Two Classes and not Enough Time

Raku
I have been dedicating myself to working in my studio, engaging in the intricate process of wheel thrown ceramics with the intent to pit fire them. This captivating technique, with its unpredictable nature, breathes unique depth and character into each piece I create. It's as if each ceramic has its own story to tell, shaped by the whims of the flames. Recently, I took a step further on this creative journey by signing up for a raku class at Queen City Clay. This opportunity allows me to finish my work using the raku process—a method known for its striking visual effects and vibrant finishes. I'm quite excited about this new venture; it's like beginning an adventure where endless possibilities await at every turn. As always, my mind is brimming with ideas—so many that they seem to overflow beyond the time allotted for the class. It’s both exhilarating and slightly overwhelming! However, if I find myself blessed with more finished pieces than expected from this class, I plan to continue my art by doing additional pit firing at home as well. This way, I can keep exploring and expressing myself through this beautiful art form that never ceases to inspire me.
Etching
I'm so excited about the printing process that awaits in the etching class I've enrolled in at FUSE PRESS. This opportunity feels like a new chapter, allowing me to explore and express my creativity in fresh, innovative ways. I'm particularly eager to transform the intricate textures I've developed through my ceramics using pit-firing into a two-dimensional form. There's something magical about taking these unique designs and transferring them onto a copper plate, ready for etching flat images. Each step of this transformation feels like an adventure, full of potential discoveries and artistic growth. Last night in the studio, I screen-printed two pit-fired images onto copper plates for etching, preparing them for the acid bath. To preserve the acid bath and speed up the etching process, I applied vinyl to the backs, preventing both sides from being etched and keeping the halftoned side ready for acid exposure. It's definitely a process, first going through the screen printing process and then moving on to the etching process.


I’ve been waiting for the opportunity to take these two classes simultaneously, as they hold immense potential for expanding my artistic creativity. One of the classes is a Raku workshop at Queen City Clay, a place renowned for its vibrant community of artists and its dedication to fostering creativity and craftsmanship in ceramics. This studio has become something of a sanctuary for artisans who seek to explore the expressive possibilities of clay, offering an environment where traditional techniques meet innovative approaches. The other class I will be attending is an Etching course at FUSE PRESS, an establishment celebrated for its unwavering commitment to fine printmaking techniques. It stands as a beacon for those passionate about exploring the delicate art of etching, where precision and artistry converge. This dual venture aligns seamlessly with the gradual evolution of my work, which has been steadily gravitating toward integrating both 2D and 3D elements. My goal is to craft comprehensive visual narratives that engage viewers in new and meaningful ways. In this creative endeavor, I plan to utilize the rich textures I develop through my ceramics and pit fire technique—methods that infuse each piece with unique character through unpredictable interactions between clay, raku glaze, and pit fire. These tactile surfaces will be meticulously photographed to capture their intricate details before being transformed into flat 2D etchings. The concept might sound ambitious or even a bit unconventional at first glance; however, I have faith in this process. I believe that these flat images will not only encapsulate a wealth of visual information but will also highlight the distinctive qualities inherent in pit-fired ceramics. By enlarging these textures within an etching format, my aim is to showcase what unfolds on a larger scale—a dynamic interplay between depth and surface that invites viewers into a deeper appreciation of texture and form in art. With each etched line echoing the depth found in ceramic surfaces, this project seeks to bridge mediums while inviting others into my evolving artistic journey with openness and hopefulness.