Interview by Juanita Canzoneri Deb Hager joined Commonwheel about the same time as the floods hit Manitou Springs in 2013. She had been in Green Horse Gallery in Manitou Springs prior to applying to the co-op. As a child Deb was always playing in the dirt around her home. The neighborhood of Penn Hills outside Pittsburgh, PA was under construction so there were dirt piles everywhere. “I had the most gracious mom. I’d be out playing in the dirt, making swimming pools for my Barbies. And when it was time to come in for lunch, she’d just hose us off, we’d eat lunch, and then we’d go back out to the dirt piles.” Deb attended Indiana University in Pennsylvania as an art major. Her passions were for drawing and painting. When she had to take a 3-D class she took a clay class and wasn’t very happy about it. “I kept practicing and practicing, and I was the worst one in my class,” Deb says. “Everyone else was centering (their wheel-thrown pots), but me.” One day she was so frustrated with her progress the professor found her crying in her clay. He was able to show her where she had been getting stuck and, with that guidance, she just took off. “Because it didn’t come easy to me, because I had to work so hard at it” she says, “I kind of fell in love with it.” Once she learned wheel throwing, she became mesmerized by the whole process. “You have this nothing lump and then you make this something that people are using.” Deb’s husband, Denver, was in the military and wherever they were stationed she would teach classes in ceramic shops and teach art lessons just to keep her hand in it. When they moved to Colorado in 1995, she became a wheel-throwing potter at Van Briggle. That’s where she began developing her own style of work. Until then her pots were plain and undecorated. In 2007 their youngest child was a senior in high school. Denver mentioned to Deb that she had money from the military to use to go back to school herself. While looking for schools she attended the National Council on Education for the Ceramic Arts (NCECA) convention for the first time. At that convention she fell in love with soda firing and knew at that point she needed leave Van Briggle and go back to school. While she was training her replacement at Van Briggle, she learned about the ceramic program at Colorado State University in Pueblo. One of the courses of study they teach is soda fired ceramics. So that was where she decided to go. But her fear of the computer hindered her from enrolling. So, Denver called the college and had one of the professors talk her through the enrollment process. Denver then helped her with her military paperwork and financial forms while her children taught Deb basic computer skills. So just getting her into college was a family affair. And they did it all in less than 6 months. “It was one of the greatest gifts of my life. It did things for me that I would never have believed It could do for me.” While working with the other students she realized what she wanted to do was draw and paint on her pots. She enjoyed drawing and painting for years and wanted to add that to her pottery. And she noticed another student scratching into his pots, and she added sgrafitto (incised or scratched lines) to her designs. One of Deb’s long-standing designs is her dragonfly pottery. She adds the dragonflies, always in pairs, to the raw pottery pieces before they are bisque fired using black underglaze and a bamboo brush. She has the design down to 7 strokes per dragonfly—the 4 wings, the body, and the 2 eyes. She hasn’t varied her technique because it takes her back to her early love of calligraphy. Once the piece is bisque fired, she puts a wax resist on the dragonflies and glazes the piece. In the final firing the wax resist burns off and the dragonfly texture stands in contrast to the gloss of the glazed surface. Deb makes her own glazes and enjoys the excitement and mystery of mixing the tactile ingredients that will become colors and textures on her finished work. “There are so many talented potters in this area. I realized I needed to make glazes that are different from everyone else’s.” She’s worked hard to steer her color palette so that it is unique to her work.
