Sculpted porcelain bowls
Ripening of the season
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Winds of change
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Consonance
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The story
It mostly starts on paper. I have a general theme in my head and I like to “brainstorm” it on paper. Since I am self -taught, my drawings are more schematic than realistic. (I often said it is much easier to punch a hole in a piece of clay than drawing it on paper!)
I use any clay technique possible. Porcelain behaves somewhat like blown glass when heated. It moves during the liquid phase, but unlike glass that is heated and manipulated outside the kiln before it is placed inside the kiln where it cools down, porcelain is formed outside the kiln. It must go through extended heat work to allow the raw materials to sinter, become vitrified and translucent.
Once inside the kiln, the control becomes completely out of reach of the potter. Therefore, the potter must predict beforehand how the clay will behave. Careful design of the porcelain is needed to prevent slumping and tearing of the clay in the kiln. I like to push the limits of the porcelain and therefor have to use special supporting techniques in the fire.
The clay process is tedious. The whole manipulation process revolves around water control. The “diva of clay” is a drunk! She wants water, but when she gets just too much, she collapses and no one can get anything else from her! Give her too little water and she stays ridged and stubborn. Just enough water makes her dance.
That is how I learned to work with porcelain. The analogy is a tongue in the cheek reference to the pliability of the medium. The reality is that when it is soft and workable, it is prone to slumping. When it is not slumping, it tends to be ridged and cracks easily. It may appear too dry to work with, when it is still possible to alter and carve into it. Therefor I either have to work with the very narrow window of opportunity, when the clay is just right to work with, or I have to control the water content to allow for extra time to work with it.
To bring my ideas on paper to artistic expression is a slow process. The opportunity to form it is one in which a fine balance between soft and leather hard clay is maintained. Once the clay is trimmed to where I am happy with it, it is normally too dry to alter, so I have to carefully infuse water and then cover to allow for the water to soak in. I normally let it sit overnight. Then I alter the clay with a cut and paste technique. The clay has to rest again, since the pasting of fresh clay, wets the clay again beyond control. This juxtaposition between wetting and resting of the bowls goes on until I am happy to let the piece dry out. I use time and technique to push porcelain to where I want it to be.
It is best to work on several pieces at once and it is best if I work in series, since the human mind can only express one thing at a time; art expression is no different.
It normally starts with about 20 pieces; 10 formed on the potter’s wheel and 10 either formed in a press mold or by hand. It takes about a week to get the clay dry enough to begin the trimming process. Clay walls must be as even as possible or else it may slump during the liquid phase in the fire.
If I misjudge the dryness at any time, chances that the clay may deform or crack is possible. Therefore, I have to be constantly alert. The balance between creativity and technique is very fine and it is easy to become absorbed in one of these two. When that happens, I either end up with a technical piece with no content, or an artistic piece that breaks and crack, because I got carried away. Almost all my work is altered and seldom recognized as wheel thrown or press molded and I enjoy the carving process. The light and shadow that is formed contributes to the storyline of my work.
In the samples that I submitted I tried to bring the viewer a pallet of work with the overall theme of “Circles, cycles, seasons." Each piece is part of a larger series, drawn from nature with the analogy to human nature; how they respond to their own, or the circumstances of people and events around them.
The rhythms of time flow, but chances of change are always just one moment away: today’s joy is tomorrow’s sorrow. Life today is followed by death. Summer today, is winter next. Sadly, today’s youth is tomorrows old age and it all start from one stagnant place from where life spirals out in circles.
Clay, interestingly enough, begins as a lifeless lump, made up from tiny platelets that is ready and willing to be formed into objects of beauty. On the potter’s wheel it spirals out. In the hand of the maker, it grows to pieces of beauty or it suddenly breaks down into disaster.
“Reaching Out” is often the first response after a catastrophe, but then we “move along” while some goes down and others raise “above circumstances” Sometimes we hurt too much to share it with others and we turn into ourselves while there are times when we keep enjoying the smooth rhythm of life around us.
There is an artist in all of us. While some people develop their artistic expression, others enjoy the creative process of other artists and some find solace in art, when they cannot voice their feelings themselves.
I like to teach and share my work and knowledge with others. I enjoy the challenges that porcelain brings, but at the same time I like to pay close attention to the small nuances and details of the medium.
Although it is hard work, I believe that my peers as well as my direct and broader audiences get some form of stimulation from my work. I cannot work in isolation. I consider my work as a special gift which does not belong to me and it is my obligation to share it with the world around me.
If anyone can associate with that, I feel that I am successful.
