Stacks: Testing Clay Bodies, Paint, Underglaze, and Papers

painted sprigs awaiting wiping and paper

After discovering that the increased scale of my stacked sculptures was causing cracking, I decided to test some alternate clay bodies under basically the same conditions. I created several similarly sized stacking forms, each out of a different clay body. I used paper for each one and glaze for the ones that did not crack in the first firing.

the three part stack with one type of sprig

I was happy with the amber paper and paint stack I finished last summer, so I decided to make similar forms for my tests, with areas for paper and other areas of sprigged textures. I complicated things by switching clay providers (because we were near Seattle and not near Tacoma for a trip) and making relatively minor some adjustments in my building methods. 

this piece cracked during drying

Throughout the years, since at least 2002, most of my sculpture has been built with coil and pinch methods. I use press molds for my bulbs and sprigged textures and I throw functional pieces on the wheel, but for most of that time, forms of any size have been primarily coil built. The biggest exception was the stacks I threw for the faculty show, Dust, in 2024. 

extruded coils being used for the building of one of the stacks

For most of my work, I have used rough coils shaped by hand, because they are fast and easy to make and use. However, for these large stacks, I extruded coils in order to maintain consistent wall thickness

my extruder with a long string of coil being readied for building

In the past, I've generally felt that the time it takes to set up the extruder, prepare the clay, extrude, then clean the extruder before building is not worth the hassle. With these tall stacks, because they are so big, and because I was trying to test the material strenth, I decided to start extruding my coils. The added effort of the extruding process is balanced by the amount of coils I use in one sitting. 

I tried out a new type of visible gallery for the top seam

The extruded coils allow me to build fast and since these pieces are large, I have been using about 75lbs of clay for "one" stack of three pieces. At this scale, the time spent extruding is a smaller percentage of the time spent building. It feels worth it to extrude coils, and they have the added advantage of consistency and speed (once the extruding is done).

because these pieces are so large, I start them on a counter, then lower them progressively to a stoll and then the floor

In response to the earlier cracks, besides testing clay bodies, I also started using thicker extruded coils for the first two or three levels of the base. Since most of my cracks were happening (or starting) in the bottom edge of the bottom section, I figured extra thickness here could help. I also started flipping my forms over after those first 2-3 rows to compress the bottom edge with a rib, before flipping the base right side up again to continue building.

the one-sprig piec with half a layer of acrylic paint

The clay bodies I tested were designed for sculpture and had either added grog (ground fired clay) or paper to help with strength and shrinkage control. Two of the three or four clay bodies I tested still cracked, which left me with a couple of options for clays that are working. Ironically, my daughter will be starting college at Lewis and Clark in Portland, meaning I probably need to test some sculpture clays from Georgie's in Portland if I want to save on shipping costs over the next 4 years.

the first gouache layer on the piece on the right, a paper mache and paper pulp experiement on a mold behind it

Of the two test pieces I made with sprigged sections and smooth sections for paper, one cracked and two didn't. I glazed the ones that didn't crack, but used acrylic and gouache for the one that did (the second cracked one is being used as a mold, to be discussed in a later post). I wanted to try some different colors of paper, so I bought some banana paper which worked fine, but the colors aren't as nice as the amber kozo paper I used last summer.

the base of the painted sprig piece while paper was being added

I used the underglazes much like I always do and am happy with them, but they don't contrast quite as nicely with the paper. I think the color contrast, as well as the texture contrasts worked particular well with the amber pieces from last summer.

the first layer of underglaze before firing

Lots of factors besides the paper color imapcted the finished pieces. For this year's painted stack, I used almost all the same shape of sprigs, which, with the less vibrant paper color, resulted in a more subdued form. I like the form on it's own, but I need to make an effort to get a well-lit picture that does it justice. 

the first layer of underglaze after firing

Additionally, I didn't realize that the metallic gouache paints that I used sparingly in the amber stack did quite as much to add some texture and shine to the piece. I was worried they might be overkill and thus didn't use any this time around.

the base with the second underglaze layer, fired glaze, and paper

For the glazed pieces, I have one that has a variety of different sprigs within each section, like last summer's amber stack. The other several different sections that each have the same sprig and color scheeme, separated vertically by smooth glazed sections.

the newest stacks (which no longer fit in my studio) waiting for a good quality photo sometime

Honestly, seeing all four of these stacks together makes me want to make even more pieces like these in future. I have several more stacks in progress, with no cracks and more complicated forms. I also just bought an additional 250lbs of clay, so I plan to start some new pieces next week, after we drop off the kid at college. The goal is that all of these end up in the faculty show in January 2027.

