American-made ceramics forms

bwaynef

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The pots that I'm drawn to, tend to be more traditional. I like straight lines that are precise and curves that are consistent. As a rule, Japanese potters seem to excel at this, when that is their aim at least. As much as I'd like to invest in the future of bonsai in *THIS* country, many of the ceramicists I see in the US seem to focus on glazes and decoration and freedom, over forms and lines and crisp shapes. (There is also place for irregularity to complement similar qualities in trees, but its equally valid to accentuate quiet and understated.)

Which potters have you found to excel at producing forms similar to what the Japanese produce?
 

Leo in N E Illinois

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I too wish more American & Canadian potters would produce more pots with clean lines. "Rustic" and "Distressed" pottery, I have no use for more than one or two pieces. I prefer the clean lines of Japanese pottery also.

Ron Lang makes some. @sorce makes some clean rectangles. John Menzel does some nice rounds. But you are right, the number of pots that have clean lines and proportions similar to traditional styles are few and far between.
 

sorce

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makes some clean

Thanks!

I think our boy @NaoTK will be the first to produce em consistently on purpose.

Me, I kinda lived in that "structurally perfect" box to long to get away from my build style. I am almost always looking for directionality in a pot for myself, I think because that's one of the aspects of Bonsai I like the most, coincidentally, my output kinda matches that ratio.

I was talking to the Sorceress about it yesterday, as she noted assymetrical lines in some new Sorcescades set fer glazing.20201125_123944.jpg

I'm trying to keep tolerances tight, I still only consider 1 of 10 pots perfect to a Judge. 3 out of 10 for an Upright tree and the rest "on lean".

Truth though, I always think about what I said 3 years ago, "I'm finding these shapes with my hands", because the hand made pot always came first, or there would be no reason to make the mold.

Today I was noting that in the end, a well trained eye may be able to tell the length of the scissors that were used to cut a template by looking at the final pot.

Sorce
 

PeaceLoveBonsai

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In addition to aforementioned @sorce , I would look at John Cole.


Some other good choices in this thread.

 

Hartinez

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@bwaynef are you on Instagram?? One of our contributors to this site @Mike Hennigan has some of the cleanest pots I’ve seen. His handle on Instagram is @redtailpottery. What he has listed is just a fraction of that consistency. I also really like pail Olson of clam alley pottery (also on Instagram). His work has a clearly defined and well shaped and clean style.
 

Shogun610

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I like Sam Miller , max Baverman and Ron Lang. Already acquired a few of their pots .. I love the rustic and finished glaze. Parents had all sorts of ceramics of Ray Gallucci and Bob Blandchard growing up in the house if anyone knows them.
 

bwaynef

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Thanks all for the responses. (Keep 'em coming.) I've already discovered and rediscovered. I'm glad I didn't have to resort to calling the pots that I'm not looking for more information on a starchy vegetable just to get responses.
 

Eckhoffw

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Thanks!

I think our boy @NaoTK will be the first to produce em consistently on purpose.

Me, I kinda lived in that "structurally perfect" box to long to get away from my build style. I am almost always looking for directionality in a pot for myself, I think because that's one of the aspects of Bonsai I like the most, coincidentally, my output kinda matches that ratio.

I was talking to the Sorceress about it yesterday, as she noted assymetrical lines in some new Sorcescades set fer glazing.View attachment 342650

I'm trying to keep tolerances tight, I still only consider 1 of 10 pots perfect to a Judge. 3 out of 10 for an Upright tree and the rest "on lean".

Truth though, I always think about what I said 3 years ago, "I'm finding these shapes with my hands", because the hand made pot always came first, or there would be no reason to make the mold.

Today I was noting that in the end, a well trained eye may be able to tell the length of the scissors that were used to cut a template by looking at the final pot.

Sorce
Oh man, Soo tight, yet soo fertile. 😍
 

sorce

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@bwaynef , I'd like to hear more of what your, and everyone's, definition of "crisp" is. Where do you draw the...line, between crisp and not crisp, "Perfect"-"not perfect", next level-subpar?

To me, too perfect seems factory produced, so I don't mind working just before perfect. Enough sign of hands to know it's not slip cast. Leaving what gives the pot it's energy.