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By Juanita Canzoneri
Before we start there’s something you should know about me. I’m not a potter. I can’t stand the feel of raw clay. But put that same lump of damp, sticky stuff in the hands of someone who really knows what they’re doing and I am mesmerized. It’s just dirt but they can make something so beautiful it’s humbling. So while I truly hate the feel of raw clay (I’ve tried to like it but I’m hardwired for glass), I love potters. As part of an artist’s co-op I get to talk about their technique and sell their work. Even better, I get to hang out with them and learn to love their endearing, and often clay covered, quirks. Take Deborah Hager. She has this thing for shino glaze. And while she hates crawling in her own work, she holds another artist’s heavily crawled shino piece as one of her prized possessions. (“Crawling” is when the glaze forms an irregular texture of bare spots of clay or beads of glaze on the surface of the piece. To me it can look a little like cellulite.) In her shino work Deborah loves the depth of color and layering effects, and that it doesn’t run in the kiln. She’s also enamored by the history of shino glazes. Shinos originated in the 16th century as Japan’s first white glaze. It was made from local feldspar which, when fired, produced a white glaze with soft sheen and subtle depth. Original shinos were fired in wood fire kilns using pine as fuel. These firings took several days to reach the desired temperature of approximately 1200° Celsius (about 2200° F or Cone 6). Although there are several theories, the origin of the name “shino” is not known. Shino glazes were used in the ancient kiln sites of Mino and Seto in central Japan, centers for ceramic exploration and production. One reason for the specific location for these kilns is because of the local clays and minerals available. This distinction becomes important with the development of “American Shino” glazes. Shino was one of the greatest achievements in this region during the Momoyama era (1573- 1600) when Japanese the culture moved from mediaeval to early modern. It was a time of artistic, cultural, and political advancement. This era also saw the emergence of the tea ceremony, which integrated the art of ceramics as a significant part of the process, reflecting the artistic values of the Tea Masters. Many of these Tea Masters valued and used tea bowls glazed with shino. Shino dropped out of fashion and apparently disappeared from use from the 17th century until the 1920s when Arakawa Toyozo (1894-1985) and Hajime Kato (1900-1968) revitalized the glaze in Japan through the study of shino pottery shards from the Momoyama period. In America, Warren Mackenzie is attributed with the most recent Shino revival and exploration. In 1974 he challenged his graduate students to recreate a traditional shino glaze using minerals that were available in America. This was the advent of American shinos that facilitated an onslaught experimentation with the glaze and renewed artistic interest. One of Warren’s students, Virginia Wirt, created a recipe which included soda ash and spodumene. Her new recipe included carbon trapping, which added depth to the new shinos. This is the effect of smoke or other organic materials from the clay body or kiln fuel being “trapped” in the glaze as it’s melting. The results can be mottling, shadowing, or lines that form in the glaze. The effect can be somewhat elusive. Malcom Davis also picked up and advanceed shino glazes by adding redart clay and larger amounts of soda ash. (In mixing a new batch of shino glaze one day he discovered he was out of spodumene. Rather than put off firing until he could get more he doubled up on the soda ash and liked the result.) According to Davis “shino is the glaze that breaks all of the rules, no other glaze varies so much depending on how it is applied, dried, and fired. Shino’s are elusive and ephemeral, it is all about the Alchemy.” In the 1970’s and today, minerals that end up being used in glazes are generally mined for larger industrial uses. This provides for a more uniform particle size than would have been created with the earlier feldspar mined for Japanese shino. In addition, different mines produce a slight variation in the mineral content of the final product. This variance can change the resulting glaze in both large and small ways. A desired effect may become more unstable, or disappear entirely. While the most prized early Japanese shinos produced a thick white glaze (described by one writer as being coated with fat) that often had a translucent quality or a soft sheen, shinos then and now turn out a variety of colors—white, orange, russet, brown, and black. The color that results depends on several factors. The thickness of the glaze, how soon it was fired after it was applied, how it was dried, where it sat in the kiln, the type of kiln, the type of clay body, and on and on and on. One list I read started with 16 variables which included the type of water used to mix the glaze. Shino is prized with being a very stable glaze, in that it doesn’t run when it’s being fired. That translates for us non-potters to less stuff melting onto and messing up kiln shelves. But then there are other effects, like “carbon trapping” and “crawling”, which are less consistent and often highly sought after for that reason. Listening to some potters talk about these effects is similar to listening to an addict. There’s that thing they got once that they’ve spent the rest of their career trying to recreate. With other glazes and techniques the kiln is useful for firing and finishing the pottery. With shino glazes, the kiln becomes a design tool. Glaze color and texture is affected by where the piece sits in the kiln, how much oxygen or smoke is present or absent, the type of kiln (gas, electric, wood), the firing temperatures, and so on. Each variable can change the outcome of the piece. Potters describe whole kiln loads that have come out a flat ugly orange, or disintegrated soon after the kiln was opened. The artists featured in “Shino Smackdown” have experimented with this evocative glaze and are standing on the shoulders of these giants from the past; some of whom we know and some who are lost in the mists of history. Each artist participating in the show was asked to provide their personal shino recipe and at least 6 mugs alongside other work. Each artist in this show stretches and recreates the shino recipes of their predecessors. The possibilities of new glazes and new effects are endless. And so the quest continues to capture the glaze that refuses to obey. It is that very nature that fuels the momentum of continuous exploration and creation. |
Juanita Canzoneri
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