Technology has played a vital role in the ancient art of ceramics. As the art form has evolved with the development of tools, processes and materials, an ever-broadening variety of creative approaches has emerged. Red Star Studios presents the work of eleven national artists known for their exceptional glaze formulations and surface techniques. The work of each artist highlights the chemistry involved in their processes and their distinct technical approaches. This exhibition features some of the finest examples of glazing and firing techniques to be found in contemporary ceramics.
Click an artist's name to see all of his/her work. To view all pieces, without process descriptions, click here.
A Low-temperature firing range, usually below cone 02 (2048 degrees F.), used for most bisque firing, and for glaze firing terracotta and other low-temperature clays. The kiln atmosphere has an abundance of oxygen to insure complete combustion of fuel, which oxidizes the ceramic materials.
Scott Bennett: Low-fired earthenware. The surface is achieved by layering multiple glazes and resists of different colors and finishes. The contrast of the matte and shiny textures gives depth to the work.
Nicholas Bernard: Low-fired earthenware, with multiple firings, using colored slips and oxides. By layering different colors and re-firing the work, deep, rich surfaces are created that could not be built up in one firing alone.
|Colander - Noah Riedel||Serving Bowl (1) - Noah Riedel||Small Plate (1) - Noah Riedel|
Glazes that contain crystals within the amorphous (glassy) matrix of the glaze. The glaze itself is not entirely composed of crystals. The crystals give opacity, color and surface textures as smooth and rough mattes. The crystals grow during cooling by isolating the essential oxides from the surrounding fluid glaze.
John Tilton: High-fired oxidation porcelain. Matte crystalline surface is achieved through an advanced knowledge and understanding of glaze materials. The glazes are mixed just before they are applied and fired in an electric kiln. Some works are fired multiple times, as many as 15 or more, to achieve the desired results.
|Vase (6) - John Tilton||Vase (5) - John Tilton|
In fuel-burning kilns, the atmosphere is starved of enough oxygen to completely combust the fuel, which introduces an abundance of carbon and hydrogen. The carbon and hydrogen molecules extract oxygen from the surface of the wares, altering the appearance of the clay and glaze.
Mark Cole: High-fired reduction stoneware. The finished surface is a result of multiple glazes interacting with one another in a reduction atmosphere, creating a loose pattern. The result is a beautiful surface that could not be created by the use of one glaze alone.
|Dinner Plate (1) - Mark Cole||Serving Bowl - Mark Cole||Salad Plate (1) - Mark Cole|
Jim Connell: High-fired stoneware, reduction fired. Many pieces were sand blasted post-firing to produce a rich matte surface.
|Red & Green Carved Bottle - Jim Connell||Red Sandblasted & Carved Lidded Jar - Jim Connell||Red Sandblasted Carved Teapot (2) - Jim Connell|
Matt Hyleck: High-fired reduction stoneware and porcelain, using mostly American Shino glazes. The shino glaze is an adaptation of a traditional Japanese glaze. Wood ash is sometimes added to the pieces before firing, giving the appearance of wood-firing without using a wood kiln.
|Arc-Handled Serving Bowl - Matthew Hyleck||Chevron Soup & Salad Bowl (2) - Matthew Hyleck||Diagonal Seam Dessert Plate - Matthew Hyleck|
Ceramic ware that is fired in a kiln fueled by wood. The kilns are designed to create a draft that draws the heat and wood ash though the kiln and out the chimney. Much of the ash is deposited on the hot ceramic ware as it passes through the kiln, leaving a natural ash-glazed surface. Both flashing and colored slips are often applied to the ware to further enhance the surface.
Simon Levin: Wood-fired porcelain and stoneware. Slips are sometimes used for additional variations. Long, slow firings, up to 6 days or more, bring out the amazing colors and textures in the work.
|Comet Chase Dinner Plate - Simon Levin||Pasta Bowl - Simon Levin||Warm Ice Salad Plate - Simon Levin|
Jeff Shapiro: Wood-fired stoneware. Surfaces are achieved by the atmosphere in the kiln and wood ash deposits. Since the surface is a direct result of the firing, much consideration goes into the form of the piece and placement in the kiln.
A high-fire process where soda ash or bicarbonate of soda are introduced into a gas-fired kiln towards the end of the firing process. The soda ash vaporizes in the atmosphere, landing on the ceramic ware, altering the glazed surface or creating a glaze on a raw surface.
Matt Long: Soda-fired porcelain. Flashing slips are applied, which after skillful kiln firing techniques, create bright oranges and contrasting natural rich colors.
|Victory Hip Flask - Matt Long||Sippin Glass (1) - Matt Long||Rocks Glass (2) - Matt Long|
A process in which a glaze is created from salt, which is thrown into the kiln near the end of firing. The salt - usually common table salt - decomposes and volatilizes, which combines with substances from the hot pottery body to produce the glaze. This process probably originated in the Rhineland region of Germany. There, stoneware was developed during the 12th and 14th centuries and salt glazing appears to have been a part of this process.
Linda Sikora: Salt, wood and oil-fired porcelain. Polychrome glazes (multicolored over glaze) are applied before the firing and melt to combine with the elements in the atmosphere; creating a multicolored, wet-looking surface.
|Polychrome Teapot - Linda Sikora||Pitcher (3) - Linda Sikora||Serving Pair, Bowl & Jar - Linda Sikora|
Red Star Studios
2100 Walnut St
Kansas City, MO 64108
Red Star Studios
© Copyright 2010, All Rights Reserved