Following Up with Alice.
Posted by C Scheftic on 2012/05/12
Though I hope others find something of interest in this note (like my last post, another example of a piece that just evolved during some demos), my reason for writing about this one is a little exchange Alice Walkowski and I had early this year about a technique (borrowed from the pottery world) called slip trailing, some of which may be found among the posts here (on her blog) and here (on mine).
But, let’s start with the first photo. I had cut the “sunshine shape” out of bronze during a demonstration. At the time, I was making several points. One was about taking care at corners, points, hollows, and such, (regardless of whether you used (my favorite) press-down cutters or (as books and articles often describe) drag-tools with templates to make your cuts). Another was about how, if you had a texture sheet with several different designs on it, you could sometimes get an interesting look by letting the area you cut out cross over from one pattern into another. Because I was focusing on all that, I did not bother to texture the other side before I cut it out. But I liked the result enough that I didn’t continue, as I often do in demos, with just squishing my clay up to reuse later on: I kept it, and let it dry as it was.
As I also reported recently, I’d demonstrated several examples of making and then joining links “invisibly” so I had a pair of linked rounds lying on my worktable. I added them to the “plain” side of the sun-shape. Again, I included my little talk about how, although many metal clay artists would use paste for the connection, I don’t get why so many people do it that way. I use plain water plus a brief moment of patient pressure (no longer, overall, that opening and closing a jar of paste…) and, neat and easy, it works just fine!
Then, someone just happened to ask me about slip trailing. They’d read about it, but didn’t quite get how it worked. So I moistened up some rose bronze clay, and used that to fill an empty, clean syringe so I could start to show the process. But, as can happen in quick, impromptu demos that get me off track of what I was planning to do, I didn’t pay as much attention as I should have to the thickness of the moist clay I was loading into my syringe. And a big “plop” landed on my careful (if quickly-sketched) design, covering several “rays” all at once.
I cleaned it up a bit and then tried, without as much success as I’d hoped, to add a dainty “plop” on the other side, to at least offer a bit of balance to the piece. But it just seemed to continue its own ungainly theme….
Refusing to acknowledge any sort of crisis regarding my lovely textured-star shape, I explained that piece was just telling me what it wanted. So I dribbled on some more goopy rose bronze and then added a few “highlight blobs” of copper clay too. The end result is more “turbulent” than what I’d planned to do, but I decided to just fire it anyway and see what happened. And I think the “stormy” look is just fine, especially in contrast with the precisely-textured first-side. Two different looks in one piece, as I often say!
And besides, by that point, what other reasonable choices did I have? I hope it will find a home with someone who can appreciate the mixture of precision and wildness across its two sides. Some may not, but I’m sure a very special person will, in the end, resonate with it!
(By the way, I did do a second demo using another base piece I had on hand, showing how the results can vary with different consistencies of slip. Much more successful! For reasons not worth going into here (though Alice knows at least one reason why…), I haven’t yet managed to capture a photo of that piece.)
This entry was posted on 2012/05/12 at 22:00 and is filed under General Techniques, Teaching Metal Clay. Tagged: bronze, copper, design, oops, paste, slip. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.