive sculptural pieces about 7-8 years ago, after I had been working in clay for about about three years or so. From the outset, drawing the audience in to touch and explore has always been a goal. But also, I have intended for each work to have its own strong essence that invites contemplation/reflection.

    Modularity and interactivity are two main characteristics of your work. How much time does it take to complete a new work? Do you make many sketches?

    My interactive sculptures generally take many weeks. The germination of an idea and realization of each work can also be a lengthy process, particularly when there are complicated construction or even “engineering” issues involved. I can sometimes spend a couple of months in the “head-scratching” stage and work on other projects while I sort out the steps and best approaches. I do keep a notebook with sketches and notes, but I do not personally find it easy to translate some of these projects onto the page. With a fairly good aptitude for spatial relations, I hold much of the planning in my head initially. Because I build primarily in porcelain, extremely slow drying is key — I cannot emphasize this enough. And, of course, this also adds to an already long creation process.

    []

    Suzanne Stumpf Interactive sculptures, Contemporary Ceramics
    Spike, 2008, 5.5”h x 8”w x 3” d, wheelthrown and altered porcelain with handbuilt components; black slip and shellac resist; oxidation fired to cone 10 - View her works

    Some of your works consist in multi-component pieces that, put together, metamorphose each time in different compositions. Do your Interactive Sculptures illustrate the ludic dimension of art? How important is this element for you?

    My answer depends on the tenor of the word “ludic”. Although the mere invitation to rearrange components may seem a playful act and some of my sculptures may even possess qualities of games, the interaction by the audience has never seemed aimless to me. To the contrary, I witness people being extremely thoughtful about what they are creating as they rearrange components. The idea with these works is that there are nearly innumerable permutations that the viewer can create, all of which will reveal different aspects of the sculpture’s essence for contemplation.

    Read More

  • Extruding Clay by Max Cheprack, student at the Holon Institute of Technology in Israel

    "My research examined the extrusion process in a new material - clay. For this purpose, I built two pneumatic extruders (for two different die sizes) that push clay through the die. The semi-industrial process enabled me to manipulate the material, with never-before-seen precision and complexity. My research led to the creation of various objects that illustrate the many possibilities of this technology. Finally, I chose to express the result of my research process in a new design for a stool. The final result is inspired by the material culture of the Middle East so as to express time and place. The research opens up new possibilities in ceramic design and shows great promise as a method of production and design."

    Max Cheprack on Etsy and Behance.

  • Interview with Shamai Gibsh - Ceramic Technique, September 2011

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

    → Subscribe to our monthly newsletter if you want to receive news and interviews with ceramic artists.
    → 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.

    Read More

  • Interview with Jim Kraft - Ceramic Technique, June-July 2011

    Interview with ceramic artist Jim Kraft - Ceramic Technique, June-July 2011

    → Subscribe to our monthly newsletter if you want to receive news and interviews with ceramic artists.

    Ceramics Now Magazine
    : What was the starting point in your investigation (research) with earthenware clay?

    Jim Kraft: When I set up my studio I bought an electric kiln which satisfied  my needs as I was interested in making objects that were not meant to be functional or to be displayed outdoors.  I did not want to cover the clay with a glaze, I wanted the earthen colors of the clay to be prominent.

    In what techniques do you usually work and what materials do you use?

    My work is solely hand-built. I roll  25# slabs of clay by hand. I use a clay extruder to make my coils .I imbed dry colorants in both the slabs and the coils. I throw dry colorants on the ware boards as I roll the slabs, the moist clay picks up the dry materials.  Depending on what series I’m working on I build the vessel forms using cut up or torn slab pieces and twisted off sections of coils. I use earthenware clay in either a buff or a red color.  After the piece is bisqued I brush on a black/brown slip, I let that dry and the next day I wipe it off.  It stays in the cracks and crevasses.  Then I brush on a clear glaze.  I let that dry and wipe it off the next day.  I leave enough to give it life but not shine.  I want the surface of the clay to absorb light not reflect it. This is a building up of the surface, layering, as you might do in print making or painting. Then I fire it a final time.

    Cord 5 - View Jim Kraft’s works

    What is your present project, what’s its history and how do you make the pieces? Tell us more about the process.

    Currently I’m building vessel forms using short torn pieces of clay coils and stacking them, like cord wood.  The end of each torn piece faces the viewer.  It’s like building with wine bottle corks or cigar butts, but end up looking more like natural, organic objects such as bird nests, bee hives or tree stumps.  The trick is finding the place where they don’t look like any of those things but allude to any and all of them. However I always want them to read as vessel forms, something that contains.

