The Journey is Everything

I often find myself focusing on the 'destination' in so many areas of my life, and particularly in relation to my work. How things are going to be, or should be, or more often than not, how I want them to be. So often I have to remind myself that the 'destination' is an illusion. The journey is everything, and everything is the journey.

The Social Network

This blog focuses mainly on ceramics, my own and sometimes that of other ceramists. This post is an exception.

I saw the movie The Social Network this evening and I thought it was brilliant. In fact I think it is probably as close to flawless that a movie gets. Superbly scripted by Aaron Sorkin, of The West Wing fame and excellently acted by Jesse Eisenberg, Andrew Garfield, Arnie Hammer and Justin Timberlake in this superb ensemble piece directed by David Fincher, who is probably best known for an earlier masterpiece Fight Club. It is the story of Facebook told in a brilliantly edited, and extremely witty work which never falters. I have nothing but praise for this movie and my reason for posting it here is just to urge you to go and see it. If I have seen a better film in recent years, I cannot remember it.

Back in my Studio

Today was my first day back in the studio after my overseas trip. As is usual for me I started off by carrying out a number of tests. New shapes, new materials and different combinations of the materials I have been working with over the past few years. The tests are firing tonight and I will post any that come up trumps for all to see in the near future. It's good to be back.

Days of Miracle and Wonder

So much time has passed since my last blog entry and so much has happened since then that I really need to think about where to begin!

The selection process in the Western Cape

Firstly I was privileged to be asked to be the traveling selector for the Ceramics Southern Africa's National Exhibition which was held in the magnificent setting of the Grande Provence in Franschoek.

The magnificent surroundings at Grande Provence

Some incredible work was submitted for selections in all regions and the process went well and resulted in what could only be called an exceptional exhibition.


An general view of the CSA National Exhibition



Part of my entry on the National Exhibition

On my return from the selections I was greeted with news of a parcel in the post. I have been working with soluble salts on bone china for some time now and ever since I first heard of it I have been trying to get hold of a copy of the book 'Water Colour on Porcelain' by Arne Ase, which has been out of print for a number of years, but miraculously thanks to Facebook and a friend to whom I will be forever indebted I have finally got a copy of the book. It is overwhelming and inspiring, with enough information to keep me going for quite a while.
The day after returning home from the selections I was off to England to attend a workshop with renowned ceramist Sasha Wardell in Bradford-on-Avon. I have been a longtime admirer of Sasha's work and through her book 'Slipcasting'  she had unknowingly been a major contributor to the development of my Bone China work. 

One of Sasha Wardell's beautiful pieces

When the opportunity arose to participate in this workshop there was no option for me but to attend. The workshop was absolutely incredible. Information and methods were shared freely, I got to work on a potter's lathe and also to work with real English Bone China and as a result I found myself looking at mouldmaking and slipcasting in a whole new light.

Turning a form on the lathe

It was so inspiring to be a part of this workshop which I am sure will impact my future work.

After the workshop it was off to London for two days. One of these was spent at the new ceramic wing at the Victoria & Albert Museum.

Part of the display at the V & A Ceramic wing

It seems ludicrous to call it a 'wing' as it comprises the entire sixth floor of the museum. This was truly an experience over which I will never get! Seeing works that I had hitherto only seen on the printed page or computer screen was phenomenal! So much work. Far to much to list, but to see Bodil Manz's magnificently proportioned cylinders, Edmund de Waal's incredible installation of over 400 pieces placed way above the viewer (about three floors) and also to see the work of legendary names like Ruth Duckworth, Colin Pearson and Walter Keeler was almost to much to take in. This was an experience that words can never justify and to say I was moved by the occasion seems trite, and yet I cannot ever remember being this effected by ceramic work.

A bird's eye view of Edmund de Waal's incredible installation

I shall be forever grateful for this experience and I can only hope that that which inspired and overwhelmed me will show in some way in the work I am yet to produce.

A New Addition

This piece has been resisted with wax and then painted with various soluble salt solutions. After firing the salts, gold lustre has been applied in areas the work re-fired. This new work can be seen at the Ceramics Southern Africa Regional Exhibition opening at Museum Africa in Newtown Johannesburg on Sunday 11th September at 11.30 am.

UJ Ceramics Alumni Exhibition.

Ceramic Design at the University of Johannesburg closes at the end of this year. An exhibition celebrating the work of the alumni and staff of this programme is currently on view at the FADA Gallery at the University's Bunting Road Campus in Auckland Park. The exhibition closes on Wednesday, August25th.

At the opening

Workshop Information

This is my programme for the remaining workshops I am presenting this year on Friday mornings from 9:30am – 12:30pm at The Pottery Studio, 24 Old Kilcullen Road, Bryanston.
If you wish to attend any of the workshops listed please book now to secure a place by mailing me: johnshir@gmail.com
These are demonstrating workshops and a large amount of material is covered. I suggest you bring a notebook.

Cost R300.00 per workshop

Decorating Techniques – green and bisque ware: August 6th. This workshop covers a variety of surface treatments which can be carried out on both green ware and bisque-fired ware. Among the techniques covered are a number of resist methods, etching on raw clay, underglaze and majolica, stamping, a new method of tube lining, sponging and banding. You will also be shown how to make your own underglazes, majolica colours and ceramic crayons.

Creating a Professional Image: September 3. Are you doing enough to get your name and your work in the public eye? In this session we will look at various ways of how to go about promoting yourself and your work without outlaying large amounts of money. Also discussed will be the importance of creating your ‘brand’ and where to position yourself in the market.

Paperplaster; the mould making revolution: October 29th. The revolutionary paperplaster method has changed my approach to mould making forever. Introduced to me by Sandra Black as taught by Trudy Golley this is an excellent introduction to basic mould making as well as a great new method for those more experienced in this area. This method uses much less plaster than is usually used for mould making resulting in lighter easier to manage moulds. I will also be demonstrating and doing my best to take the mystery out of slip casting.

Paperplaster

Glazes, everything you wanted to know: November 5. This workshop will focus on all practical aspects of glazing. Glaze application methods will be discussed and demonstrated as well as ways of keeping glazes consistent. Glaze on glaze decoration as well as ways of creating specialised surfaces using a number of techniques will be covered as well as the introduction of line blending, a method that offers you the opportunity to create your own glazes with no technical knowledge.

Image Transfer on Clay: November 12. This workshop will cover ways of transferring images on to your work using a variety of methods. I will cover the making of your own decals using a normal laser printer as well as other methods of surface enhancement using photocopiers and printers, and other transfer methods, including a lithographic process that you can carry out on your own with few materials.