4

Sometimes if the solution of a problem, say of a rim or the balance of a foot
doesn't come early, I'll wrap it up, put it on the back burner and take it by
surprise later. This is facilitated by the nature of how I work with natural
breaks at stages in each piece. I rarely work on one piece at a time,

My current show at the Gallery of 5.C. Ceramics could be subtitled, "What I do
with my summer holiday". (Well, August) I'm back into the reality of
fractured time again. This week after the gallery opening I had to catch up
on a run of vases then juggle some school work while they dried. Fortunately
the sun came out and with an overnight soak at 19 percent was able to bisque
at the end of the week for glazing and glost kiln loading at the weekend,

I share the studio with my wife who is in there Full time (along with her
other full time job of running the house). It is her domestic ware that is
the backbone of Wild Rice. She also does sculptural mirrors and there are
some in this firing along with a large sized bird bath. This i8 somewhat
experimental with a combination of formal structure and loose slabs, torn and
reassembled. We've both worked on this and are increasingly involved in
combination pieces. Glazing usually happens in a final late night rush and
the firing day tends to be a clean up, and re-group before the next cycle.

GEOLOGY AND CERAMICS

JOE NAGEL

AS a new member of the Potter's Guild Beard, I am aware that 1 know few of the
members, both because of my recent introduction and the fact that I am not a
working potter. My background includes an M.Sc, in geology and over twenty
years experience operating a geclegical museum. So, how did 1 become involved
with the organization?

The immediate answer ta that question comes from my involvement with Tam
Irving and Carol Mayer in an exhibit project tentatively entitled,
“Earthbound”. Adopting a team approach between an anthropologist, a potter
and a geologist, the exhibit will explore ceramics through the eyes of each,

Since both Tam and Carol were already on the board, it was a natural
connection, When asked to let my name stand, it struck me as a qood
opportunity to gain some new knowledge, maybe make some new friends and also
complement some of the talent and skills already embodied on the Guild Board.

In any case, there is a closer affinity between geology and ceramics than most
people realize. Almost all of the scientific techniques for studying ceramic
materials have been adapted from the geological sciences. A glazed ceramic
embodies the three rock types familiar to the geologist: sedimentary,
metamorphic and igneous.

The unfired clay body represents the sedimentary environment by way of both
its formation and low temperature plasticity. The firing of this clay
produces a metamorphic rock by way of a complex series of sintering
reactions. Finally, the glaze represents the igneous environment because it
results from melting, It is not surprising that geological techniques are
used to study what is really a synthetic rock {concrete is another, less
varied kind).