On Tuesday, Wednesday and Thursday of the conference week many
demonstrations were planned, some of which never happened,

some of which nobody ever found, but some of which were excell-
ent. There were continuous films, and a million slide shows,
and I myself became very tired of using my eyes so much more
than my hands. Of the people asked to demonstrate only a few
could bring their equipment so they had to resort to slides,
and for some of them the problem of translating centimeters to
inches was too much, and for others the slides could not poss-
ibly do justice to their work.

Even concentrating exclusively on “clay" it would have been im-
possible to take in all the goodies offered, and there were
many interesting fields to cover. I went to several weaving and
Fabric workshops (and my impression was that they got down to
the nitty-gritty questions and discussing techniques in a
serious manner faster than any group of potters I was in);
watched a trio of athletic glass blowers who finally got their
kiln hot enough and shattered blue glass baubles about; saw a
jeweler cut up stewing bones and turn them into fake ivory;
walked around an ingenious Furniture maker steaming wood in a
converted wall-paper steamer and bending it in a Rube Goldberg
machine; observed a silent Japanese man sitting cross-legged
and painstakingly turning out papier mache dogs with cigarette-
paper sized pieces of mulberry paper and bells inside, and a
Silent Maori wood carver hacking up a piece of ebony with
casually accurate strokes of his axe. (1 later saw this wood
carver with a friend examining with disbelief a large carved
Chinese horse at the Royal Ontario Museum, bursting with laugh-
ter, I think at the impossible stance because they were touching
the legs and gesticulating.)

Out of all the workshops there were two that I found and that
I managed to make some notes about:

The first was a slide presentation by Seka Severin Tudja, from
Venezuela. She makes fairly large (80cm, You figure it out!)
pinched pots, enclosed forms, which she covers with a basic
white glaze fired to J100C. She then rubs oxides into the
crazing patterns (cobalt mostly, manganese and iron), and fires
them 4 or 5 times more at descending temperatures in order to
achieve color differences. If the pattern of crazing doesn't

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