Kiln Horse - Christine McKay
The Process
The Process
Spring's Daughter - Her Creation:
I knew I was creating a tall female form but the details were ambiguous. I rarely do preliminary sketches, except to work out potential problems. By keeping my mind open, I allow the clay to "coax" me the direction we'll be going. This way, I remain flexible...an adventure.
Throwing/shaping: I wheel throw my cylinders in sections, attaching them to the preferred height, just above her waist. Then, I switch to rolled-out porcelain, working each piece onto the base, the wheel slowly spinning. I continue adding sections to just below her bust line. By now, the base is almost leather-hard and allows me to use the paddle to gently round and curve the hips and butt. (My favorite tool for this is an old butter paddle.)
Once the base is shaped I begin the process of adding coils to create the bust and shoulders. I decide how arms will be positioned. The very roughed in head is added. The process may take several days as the clay needs to "set" enough so as not to slump.
'Magic Moment': I'm then ready for the "magic" time...my favorite part. Now I'm truly sculpting...the facial features, hair, etc., transforming with each fingerstroke. There is a moment when I come face to face with the elusive "shadows" of creativity. In that moment I know I've moved from shadow to reality...
Refining/Painting/Carving: When the form is refined and tweaked I determine how the underglazes and glazes will affect the outcome. It's at this point that I do deep carving so that my base glaze can sit in the recesses and reflect, jewel-like, in the finished work. I decide then, how any detailed painting/carving will affect the overall piece.
Segmenting: Because this sculpure is taller than the 29" allowance of my kiln it will be cut into two parts. I decide where it will be sectioned and cut; how I will key it; what I will do to secure it, once fired. In this case, I will be using sterling silver "pins" with porcelain leaves dangling from the pins.
Firings/Glazing: Once painted and carved, the piece goes through a very slow drying period. I have roughly calculated shrinkage(about 18-20 %). This piece, as greenware, was 56". However, by final firing, it had shrunk to 44.5"! I fire at Cone 6 but because I use a large production kiln, the temps often creep to around ^7. I like the results, especially with this porcelain, and the glazes I use. The results are rich and earthy, yet vibrant.
I knew I was creating a tall female form but the details were ambiguous. I rarely do preliminary sketches, except to work out potential problems. By keeping my mind open, I allow the clay to "coax" me the direction we'll be going. This way, I remain flexible...an adventure.
Throwing/shaping: I wheel throw my cylinders in sections, attaching them to the preferred height, just above her waist. Then, I switch to rolled-out porcelain, working each piece onto the base, the wheel slowly spinning. I continue adding sections to just below her bust line. By now, the base is almost leather-hard and allows me to use the paddle to gently round and curve the hips and butt. (My favorite tool for this is an old butter paddle.)
Once the base is shaped I begin the process of adding coils to create the bust and shoulders. I decide how arms will be positioned. The very roughed in head is added. The process may take several days as the clay needs to "set" enough so as not to slump.
'Magic Moment': I'm then ready for the "magic" time...my favorite part. Now I'm truly sculpting...the facial features, hair, etc., transforming with each fingerstroke. There is a moment when I come face to face with the elusive "shadows" of creativity. In that moment I know I've moved from shadow to reality...
Refining/Painting/Carving: When the form is refined and tweaked I determine how the underglazes and glazes will affect the outcome. It's at this point that I do deep carving so that my base glaze can sit in the recesses and reflect, jewel-like, in the finished work. I decide then, how any detailed painting/carving will affect the overall piece.
Segmenting: Because this sculpure is taller than the 29" allowance of my kiln it will be cut into two parts. I decide where it will be sectioned and cut; how I will key it; what I will do to secure it, once fired. In this case, I will be using sterling silver "pins" with porcelain leaves dangling from the pins.
Firings/Glazing: Once painted and carved, the piece goes through a very slow drying period. I have roughly calculated shrinkage(about 18-20 %). This piece, as greenware, was 56". However, by final firing, it had shrunk to 44.5"! I fire at Cone 6 but because I use a large production kiln, the temps often creep to around ^7. I like the results, especially with this porcelain, and the glazes I use. The results are rich and earthy, yet vibrant.
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The Result: Spring's Daughter
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[When glazing (after an ^05 bisque) I lay in my base glaze, then sand so that it is retained within the recesses. I then apply an opaque white matte glaze which allows the details to show through.]
Copyrighted Images - Christine McKay
All Rights Reserved - 2010
All Rights Reserved - 2010