I use any clay technique possible. Porcelain behaves somewhat like blown glass when heated. It moves during the liquid phase, but unlike glass that is heated and manipulated outside the kiln before it is placed inside the kiln where it cools down, porcelain is formed outside the kiln. It must go through extended heat work to allow the raw materials to sinter, become vitrified and translucent.
Once inside the kiln, the control becomes completely out of reach of the potter. Therefore, the potter must predict beforehand how the clay will behave. Careful design of the porcelain is needed to prevent slumping and tearing of the clay in the kiln. I like to push the limits of the porcelain and therefor have to use special supporting techniques in the fire.
The clay process is tedious. The whole manipulation process revolves around water control. The “diva of clay” is a drunk! She wants water, but when she gets just too much, she collapses and no one can get anything else from her! Give her too little water and she stays ridged and stubborn. Just enough water makes her dance.
That is how I learned to work with porcelain. The analogy is a tongue in the cheek reference to the pliability of the medium. The reality is that when it is soft and workable, it is prone to slumping. When it is not slumping, it tends to be ridged and cracks easily. It may appear too dry to work with, when it is still possible to alter and carve into it. Therefor I either have to work with the very narrow window of opportunity, when the clay is just right to work with, or I have to control the water content to allow for extra time to work with it.
To bring my ideas on paper to artistic expression is a slow process. The opportunity to form it is one in which a fine balance between soft and leather hard clay is maintained. Once the clay is trimmed to where I am happy with it, it is normally too dry to alter, so I have to carefully infuse water and then cover to allow for the water to soak in. I normally let it sit overnight. Then I alter the clay with a cut and paste technique. The clay has to rest again, since the pasting of fresh clay, wets the clay again beyond control. This juxtaposition between wetting and resting of the bowls goes on until I am happy to let the piece dry out. I use time and technique to push porcelain to where I want it to be.
It is best to work on several pieces at once and it is best if I work in series, since the human mind can only express one thing at a time; art expression is no different.
It normally starts with about 20 pieces; 10 formed on the potter’s wheel and 10 either formed in a press mold or by hand. It takes about a week to get the clay dry enough to begin the trimming process. Clay walls must be as even as possible or else it may slump during the liquid phase in the fire.
If I misjudge the dryness at any time, chances that the clay may deform or crack is possible. Therefore, I have to be constantly alert. The balance between creativity and technique is very fine and it is easy to become absorbed in one of these two. When that happens, I either end up with a technical piece with no content, or an artistic piece that breaks and crack, because I got carried away. Almost all my work is altered and seldom recognized as wheel thrown or press molded and I enjoy the carving process. The light and shadow that is formed contributes to the storyline of my work.
In the samples that I submitted I tried to bring the viewer a pallet of work with the overall theme of “Circles, cycles, seasons." Each piece is part of a larger series, drawn from nature with the analogy to human nature; how they respond to their own, or the circumstances of people and events around them.
The rhythms of time flow, but chances of change are always just one moment away: today’s joy is tomorrow’s sorrow. Life today is followed by death. Summer today, is winter next. Sadly, today’s youth is tomorrows old age and it all start from one stagnant place from where life spirals out in circles.
Clay, interestingly enough, begins as a lifeless lump, made up from tiny platelets that is ready and willing to be formed into objects of beauty. On the potter’s wheel it spirals out. In the hand of the maker, it grows to pieces of beauty or it suddenly breaks down into disaster.
“Reaching Out” is often the first response after a catastrophe, but then we “move along” while some goes down and others raise “above circumstances” Sometimes we hurt too much to share it with others and we turn into ourselves while there are times when we keep enjoying the smooth rhythm of life around us.
There is an artist in all of us. While some people develop their artistic expression, others enjoy the creative process of other artists and some find solace in art, when they cannot voice their feelings themselves.
I like to teach and share my work and knowledge with others. I enjoy the challenges that porcelain brings, but at the same time I like to pay close attention to the small nuances and details of the medium.
Although it is hard work, I believe that my peers as well as my direct and broader audiences get some form of stimulation from my work. I cannot work in isolation. I consider my work as a special gift which does not belong to me and it is my obligation to share it with the world around me.
If anyone can associate with that, I feel that I am successful.
Antoinette is happy every time she throws a porcelain bowl or pot successfully on the potters wheel
Antoinette specialized exclusively in translucent porcelain in the past 19 years. During this time she won several awards and her work was on show in some of the United States most prestigious shows and galleries. Her work was exhibited and became collectors pieces in The USA, Japan, Canada, Europe, South Africa, Australia, Mexico and China.
She was also featured in several magazines and books world wide.
Her first book, in Collaboration with Ceramics Monthly was published in 2019.
She was also featured in several magazines and books world wide.
Her first book, in Collaboration with Ceramics Monthly was published in 2019.