I named him crimson moon

So finally this most excellent cadmium red and magnesium dry painting has a title that is more discerning than the arbitrary numbers it originally had.

The colours are SO awesome and I am completely happy with the way this one is.

It is a painting.

So beautiful.

If you look closely at the cadmium red, you can see the speckled black drool within the glaze that makes a web shaped pattern. (I have to remember to put up a detail)

And the dry glaze is just that > it's not powdery or too dry, or runny, it is perfectly dry. In different thicknesses it becomes darker purples or mauve. This was an early success story and it was in my graduation exhibition.

Soft palette

So this is a collection of effect that I have discovered at stoneware temperatures. It's also an experiment to see if I could construct a well of glaze to make different levels or depths of glass.... a tool I may play with next year.

There are underglaze colours used to keep the overall scheme bright, I'm not interested in dark atm. When overlapping with the white satin and the extraordinary peach bloom I found in "Ceramics' Art and Perception"( i dont recall the issue), the effect is a bubbly, fun, energy. To me it gives information and is pretty for everyone else. We can get different things out of it, and hopefully it inspires people who see it to think about materials in a new way- why not hang on the wall an change the direction of gravity?? , why not splatter and scratch with your materials to give details or movement? Even if this wasn't ceramics, or even art , but was  cake decoration or furniture- isn't it beautiful when there is a variety ? :-)

Every day and everything has its quirks , it's changes, differences, faults and  perfections- but combine them and it's just right.

You have to hate one part in order to enjoy another.

Do I make sense or am I ranting??

Cracked fairy saliva

So when making ceramics paintings, you have the option to continue a tradition of a rectangular format or to go crazy and use all of the possibilities of the clay.
So this is an instance where I wanted the piece to be simple to understand as a painting and not a tray or plate. This is why the crack is so important! It couldn't really be a decorative tray if it has a crack! I found that whenever I would make a ceramic painting someone would comment , full of good intentions, that it could have cheese and biscuits on it or maybe fruit could be stacked on it.
WHAT?-WHY!?
It's pretty the way it is.

You can't makenit better by covering it up!!
If you don't like it , don't look.

But how can you not like thinning offensive combo of colour ... that's why subtitles are exciting :-D

A house in Mexico

So this little guy was a really early piece that when it was fired, the dry glaze wasn't as dry as I supposed and it ran and attached to another something. But I liked it so I made it become part of the interest of the object by drawing attention to the movement and flow on effect of the obvious "mistake" with a hot glue drool. Then to give the pirec the right space from the top of the table a rested it on a brick and I love it ever since.

The nails were an experiment just to see how they would look with glaze colours and temperatures, but the feature let's the ragged surface make since, adding to the gritty, ironically-happy coloured piece.

The name was initially simply to help me tell this piece apart from the next, but the colours do remind me of the trip I took to Mexico. There the buildings were painted in bright colours but also neglected and worn. Some people lived with mattress walls for a shanty house, but they always smiled. The yellows I used remind me of the searing sunlight and the purples of vibrant colours that give hope to the community.