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Pottery Terms
▪Slip and score - the process in which clay parts are marked with a tool and moistened with a gluey clay mixture to properly join 2 elements.
▪Incise - the process of cutting marks into the surface of the clay
▪Knead - to work air out of clay with the palm of the hands
▪Wedge - the folding and slamming of clay to remove air bubbles
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Stages of Clay
▪Leather hard - when clay has air-dried to the consistency of leather and can be incised.
▪Greenware - clay in complete air-dried state before firing (very fragile)
▪Bisqueware - after firing, bisque is the state that the pottery is in.
▪Glazeware - the state pottery is in after glazing and firing a second time
▪Glaze - a shiny, decorative, enamel-like coating
▪Slip - a clay coating of glue like consistency
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Clay Hints
▪Wedge clay BEFORE starting until you see no air bubbles.
▪Nothing more than 1/4 inch thick or it will explode.
▪Slip and score parts on properly or piece will break off in kiln
▪Coiling needs to be scored on the outer edge of both sides and smoothed after joining
▪Keep all clay COVERED with plastic until finished or it will get too dry
▪Thin walled objects will warp in kiln so put on a base.
▪Soaking clay with wetness will make it dry unevenly, warp and crack
▪Wedge clay GENTLY so you don’t destroy clay structure and get brittle products
▪No closed air spaces - piece blows up in the kiln.
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Clay Procedures
▪Absolutely NO clay down the sink! Wash hands in the buckets. Empty when half full.
▪Toss clay water outside away from traffic areas▪Recycle dry clay in RECYCLE bucket. Place in bucket
GENTLY! Recycle leftovers immediately▪No clay in the garbage! It’s expensive.▪Do NOT TOUCH other people’s work! Put tape labels
on everything. ▪Flying clay gets cleanup detentions and removal from the
activity. So does horseplay and poor cleanup.▪Broken glazeware cuts like a razor!
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Coiling Method
Create the bottom of your pot by pressing out a pancake of clay then trimming it to size.
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Roll a clay coil which you will use to create your pot.
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Clay coils stack up to build the walls of your pot.
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Place your first coil on the base of your pot, then weld the inner joint between coil and base.
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When coil-building pottery, the last clay coil for the pot is slightly thinner and tapers to a
point.
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Finish your coil-built pot by welding the interior and upper seams of the end of the last coil, then smoothing the top edge.
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Slab Building
Make a clay slab by pressing against a canvas work surface.
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Score around the edge of the clay slab base.
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Measure against the pot's base in order to size your first side slab.
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Attach the first two sides of your slab pot.
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Create and measure the slabs for the last two sides of your basic slab-built pot.
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Attaching the third side of your slab-built pot.
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Finish your slab pot by welding and smoothing the joints and top edge.
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Rankin Inlet CeramicsMatchbox Gallery - Inuit Pottery
▪Handbuilt pottery▪All pieces finished with a slip called terra sigillata,
which is applied and then burnished by hand▪Sawdust fired - The work is placed in a barrel of
sawdust and burned completely. This gives the work a textured surface and mottling of tones of black, grey and
brown.▪Since 1963, government funded - helped and hindered
art production in the North▪Matchbox Project spanned the most important era in the
development of the Inuit art industry▪Chose clay because it wasn’t an indigenious art medium
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MEET ROGER AKSADJUAK▪Born in 1972,
▪was primarily a stone carver until he began ceramics for about 11 years with his father
who was a major influence.▪.. Roger has an obvious, imaginative style,
which is characterized by delicate and detailed images.
A professional artist since he was fourteen▪He is recognized as one of the most
innovative and skilled of the ceramic artists ever to come out of Rankin Inlet.
▪Two of his pieces were selected as the first artworks purchased by the Nunavut
Legislative Assembly for their permanent collection in Iqaluit, Nunavut.
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Many Sedna's By Roger Aksadjuak
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Three Pots By Roger Aksadjuak
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Themes in Roger’s Work
▪Likes to explore the theme of birth
▪Explores the importance of fertility and the “feminine” in nature
▪Favourite legendary figure is Sedna, the sea- goddess, who is shown transforming in from creature to person and back in his work.
▪Reincarnation, the way living things are born and replaced in nature, is also a repeating theme.
▪Enjoys combining themes in one work, connecting nature and legendary figures
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Birth of Sedna By
Roger Aksadjua
k
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Dreaming of Sedna By Roger Aksadjuak
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Coming Home By Roger
Aksadjuak
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Four Kids on a Muskox By Roger Aksadjuak
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MEET PIERRE AUPILARDJUK
▪ His father is Mariano Aupilardjuk, one of the region's most respected artists and elder statesmen.and developed Pierre’s interest in art
▪. He is an innovative artist whose refreshing ceramic work and carvings always express a new insight.
▪One can feel the genuine joy of creation reflected in each piece as well as oral tradition and shared knowledge.
▪He is a skilled hunter who spends much of his time out on the land.
▪Style is elegant, direct and balanced.
▪His work reflects the proud independence and gratefulness Inuit feel when they are able to find what they need to survive.
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About Nunavut By Pierre
Aupilardjuk
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With Father By Pierre Aupilardjuk
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MEET JOHN KUROK ▪Born in 1977,
▪He is an excellent draftsman and printmaker.
▪John has had a strong attraction for masks, clay busts and other images of faces.
▪He works with sensitivity on each piece, developing a personality for every one -from austere and contained to a spirited youthful look.
▪Sawdust firing reflects the personal approach taken by John. The details and subtle nuances of his work can be seen easily with this type of finish.
▪Works with states of mind rather than experiences.
▪Uses symbolism tied to Inuit identity, principles and values and feels a strong connection to it even though he has never experienced it.
▪The story is secondary. Emphasis is on relationshop of forms and visual movement of them over the vase surface.
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Spirit Chaser By John Kurok
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Spirit Chaser By John Kurok
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MEET LUCY SANERTANUT
▪originally from Repulse Bay
▪Lucy already enjoyed a successful career as an ivory carver when she moved to Rankin Inlet and joined the Matchbox ceramic program.
▪ She has worked with the gallery for the past ten years.
Her pieces have always shown a delicacy of technique in combination with strong images.
▪On two occasions, Lucy was invited to participate in the Great Northern Arts Festival in Inuvik, where she presented her ceramics and demonstrated both her clay technique and stone carving skills.
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Shaman’s Muskox
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7 DreamsBy Lucy Sanertanut
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White Pot By Lucy Sanertanut
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Four Winds
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Faces With Fish
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Faces With Seals
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Meet Yvo Samgushak
▪The last of the veteran ceramists from the original government run project in 1990.
▪One of the first instructors of the Matchbox Project
▪Resident elder in his 60's
▪Can’t hear or speak
▪Excellent hunter and Search and Rescue Operator
▪During his 1st decade of pottery he explored shaministic radiating masks
▪Lately he explores pieces recalling his past - people or social practices - went from mostly faces to elaborate pieces showing full figures in groups or processions in traditional garments
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Large Pot By Yvo Samgushak
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Pottery Assignment
1.Create one of the following using the COIL method:
a pota candle holder
a spirit box
It needs a minimum of 4 structures added to it’s outside i.e a beak or a figure.
It can include incising or patterning.
It should express one of the following themes:- man and nature interconnected
- the spirit world- faces
- a retelling of a part of a legend
2.Paint your creation with acrylic paint.
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