by Carole Epp | Dec 3, 2020 | Uncategorized
Learn how Yoko creates intriguing and layered surfaces through her techniques for working on a wet clay surface, including sgraffito, carving, and underglaze painting. She will also demonstrate how she creates her own stamps, combines different surfacing techniques, and paints with glazes to create a unique appearance. Yoko will introduce the tools, materials, and process she uses as well as the cone 5/6 oxidation glaze formulas she fires with. If you are interested in adding more details to your pots or sculptures, this is a perfect indoor adventure to explore at home!
BIPOC and need-based scholarships available; please email [email protected] for details.
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Yoko Sekino-Bové was born in Osaka, Japan. She worked as a graphic designer before her passion for ceramic art took her onto a new path. After receiving an MFA in Ceramics from the University of Oklahoma, Yoko moved to Washington, Pennsylvania, and started working from her home studio. Her porcelain work has been exhibited in galleries, museums, and most importantly, many private homes (mainly kitchens). Yoko participated in several residencies, such as the Arts/Industry residency at John Michael Kohler Art Center, the Archie Bray Foundation, and at Cerdeira Village in Portugal. Her work has also been shown in Canada, Portugal, Japan, Latvia, Turkey, Dominican Republic, and South Korea. Her works are featured in “500 cups”, “500 platters and chargers”, “500 teapot volume 2”, “Humor in Craft”, and “Cast” as well as a variety of periodicals. She writes articles for The Pottery Making Illustrated Magazine and Ceramics Monthly Magazine.
Dec 12-Dec 12 | 1:00 PM-3:00 PM
Saturday Afternoon
Instructor: Yoko Sekino-Bove
$ 25.00 Members: | $ 30.00 Non-Members
Skill Level: All Levels
Technique: Workshops for Artists
Age: Adult
Register HERE.
by Carole Epp | Nov 23, 2020 | monday morning eye candy
“Richard’s work makes reference to historical design patterns. It draws on themes of British colonialism and the way in which the U.K. has become an eclectic mix of cultural styles, as immigration has brought with it a rich source of influence. Images associated with the colonies, that have become adopted by the British mainstream are the core influence on Richard’s practice.” via his website @ www.richmiller.co.uk
by Carole Epp | Nov 18, 2020 | call for entry
A national juried exhibition of functional & Decorative works
by clay artists who play with fire
juried by Mark Shapiro
March 13 – April 24, 2021
Deadline for Entry: December 4, 2020
CALL FOR ENTRY
Saratoga Clay Arts Center seeks submissions of functional and decorative works by clay artists who play with fire. These works are plucked from altered atmospheres – those changed by wood, smoke, salt or the like. Juror and Massachusetts potter Mark Shapiro writes, “The extent to which firing demands and engages the potter varies broadly, depending on type of kiln, its design, how it is loaded, fired, and even cooled. The continuum from computer-programmed electric top-loaders to gas kilns (in their heating and cooling and reduction cycles), and the many configurations of wood kilns from small “fast-fire” to subway-car length anagamas that fire for a week or more, demand increasing preparation and commitment. Before pots even go into the kiln, there is wood to split, stack, and season, as well as teams of stokers to recruit and organize.
“In physically building the fire and manipulating it as it unfolds—adjusting burners and dampers, varying stoking rhythms and wood types, and playing with the atmosphere—we come closer to the impossible: we stand at the mouth of the forbidden chamber of the glowing kiln and actively alter the surface of our hardening wares. Physically engaging the firing at its source (the burner and stoke ports that make the heat), at the primary and secondary air vents that mix the combustion, and at its exit (manipulating passive and active dampers that control the flow), not to mention introducing sodium or building charcoal, we become palpably connected to the un-survivable interior of the kiln. Our fiddling, stoking, adjusting, and throwing stuff into the fire touches something transgressive, elemental, and essential. These firings perhaps enact the universal myth—Promethean and global—of stealing fire from the gods. We potters are really trying to get away with something.”
Those of you are trying to get away with something, playing with fire, or embracing the unknown gifts of the kiln gods, this exhibition is for you.
FULL DETAILS HERE