Labor Day Weekend Open House & Tall Work in Progress

Coming up this Labor Day weekend, I will be hosting an open house at my home studio. My art colleagues at Yakima Valley College, Kayo Nakamura, Monika Lemmon, and Chris Otten will also have their work on display at my studio. 

This year's postcard, featuring work by me, Monika, Kayo, and Chris

Like last year, the show will run Saturday and Sunday 10-4 and Monday 10-12 at my house, 203 S. 8th Ave in Yakima, near Davis High School. Unlike last year, admission is free! The studio is on the ground level, but in back of the house, and visitors will have to walk across some grass and there is a small step into the studio itself. We'll also have work displayed in the yard.

me, Chris, Monika, and Kayo

My studio has been a part of the Yakima Artists' Studio Tour for the past 4 years, but this year we decided to separate ourselves from the tour for several reasons, including that we don't really want to charge folks to visit the studio. We are holding the open house on the same weekend and have offered to tell our visitors about the Tour, though we are taking care of our own advertising, such as it is, for this event.

finishing three parts of this large sculpture from last year (the cat thinks the paint water is her dish)

My goal with this event is to show off my studio and my work, as well as the work of my colleauges, and to chat with folks, socialize, and hang out with friends. I signed on to the tour back in 2021 for the same reasons, and because I like the idea of a weekend set aside for folks to visit different art studios in the area. I would like the tour to be free for visitors.

Dates and times are the same as last year, but we're no longer an official part of the tour 

Months or a year ahead of time, I always think that inviting people to come to my studio sounds easier than taking my work someplace else, but when it comes down to it, I'm not sure that's actually true. There's a lot of cleaning involved in opening my home studio to the public, and I need to stop making new work (or finishing old work) at least several days or a week ahead of time in order to clean and arrange the space to show work rather than make it.

clean windows, floor, and wheel, this only happens once a year!

On the other hand, it's not a bad idea to sometimes clean my studio. This is the only way the windows are going to get washed.

my large (complicated) sculpture started last year

I've spent most of my studio time this summer trying to finish work I made last year or in the spring. Honestly, I kind of hate finishing work. I like making things out of clay, but I don't like glazing nearly so much and this summer I learned that I pretty much hate painting--at least the way I was doing it.

ooh, that crack!

Last year I completed several tall multi-part sculptures, but the bottom parts cracked in the kiln. I suspect that they cracked because the clay body couldn't handle the size and weight of the clay. In May, I bought several different sculpture clay bodies to test my theory that the clay is at fault, but I haven't found the time to do make anything out of those clays (because I've been glazing and painting instead).

I usually fire the first layers of underglaze, then add a second layer and wipe it away from the raised textures

Because the bottoms cracked in the bisque or first underglazing firing, I didn't want to fire them again. My usual approach to sculptural surfaces is to layer underglazes, which, for me, means 3 firings. The cracks  were likely to get worse in subsequent firings, so I had determined to patch the cracks and use a cold finish (meaning an unfired finish, in this case paint and paper).

the repaired base with acrylic paint

Last summer I asked my painting colleagues for recommendations and during the year I purchased some acrylic and gouache paints and practiced using layering gouache over acrylic paint. This summer I finally got around to using the gouache on the most complicated of the large sculptures. It worked great for what I wanted, but it took forever and was somehow more tedious than my already far too tedious underglazing layering techniques.

the first layers of gouache on the sprigged surface

The tedium had a lot to do with my approach. Instead of using one or two colors of gouache over the blue acrylic, I decided to use eleventy-seven colors, which took eleventy-seven hours to apply, and then an additional infinity to wipe away.

the gouache partially wiped away from the sprigs

I finally finished the paint layers on all 3 of the parts of this textured stacking form, but I still haven't finished the piece, because the plan is to add paper layers over the blue sections. Honestly, by the time I finally finished the paint, I didn't want to look at this sculpture anymore.

the gouache nearly completed

Also, before the Labor Day open house, I really wanted to finish glazing the 100 bulbs I had made in the Spring. I've got the last batch in the kiln today, so my plan is to clear some space and get the paper done on this sculpture before the show. Which is why I've decided to take time out of my day to write a blog post...and mop the floor...and clean my email...and maybe I'll paint the kitchen today, too.

painting all done, pieces stacked (somehow it feels like it should be taller than this)

If you'd like to see this piece finished, stop by my studio on Labor Day weekend, there's, like, a really good chance it will be done by then.

