The pendant lamps made for this exhibition are the first in what I hope to be an ongoing series of light fixtures based on my love of Colorfield painting. What makes these pendant lights different from my other translucent work is the clay: I am calling it low-fire porcelain (just to fit in with all the cool kids I would add “small-batch”, “hand-crafted”, and “artisanal”). They are made from parts that start as thrown pieces on the potter’s wheel, cut apart, re-assembled, and single-fired to cone 04 in an electric kiln. No, not a typo: cone 04.

The pieces you see here are not a true porcelain. They are not fired to cone 10. They are completely different from my typical studio production. The clay body was developed to be the easiest and most efficient way for me to make light fixtures. Period. I have always been dogmatic in my thinking of and my studio practice in porcelain: kaolin must be the only clay component, and as few other ingredients as possible to make a workable clay body. It then needs to be fired to at least cone 10 and be white, vitrified, and translucent where thin. Yes, I am a porcelain snob. However, over the past 2 ½ years (concurrent with my typical studio production) I have embarked upon a journey and have arrived in a strange new world of cone 04 electric firing. For someone who has been making porcelain work for 25 years in a purist, gas-reduction fired way, I think I know how Dorothy felt when she awoke in Oz.

For more information please catch up with me at NCECA. I will be hanging around the Objective Clay gallery space in the Expo Center. Or come see me present about Objective Clay on Friday, when I am on a panel about Collaborative Groups, head by Casey McDonough. Or see the lights in person at a show I organized out at Bridgewater University, with work also by Meredith Brickell, Ingrid Bathe, Tim Rowan, and Deborah Segal, titled Dialecticians. It is on the same bus tour route as the Fuller!

Hope you enjoy!

Best,
Bryan


Objective Clay was founded by fourteen artists with a shared vision to create an artist established and maintained online space.  This space functions as a gallery to view our latest work as well as a window into our current thoughts in process. By sharing our ideas and opening our studios, we invite artists, non-artists, educators, and students to actively engage in our artistic practices. In this virtual studio, the people who love pots can view/purchase new work and form direct relationships with the artists who make them.