I wanted to learn more about throwing pottery, but after I started researching a bit I found out it really all starts with clay.
What are the desired outcomes, an art piece, a set of dishes, decorative, gosh so many questions.
And oh so many answers.
Who knew? I did I guess.
I have a few good friends that are potters.
They each have taken their trade a step above and assume an attitude of pride in their work.
Sandy owns Kanab Floral, in Kanab, Utah.
Her floral shop has a lot more to offer than cut flowers and live plants, they also have green ware, unfinished pottery.
She pours the slip into molds, lets the project dry, pulls it and then sets it out for her customers to either finish in her class or to take home and complete.
She helps novices become familiar with products, how to clean, sand, stain/paint and glaze pieces.
Slip is made of clay suspended in water.
The slip is poured into waiting plaster of paris molds which absorb the moisture from the slip.
This process is repeated until the clay measures approximately 3/16" thick with any excess being drained out.
After the mold sits for a bit it is laid on its side and the top half is taken off.
When the clay is dry enough the remaining mold is removed and the piece is left to air dry.
Kriston often collects indigenous clay, creates a slip, prepares the molds, and while in its leather state she adds the cut-outs, impressions and details which are unique to her pottery line which is in a south western Pueblo style.
She finishes, glazes and fires her wares adding her own touches all along the way.
Then she distributes her products throughout the southern Utah region.
Clay leather-hard is a phase of drying where the potter can still manipulate the clay without breaking or tearing it.
Ancient native American pots were often times decorated with the "thumbnail pattern" which was applied during the leather -hard stage.
Tosha likes to delve into the miniatures and throwing off the hump.
While her art pieces are small it takes a specific talent and strength to create pieces off the hump or mound.
Her fun and fanciful pieces average about 4".
They are colorful, functional and whimsical.
Each piece has a little of Tosha's personality and pizzazz.
When throwing off the mound or hump a ball of clay is placed on the wheel-head bat, weighing usually between 10 and 20 pounds.
The potter develops an elongated cone, centers the top and begins the first piece.
As the base is formed, the bowl or piece is created and perfected.
The finished piece is cut from the hump of remaining clay, set aside and another piece is ready to finds its way out of the cone.
Throwing from the hump is generally for smaller pieces.
Then we have Rene'e.
She hand throws her pots so each piece, while it may have a slight variance, and I mean very slight, is designed from her heart.
She creates pots and vases with matching lids that fit.
You may not realize it but that is a talent within itself.
I have one of her honey pots and am amazed at how well the lid fits.
Rene'e embellishes her pottery with an Native American motif show casing her Hopi pride.
Hand throwing is a great way to work out your frustrations.
After you find the right clay for the job, with several varieties to chose from for instance; a low fire clay, high fired clay or porcelain are a just few, you order it, have it shipped and when you're ready, you get to punch the heck out of it.
A wedge of clay is placed on the bat and the potter pounds, folds and kneads the clay.
The process helps rid the clay of air pockets or bubbles.
After the potter has worn themselves out they center the clay and begin the process of creating their piece of art.
Each piece in unique.
The artist determines the design, the clay, the purpose and how it will be finished.
All four of these ladies are artists.
Their work is unique, their styles are different, their pieces are treasures, but they all begin with clay.