I emptied the kiln two days later when everything was room temp. Now comes the hard part and the most engrossing. I now have five new flat white porcelain canvasses and four have a hole that erupts out of the porcelain surface.
First, I photo the work as it sits on each of the kiln shelves. Then I sit around my studio on chairs, tables, shelves, not the floor! During the next week or so that follows, we talk to each other. I get a sense of the energy of the raw porcelain. Is it up or out or on or dead, where is it? Sometimes the conversation is brief, a wink or a touch of the texture is enough. Then that piece is set aside with glazed tiles (the palette) and a 6×4 card to record the process. Other porcelain sculptures are less chatty and require more attention and intercourse.
“What was going on, when my hands were in the clay? What am I feeling about this white porcelain image? Can I paint and glaze a color that pulls my eye into the soul of the porcelain sculpture? And finally, what do I want this piece to say? “
But… I don’t ask any of those questions, I just stare at the pieces for awhile, set up my glaze table, pick my pallet, and then glaze. I do have a conversation with each piece; the language, however, is visual and the context is spiritual.
Giacometti, the famous Italian painter/sculptor said, “ He no longer works for anything except the feeling he gets while he is working.”
Some days, I can just hear him.
Glazing is next. Talk to you soon.
Thanks for the visit.
Elain O’Sullivan & Sheila Dunlap, copyright 2014 O’Sullivan Dunlap Studio