Raku (楽焼raku-yaki) is a Japanese term that refers to a 16th century technique and philosophy of ceramics and firing that became an integral part of the Japanese Tea Ceremony during that time. It encompasses the idea of cherishing the “imperfect”, or as it is referred to in Japan, Wabi-sabi (侘寂). Tea Bowls, or “chawan” were low fire glazed, quickly fired (as opposed to a typical firing), and “pulled” from the kiln while still hot. They would be allowed to cool rapidly in the air, which resulted in unpredictable, “Wabi-Sabi” glaze results… in the 1950’s, a then young Paul Soldner, American potter, began to introduce an “American method” of Raku, keeping the Wabi-sabi philosophy but creating more vivid and colorful glazes than those which had been used traditionally in Japan. Pieces would be “smoked” or “oxygen reduced” or simply, “reduced” after being pulled, to create the wildly unpredictable and striking metallic colors that we see in much of the raku pieces today. -l. gascogne
Pics/ video by l. gascogne
Below: JCCC CERAMICS STUDENTS RAKUING
If the video does not play, Try THIS:
Jane did a GREAT job pulling a LOT of pieces for the raku firing!Sam Davis’s students watch in amazement as pieces get pulled from the hot kiln during the Raku process Sam Davis’s Ceramics class participates in a raku firing process.
When Misha Kligman offered up his Painting I and II students to paint bowls for the Empty Bowls event (taking place in Nov., 2017), it was an opportunity that couldn’t be passed up. So Laura Gascogne and some Ceramics students made “blank” bowls and passed the bisqued bowls on to Misha. …and the results were stunning!
Bowls in the kilnThe gorgeous Bowls Finished! Courtesy of Misha Kligman’s Painting students!
Last week, I posted pics from Angelica Sandoval’s Aluminum Casting. This week, it’s BRONZE in Mark Cowardin’s class on NOVEMBER 10! How do you know it’s bronze?
Preparations for BRONZE Casting; note the GREEN color of the flame indicates (MATERIAL/ CHEMISTRYGEEK ALERT!) that it’s Bronze.
Bronze is comprised of COPPER and TIN. Tin makes the copper harder, more durable as it was discovered many millenia ago during the Bronze Age. However, it’s the Copper that gives the furnace flame it’s signature green hue.
The Crucible of liquid bronze is lifted from the furnace.Care has to be taken…this bronze is HOT STUFF.Cowardin supervises the students carrying the crucible (above) and instructs them on how it should be poured (Below)
The Bronze pour Crew, with their teacher, Mark Cowardin (far right)
This upcoming Sunday, 11/6/16, 2-4PM, there will be an opening and reception for student works in Photography and Ceramics in the Student Center Gallery. A reception with food and drinks will be provided.
The Photography Exhibit, “Faces of the Heart” features up close portraits of local heart transplant patients.
The Ceramics Show, “Interpreting Form” features works by students in Sam Davis’s Ceramics I classes that explore concepts surrounding camouflage within formal compositions.
(Above) The Show poster for the Photography Show opening 11/6/16 2-4PM in the Student Center Gallery, 3rd Floor Student Center, JCCCPoster piece for the Ceramics Show, “Interpreting Form” featured in the JCCC Student Gallery this Sunday 11/6/16, 2-4PM
One of the truly exciting experiences for JCCC students in Sculpture is the casting process.
This intricate, multifold process starts with an idea, which then the student makes a “positive” of using microcrystalline wax. Once made, a wax “sprue” (channel for the metal) is attached. The entire solid piece of wax is then dipped multiple times into a silica slurry, which builds up a “ceramic shell” around the wax. After the shell has dried, it is fired and the wax is steamed/ melted out, leaving a void in which a metal is then poured, such as aluminum or bronze. The shell is then chipped away, leaving the “positive” metal piece, whereby the sprue is removed and the sculpture is cleaned.
Angelica stands with her Sculpture students donning all the necessary safety gear in preparation for a “pour”.Before removing the crucible from the furnace, Angelica skims a mucky “slag” or waste from the top. Leaving dirty slag can cause ugly pitting in castings.(Above) Angelica Sandoval and a student lift a crucible full of molten aluminum out of the furnace prior to casting.
(Above) Molten aluminum is carefully poured into the ceramic shells, which are packed in sand to prevent cracking.
The crucible is attached to a hoist/ crane which makes lifting the heavy crucible more manageable.
