BIO

STATEMENT

PROCESS DETAILS

Process Details

After an original sketch is completed, each new work begins with rolling out a clay SLAB. Large-scale works can require the merging of multiple slabs which are cut to shape and joined together using SCORING (scratching) and wet clay called SLIP. By scoring and applying slip to roughened surfaces, a seamless bond is created between slabs. Slow even drying throughout the process is necessary to avoid cracking and warping.

The design is transferred first to plastic sheeting that is placed over the wet clay. By tracing over the lines on the plastic, the basic image is then transferred to the slab of clay.

At the wet-clay stage, areas of RELIEF (where form projects from its background) are defined. Additional clay is built onto the surface of the slab and shaped and sculpted. At this point slabs are lightly covered and allowed to

 

dry for a limited period of time to allow the slab to set.

For HIGH RELIEF details, plaster MOLDS can be made. Individual forms are first molded and then
adhered to the slab, again using scoring and slip. The use of custom molds allows accurate reproduction of specific elements within the larger body of the work.

Once all additions to the slab are complete, SUNKEN RELIEF details are carved out leaving the areas of highest relief level with the original surface of the slab. Again, the slabs are covered and left to continue the drying process.

Stamps are used to press patterns into the clay while it is between the PLASTIC (malleable) and LEATHER HARD (hardened but not completely dry) stages. This method of texturing is often the principle technique used to   create both interest and definition and

 
unique new stamps can be made for each project.

The slab is then cut to complement and refine the composition. In defining the interconnection of separate pieces, textured areas are isolated and cut lines are used to “draw” shapes and figures. 

The clay will be left to dry completely and then first fired to a BISQUE state (where clay is still very porous, but will no longer soften in water) before being glazed. The use of color in glazing is often limited, and focus is on highlighting the textures that describe the imagery or intent of a piece. Often areas of detail will be wiped partially clear of glaze to allow for added exposure of the texturing in the clay.

There is a final firing to MATURITY (bringing the clay to the temperature necessary to render it as strong as possible) to assure water and weather resistance.

 

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