These four corners are technically different to me. This profile edge is what I consider the most important as far as "perfect", since it determines directionality more than anything except further decor or glaze.

So my personal realm of perfect, is within .5% of something intended to be symmetrical. This is about 1% off.

20201206_131337.jpg

20201206_131412.jpg20201206_131347.jpg20201206_131356.jpg20201206_131401.jpg

Thanks for your Thoughts.

Sorce
 

bwaynef

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@sorce , this one seems different than I've seen of your work as previously presented. I think this would meet most definitions of crisp, though it seems to be missing some "je ne sais quoi". Maybe it's a lip or something. This one seems IMPOSSIBLY masculine, but you seem to have been going for that and nailed it. I appreciate the line (curve) created by the flare at the bottom but everything that's straight ...seems to stay that way for the length of its run. This is the craftsmanship that I'm interested in, though it isn't a design I'd be likely to choose. (A few small tweaks though...)

Has this pot made it through any firings?
ps. Check my post count.
 
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Making bonsai pots is hard. Making GOOD bonsai pots is a whole other ball of wax. It is a lesson in humility. It is putting your best self forth, only to encounter turbulence, difficulty, and failure. See, Clay is an imperfect medium. It moves, it shrinks, and worse of all, it remembers. It never remembers the good parts, it remembers the mistakes. And magnifies them.

But, every now and then, magic happens. The stars align, the lighting was just right, you were on your game, and you kill it. This is the exception to the rule. Someone’s great grandfather in Japan had the stars align and they hit the note. Fortunately for generations to come, they were wise enough to make a mold. Crisp, simplistic lines for years to come. No thinking, only doing. Us westerners were gutsy (crazy?) enough to give it a go. We would never have the eastern discipline, it just doesn’t come with “freedom”.

Then, humility hit. And our best efforts were thwarted. Our souls bruised. But, we’re prideful and stubborn. So, we try again. And again. And again. Until we get better. If we punt every pot with a flaw, there would never be a pot. So, we go with our own brand of flaws. It’s who we are. We learn to accept ourselves for who we are. Flaws and all. The pots are a mirror for life. My pots are not rustic, they are imperfect, just like me. To accept them is to better accept ourselves.
 

johng

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Making bonsai pots is hard. Making GOOD bonsai pots is a whole other ball of wax. It is a lesson in humility. It is putting your best self forth, only to encounter turbulence, difficulty, and failure. See, Clay is an imperfect medium. It moves, it shrinks, and worse of all, it remembers. It never remembers the good parts, it remembers the mistakes. And magnifies them.

But, every now and then, magic happens. The stars align, the lighting was just right, you were on your game, and you kill it. This is the exception to the rule. Someone’s great grandfather in Japan had the stars align and they hit the note. Fortunately for generations to come, they were wise enough to make a mold. Crisp, simplistic lines for years to come. No thinking, only doing. Us westerners were gutsy (crazy?) enough to give it a go. We would never have the eastern discipline, it just doesn’t come with “freedom”.

Then, humility hit. And our best efforts were thwarted. Our souls bruised. But, we’re prideful and stubborn. So, we try again. And again. And again. Until we get better. If we punt every pot with a flaw, there would never be a pot. So, we go with our own brand of flaws. It’s who we are. We learn to accept ourselves for who we are. Flaws and all. The pots are a mirror for life. My pots are not rustic, they are imperfect, just like me. To accept them is to better accept ourselves.
Well said, my friend!
 

sorce

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Has this pot made it through any firings?

Not yet, I realized the other day I haven't used this clay for this style yet. Been making smaller quicker stuff to see how it fires. Except one oval which spanned 12inches and didn't sag so I expect this to stay as straight. Likely vitreous at Cone 8, I've tested it vitreous at 7 and 9, cracks at 10. So this and my blend will be all over the middle 3 shelves of my biggun, Debbiezula. It will probably fire well at the bottom of my baby kiln too, which is nice, because the heavy wood stoking can turn it brown.

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That ash glaze is finally beading up for a drip too!

As far as that French Word, French?...

I got a couple smaller rectangles with some texture and further linage that'll likely get fired tomorrow!

Thanks! Get that 1k!

Sorce
 
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