please her she holds the hot pot under water and changes the
pattern! Her slides showed pots with marbled surfaces, like
lichen growing on white rocks, but it was hard to tell what
the surface texture was really like and whether you could feel
the crazing. She tended to use just one oxide per pot as I re-
call, so the colors were subtly different. A few slides showed
her pots in the sea with the surf breaking over them, like
gorgeous rocks.

The other demonstration was by a couple from Germany, Kurt and
Gerda Spurry, who make porceiain sculptures. They work together
and Kurt, who spoke English best, said that they made no dis-
tinctions as to which was “her" part and what was "his" part,
which made for “some pretty hard discussions". As they worked
it was apparent that they needed four hands to put their cre-
ations together.

They pour porcelain slip on large plaster bats, wait until the
sheets are dry enough to handle, pick them up and join them in
various forms. Their slip is deflocculated and ground in a ball
mill for 40 hours for plasticity. A few drops of vinegar will
thicken the slip. They pour either rectangles, circles, grids
(that look like children's drawings of sky-scrapers, or what-
ever shapes they want. They are limited in the size to about

10 inch rectangles so their pleces are fairly small. When join-
ing two sheets they paint water on the surface with a paint
brush, wet their fingers and gently pinch the edges together.
Then while one of them holds it together the other dribbles
some slip down the inside seam as glue (as though you made a
card-house, only tipped on its side and joined at both edges.
It forms an oval with high sides).

Sometimes they imbed these fen-like pieces in a porcelain
sheet on the bottom and sometimes they are left open. They
join many layers of paper-thin pieces and even shave the edges
to a few millimeters with a potato peeler to achieve trans-
lucence.

They use a plain white glaze, sprayed on in order to cover all
the surfaces, and fire to cone 10 in an electric kiln. They
have a high breakage rate, discarding about 1/3 of their kiln
load at each firing. (Somebody asked them where?, but they

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