Mark Goudy: Surface Detail (p47) - 17”w x 3.5”h
Mark Goudy: Vessel Detail (m79) – 12”w x 5”h
Mark Goudy: Surface (p54) - 17”w x 4”h
Mark Goudy: Pod Detail (m91) - closed form, 11.5”w x 5.5”h
Susan Meyer: Vinyl, detail
Amanda Simmons: Labyrinth of love #3
Johannes Nagel: Vessels, perhaps
Johannes Nagel: Silhouetten
Johannes Nagel: Konstruktion K
Interview with ceramic artist Liza Riddle - Spotlight - Recognized artist, June-July 2011
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Ceramics Now Magazine: What is your present project, what’s its history and how do you make the pieces?
Liza Riddle: I am exploring using soluble metal salts on low-fired porcelain clay, a project I began two years ago and am just now achieving the effects I desire. All of my work is hand coiled, then carefully burnished to a smooth finish. I bisque fire the clay at earthenware temperatures, paint them with water soluble metals – iron, nickel, cobalt and other salts, and fire again at low temperatures.
Three Closed Forms - View Liza Riddle’s works
Ceramics Now Magazine: Where do you get your inspiration for your pieces and what motivates you?
I seek to create work that evokes a sense of wonder and mystery, forms that beckon to be held and admired. I delight in closely observing and then interpreting natural objects and events – weathered boulders on a mountain slope, wind ripples on a gray blue sea, complex designs on a delicate bird egg – their rhythms, patterns and forces have greatly inspired my work. I am an avid traveler and hiker. During my adventures I have discovered the magnificent pottery of ancient cultures in the American Southwest, South America, and Asia, which speak to me in very profound ways.
In what techniques do you usually work and what materials do you use? Do you find working with soluble salts hard?
I have been experimenting with soluble metal salts for the past two years, a collaboration with my husband, Mark Goudy, which draws on the inspirational work of the master of soluble metals, Arne Åse. Through trial and error, I have developed my own techniques for applying these almost transparent, highly sensitive “watercolors.” The chemicals are toxic and care must be taken while working with them, so my experiences working with photography chemicals and in a scientific laboratory have been extremely helpful. Although metal salts are challenging to work with, I love the sense of anticipation as I wait for a kiln load to finish firing, the joy of seeing their almost magical effects. Some results are disappointing, but I enjoy challenges. Because working with metal salts requires continual testing, inventing and learning, I am certain this project will keep me engaged for quite a long while.
Liza Riddle: Three vases
Liza Riddle: Vessel v61