Paint & Floor in Clay Studio (Remodel)

Our cat explores the new floor this morning

My home studio is starting to come together.The walls have been painted, the windows installed, and the floor is (almost) entirely done.

New windows installed after walls were painted

My husband has been doing nearly all the work. In October I shared pictures of the ridiculous wall-carpeted room before and after Sean started ripping out the carpet. In November he had completed the removal of carpet and gluey walls, and was just about finished with the drywall.

The new window, new walls, and outlets with the bare floor (and work table)

The main goal of this project was to remove the carpet from the studio. When Sean started talking about going back to work after his summer sabbatical, I asked him if he would delay a bit longer so he could renovate my studio. The carpet looked ridiculous, but I was more concerned about safety in the studio. Clay dust contains silica, which is a breathing hazard; prolonged exposure can lead to silicosis and damage to the lungs. Vacuuming without a specialized filter (on an expensive vacuum) causes the dust to become airborne and thus more likely to be inhaled.

a new window from the outside and our inexpensive shop vac 

I have since spoken with a chemical hazards specialist about the L&I risks from silica exposure in the clay studio at work and I was pleasantly surprised by his assessment that our studio is much safer than I feared. I do strive to keep both studios clean and I emphasize cleaning up the wet clay before it can become dry (and later airborne) and recycling clay and cleaning in ways that both minimize creation of clay dust and exposure. Based on the work assessment, I suspect that my studio was safer than I feared.

The ceiling fan was removed to paint the ceiling. When Sean reinstalled it, he fixed the squeak that had been plaguing me for more than 10 summers in the studio. 

The studio remodel had some other advantages, of course. The paint, flooring and new windows all look better than the carpet, carpet and old windows. Taking the carpet off revealed walls that were just covered in glue. Taking the gluey walls off revealed insulation that had developed mold in some places. Removing the insulation allowed us to replace the insulation with a higher quality insulation. 

the drips inside the old window (the window is lying against a large rock near our back fence)

The wall insulation wasn't the only insulation improvement. The new windows are better insulated. They can also be opened, an improvement over the past windows, which were just two pieces of glass with sealant dripping down the inside.

Sean replacing the seal on the first exterior door.

Sean is fairly detail oriented, so besides replacing the insulation and windows, he has also replaced the seals on the exterior doors. This room has a separate heating system and is not connected to the main house furnace or air conditioning. With the new insulation, windows and door seals, the room is a much more stable temperature than it ever had been. Sean also replaced the old thermostat with a new one that is easier to use.

New USB outlet and thermostat

Sean rewired the space with more (and more convenient) outlets. The outlets are now spaced at higher and lower heights all around the room to allow for easier access for plugging in my pottery wheel, Dremel, phone, speakers, and anything else that needs a plug. Some of the outlets also have USB ports, which obviously weren't an option when this room was built.

my blue wall behind the existing cabinets

I wanted to have some fun with the color, so after Sean painted the three largest walls a neutral color ("ginger root"), I picked out a deep blue color ("Adriatic sea") for the third wall. This wall is much smaller, with cabinets and a door reducing the surface dimensions, but I really love this bright contrasting color. Sean also painted the back of one exterior door with this color, which amuses me greatly.

the blue door seems to lead to a mysterious location, or storage

The floor we chose is designed to be easy to clean, particularly compared to old carpet. The floor is vinyl planks that are glued down. Sean had me lay them out so the pattern matches fairly well. He installed them. Part of the thought is that the vinyl will be slightly more comfortable to stand on than cement.

gluing down the floor panels

We have some baseboard trim waiting in the garage to be stained and installed. Once that is installed, the cabinets need some touch-up painting and the countertops need to be replaced. Then we can replace some of the furniture and bring stuff back into the room from storage. Right now all my stuff is crammed into closets and other spaces in the basement, making it tough to snag the cats when they run down there to hide.

Kitty contemplating the lack of hiding spots and the fact that we covered up her secret exits (the plastic covered windows)