    Read More

  • Interview with Margrieta Jeltema - Ceramic Technique, May 2011

    Interview with Italian ceramic artist Margrieta Jeltema - Ceramic Technique, May 2011

    Subscribe to our monthly newsletter if you want to receive news and interviews with ceramic artists.

    Ceramics Now Magazine
    : What was the starting point in your investigation with paperclay?

    Margrieta Jeltema: Some years ago, when I had finished some jewelry pieces using porcelain together with paper, a  friend suggested to translate the paper part in porcelain as well. I tried and failed but my mistakes turned out rather nice in their own way. They encouraged me to explore this path…
    Now observing earlier pieces it seems the idea of folding was already there.

    I think any research in art is not just a technical one. Yes I wanted my porcelain to resemble paper but most of all I wanted it to have a life of its own.
    My porcelain objects have grown to be flowers, they are wishes or a song. They belong to a different world, follow different rules, not those accepted by the pragmatic world of utility, they truly belong to the “world of beauty and imagination*”.

    The technical skills with paper-thin ceramics have their origin in beliefs about the nature of art. Objects made by human beings belong to the realm of art when seen as aesthetically pleasing.
    Seeing something as a work of art or looking at it are not the same. Looking has a beginning and end. Seeing however is an achievement – it has no beginning, no stretch of time, it is the realization that we are confronted with something different. The work of art is not confined in a cave of individuality. It participates in an essential way in our everyday communication. From the act of seeing emerges our ability to understand a message.
    The beautiful object has an intention; the intention of sharing, of telling a story and exploring our world of imagination.

    Message, story, communication, these are the words which describe my previous occupation with writing, using paper, making books with etchings.
    I was held captured by these sheets of paper on which I could try to communicate with others.
    My Loveletters and my Ode to Monet go back to my obsession with paper carrying stories to those prepared to look, to understand and hopefully, to enjoy them.

    Folded loveletter - View her works

    Ceramics Now Magazine:  Do you find working with porcelain hard, especially if you try to make it look like paper?

    Margrieta Jeltema: Working with porcelain is really easy if you get a bit used to its terrible shrinking, its proneness to distortion, it’s tendency to collapse and its ability to ‘remember’!…
    But there are also many advantages over other clays. It is easy to join dried pieces together or repair a piece before baking, it is easy to glaze using a brush (saving on amounts of glaze) as most unevenness will disappear in the high temperatures and of course usually colors look nice and bright on the white body.
    What I find really difficult is the handling of the folded Loveletters when they are only bisque fired and still extremely fragile. Because I want to glaze them only on the backside I have to turn them someway. Eventually I solved this using a piece of light foam polystyrene with which I can turn the letter like a omelet on a lid (some cooking experience helps a lot in ceramics).

    Read More

  • Interview with John Shirley - Ceramic Technique, April 2011

    Interview with South African ceramic artist John Shirley - Ceramic Technique - Soluble Salts, April 2011

    Subscribe to our monthly newsletter if you want to read more interviews with ceramic artists.

    Ceramics Now Magazine
    : In what technique do you usually work and what materials do you use?

    John Shirley: I currently work in a bone china body which I produce from locally available materials. I have always been drawn to translucent bodies and the one I am currently making is more translucent than any I have used previously. Being bone china it is also whiter then any body I have previously used as the bone ash in the body acts as a bleach on any traces of iron in the body. The work is cast in moulds which I make using Paperplaster. This method uses less plaster than conventional mould making methods and results in much lighter moulds which are far easier to handle. The pieces are bisque fired to 1080oC and then sanded to achieve an extremely smooth surface which I decorate with wax resist and solutions of various soluble salts before the final firing to 1250oC in an electric kiln.

    Ceramics Now Magazine: What is the starting point in your investigation (research) with soluble salts?

    I have always been intrigued with soluble salts ever since first seeing the work of Arne Åse. A local ceramic supplier had some cobalt chloride that had been on the shelves for some time and presented it to me. So began the tests with solubles and I am hooked to this day. I have tested a number of the salts in different solutions and in different layers. For some effects I fire between layers to achieve specific effects. Some of the salts are not available locally, and I work mainly with different strengths of Cobalt, Ferric and Nickel Chloride and Potassium Dichromate solutions.

    Salts of Cobalt and chrome on bone china - View his works

    What did you learn from working with different materials?

    I am fascinated by the chemical aspect of the ceramic process, and much of my work has been informed by this. I have previously worked extensively with crystalline glazes and creating reduction effects in electric firings. I think technical challenges are what keep me going and there is always something to investigate. I find that for me it is essential to focus on one thing at a time and at present I am occupied with the effects of layering the salt solutions.

    Read More

  • All work is copyright of respective owner, otherwise © 2014 Ceramics Now. Website design by Thomas Cullen. Powered by Tumblr.