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Susie Bowman used to be the owner of The Kiln Studio and Gallery in Fairhope, a beautiful coastal town in Alabama. Antoinette presented a hands-on workshop in the well equipped studio.
Susie hosted workshops and shows of well known ceramic artists and potters like Curtis Benzle, Mary Louis Carter, Ron Meyers, Ken Baskin, Chris Gryder, Bertice McPherson, Sebastian Moh, Fong Choo.
Susie hosted workshops and shows of well known ceramic artists and potters like Curtis Benzle, Mary Louis Carter, Ron Meyers, Ken Baskin, Chris Gryder, Bertice McPherson, Sebastian Moh, Fong Choo.
Since this interview the gallery closed, but there are very interesting conversations about ceramic artists.
Reader comment
What a heartfelt and inspiring interview! Susie Bowman’s dedication to showcasing such incredible talent at The Kiln Studio really shines through. Reading about the workshops and artists she brought together reminds me of a pottery class I took years ago—those creative spaces truly bring people together. Thank you, Antoinette, for capturing and preserving such a special chapter in the ceramics world!
What a heartfelt and inspiring interview! Susie Bowman’s dedication to showcasing such incredible talent at The Kiln Studio really shines through. Reading about the workshops and artists she brought together reminds me of a pottery class I took years ago—those creative spaces truly bring people together. Thank you, Antoinette, for capturing and preserving such a special chapter in the ceramics world!
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Note how I start trimming. First the interior and then the exterior wall. It is easier to judge the wall thickness while trimming right side up and if the interior is perfect, the exterior can just follow.
I trim the foot with a blunt tool, because the clay is still very soft at this stage (I normally keep my pots under plastic until it releases itself from the bat), but first use a surform blade to take any unevenness out. The softness of the foot allows me to reshape the foot rim. For the walls I use a sharp trimming tool, to prevent that I have to push too hard on the thin rim.
I run the wet sponge over the whole piece to create a slip that help me to smooth the surface out with a rubber kidney, but at the same time, the re wetting of the pot will allow me to alter the shape later. Be aware that if the pot is to dry when one add water, it can de-laminate.
I trim the foot with a blunt tool, because the clay is still very soft at this stage (I normally keep my pots under plastic until it releases itself from the bat), but first use a surform blade to take any unevenness out. The softness of the foot allows me to reshape the foot rim. For the walls I use a sharp trimming tool, to prevent that I have to push too hard on the thin rim.
I run the wet sponge over the whole piece to create a slip that help me to smooth the surface out with a rubber kidney, but at the same time, the re wetting of the pot will allow me to alter the shape later. Be aware that if the pot is to dry when one add water, it can de-laminate.
See Antoinette's work in her gallery and online workshops, as well as her hands-on workshops in her own pottery studio in Saltillo, Mississippi.
See list of e-courses at TeachinArt.com online art school
See list of e-courses at TeachinArt.com online art school
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One of the most difficult things for potters that did not study chemistry, is to understand glazes. Antoinette describes it in this demonstration with everyday groceries found in the kitchen.
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