Panopoly: Ceramic art and craft, by Lynae Zebest

Some New In-Progress Photos for You

I don’t think I ever even wrote about this here, but for this past Christmas, my dad gifted me with a much larger kiln than the one in my apartment, so that I could finally start making larger ware with more regularity. It’s big and beautiful…and unfortunately can’t actually live with me here in San Francisco. Theoretically I could rent studio space for it, but practically that’d be way outside my price range (which is about, uh, $0). However, my dad also recently bought a house in my old hometown, Sacramento, which is less than 2 hours away from me. The house has a large empty garage, so we decided to install the kiln there.

Kiln in the Corner

Because of the its size, and the travel involved, I decided to only use the big kiln when I have a lot of stuff to fire. This means slower turnaround times, but gives me an incentive to make stuff on a larger scale.

Full House

Earlier this week, I finally decided I had made enough greenware to make it worth the trip. Two days ago, Orin and I carefully loaded the backseat with well-padded boxes of goodies, and off we went. Everything survived the drive intact, which pleased me very much!

My Bowls Runneth Over

My dad’s house is in a very picturesque setting, right over the levee from the Sacramento River. While I unloaded the boxes and snapped some photos, Orin climbed the tree in the front yard.

Boy in the Tree

Then he helped me load the kiln, which I think took at least a half an hour to do.

Totally Stacked

It takes my kiln about 8½ hours to heat up to Cone 07 (roughly 1800 degrees Fahrenheit), and then probably another eight or so hours to cool down again. We took the time to relax and have a little “vacation” of sorts.

Then, yesterday afternoon, everything was ready to come out again.

Zee Kiln

I remember, when I was in ceramics classes, my instructor often said that our ware would be hard to recognize after it came out of bisque fire, because everything shrinks, and items sometimes warp, crack, etc. And sometimes things sat around for so long before firing that you’d even forget you made them! Indeed, I remember occasionally not knowing my own work, and only realizing it was mine when I saw my signature on the bottom. It’s hard to say whether or not that has changed simply because, you know, everything in the kiln is made by me now. I would rather think it’s because my work is more defined now, because at the end of the day my work simply looks like mine. Which is a good thought to have.

Bowls of Goodies

And now I’m back home again, with my bisqueware in three big boxes, waiting to be glazed and fired again. I really like making lists, so here’s a nice numerical rundown of what I brought back today:

  • 6 burnished white stoneware plates, for me to try some maiolica-style illustrations
  • 1 special white stoneware plate with a complete poem stamped into it
  • 12 (4 sets) descending canvas vases, in a couple different size variations
  • 10 ice cream bowls in both red and white stoneware
  • 6 wee succulent pots, significantly larger than that first prototype
  • 18 wee bowls in red stoneware clay. I’m going to be streamlining my wee bowl line so that they come in two standard sizes; these ones will be the smaller size
  • 102 flat porcelain buttons, in various shapes, sizes and textures.
  • 31 rings; hopefully, counted among this number are the myriad custom sizes I’ve been trying to get for the last couple months
  • 3 new button molds
  • 29 poem drop pendants
  • 5 big beads. My beads have suddenly decided to get popular, possibly due to some advertising I’m doing on Ravelry, so I’m planning on making a lot more of ’em in the near future
  • 22 big shank buttons. I’m really excited about these. I redesigned my shank buttons so they’re bigger, and made entirely of clay, rather than metal in the back. I’m making them from molds of vintage earrings.

Also: I’m now making all my little ware (beads, buttons, rings, pendants) out of porcelain, for extra strength and durability.

Plates, Bowls, Vases

Ready to Fire

Announcing the Happily Handmade Giveaway!

I’m participating in the Happily Handmade Giveaway, which starts today! Up for grabs are 25 huge, amazing gift bags full of wonderful indie and handmade products from over 40 talented shops. I have donated 20 of my poem drop pendants, so there’s one in almost every box!

Entering is so simple. All you have to do is go here, read the rules, and fill out the simple entry form. That’s it! You can also increase your chances of winning by going to all the other participating sellers’ sites, and filling out the forms there as well. You can enter the giveaway once per site. You have until May 13th to apply.

EDIT: Signups are now closed, and winners will be announced soon. Good luck everyone!

Good luck!

Off Into the World They Went

I made 30 pendants to be given away at an art show @ Brownie’s Vintage, that was held yesterday. I thought, if any of you all reading were recipients of my little Poem Drop Pendants (as I call them), I would give you some information on what your pendant says and where it comes from.

As of when I first put this up, a couple of the pendants’ quote sources hadn’t been fully identified; they’re in my notebook rather than my computer, and I haven’t had a chance to look them up. So here we go:

 “The lip of the glass gleams in the moonlight
like a round razor — how can I lift it to my lips?
however much I thirst — how can I lift it — Do you see?”

–“Moonlight Sonata,” Yiannis Ritsos

 She slept the world. You singing god, how

did you so perfect her that she did not crave

first to be awake? See, she arose and slept.”

–“Sonnets to Orpheus,” Rainer Maria Rilke

 “I love you for your hands that calm and bless,
The perfume of your sad and slow caress,
The avid poison of your subtle kiss.”

–“Sonnet Macabre,” Theodore Wratislaw

 “looking down on empty streets, all she can see
are the dreams all made solid
are the dreams all made real”

–“Mercy Street,” Peter Gabriel

 “in our culture,
where red is a warning, and men
threaten each other with final violence:
I will drink
your blood. Your kiss
is for them”

–“Sleeping Beauty,” Olga Broumas

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