David Woof on tue 10 apr 07
The synthetic bag idea that Lee mentioned really works well. I have used an
economical version for many years in the form of cotton jeans legs cut from
cast offs. one gets a product something like "filter pressed" clay that
has been completely saturated by the slop slakeing as opposed to adding dry
bagged clay to scraps and slop in the pugger which can leave the clay short
for extended time. (research the archives for why) Hang the "bags" walk
by each day and give them a squeeze until they feel right, then roll the
fabric off the "leg" of clay. The fabric promotes even drying of this
virtually wheel ready(except for wedging) wonderfully plastic material and
the slightly wetter center of the mass will wedge out or can be pugged with
other bagged moist clay to a uniform condition.
I tie off the bottom cuffs with 12 gauge copper wire and fabricated a metal
ring attached to legs to hold the top open with clips while I pour the slop.
Top of leg can then be twisted/folded closed and hung with a slip knot
noose. I fabricated a square tube metal slotted contraption that rolls the
edge and hangs by insertion into a larger square tube receptical rack. I
will e-mail a drawing if anyone wishes.
A side note to newbies on plastic clay. When we begin our adventure with
clay it is difficult to know if our struggles are caused by our lack of
experience, or the fault of the wheel, the kiln, the clay, the
neighbor...???? and we go to great lengths to find the Ideal everything
external when what we really need to do is find a good instructor and
practice good methods and techniques untill with adaptation they become our
own. A child goes through a tablet of drawing paper or bags of clay with no
sense of cost of the medium or preciousness of the objects created. Just
pure exuberence in the experience of doing. We adults must cultivate a
return to this state. Please bear in mind that there are people making
great work with "bad" clay and museums are full of pots made from clay and
wheels that would freak most of us out. wobbley wheels and clay with stones,
roots, twigs and minerals that lead to wonderful and interesting textures
and forms. Here is where the material and equipment dictate the form and
aesthetic. we adapt and art is caused to happen when we are in a muse state
of fascination, wonder and discovery.
There is a time for serious playfull abandon, and a time for serious
dedication to the science of our craft and profession.
We have to grow in this.
Throw drunk once, get naked often, pee in the clay or glaze bucket, laugh
some, contemplate the "unthinkable" and find one'self doing the
"impossible".
David
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David Woof Studio
Clarkdale, Arizona
Ph. 928-821-3747
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peering over the edge, reverently taking an irreverent look at everything.
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