Banner: Porcelain Grace, Meryl Ruth, Fine Art

 

  BIKER'S TEABAG, A CERAMIC TEAPOT

 


Biker's Tea, A Ceramic Teapot.
  • This work is the second on the theme of the motorcycle culture, after Hot Motorcycle Mama's Tea. It represents a leather backpack with Harley-Davidson decorative elements. The work is made entirely of stoneware clay using mostly slab construction.
  • A tagboard templates are made in the shape of an over-the-shoulder handbag. Slab construction is used to make the front, side and bottom body pieces. Press mold is done using molds made from a small leather biker's jacket. The work is entirely hand-built, with press mold body and back strapsf; wheel thrown and altered spout; extruded cording; carved belt, buckles, buttons and zippers; and incised lettering and Harley-Davidson emblem on the back side. the scarf is formed from very thin slabs of clay. To avoid distortion of the spout by the torque likely to occur during firing, it is severely angled (to five o'clock) for compensation.
  • All elements are fused permanently together by the score and slip method.
  • When the initial construction phase is completed, the work is allowed to air dry thoroughly to its greenware state, in which condition it is ready for its first firing at cone 04.
  • After drying and successful firing, the work is decorated as follows: Glossy cone 5/6 glaze covers the inner chamber for waterproofing. Black underglaze is applied to the external surfaces and wiped off to enhance the surface texture. White underglaze is painted on the "kerchief' and the spout. Gold cone 5/6 glaze is applied to the sides and bottom, the cording, buckles and grommets.
  • Refiring is done to cone 5/6.
  • [Additional decorative details to be added]
  • Construction details:   
    • After thorough drying to the leather-hard state, the initial kiln firing is done to cone 04.
    • A glossy cone 5/6 glaze is applied to the inner chamber. This renders the surface nonpourous and waterproof, thus making the teapot functional.
    • The outer surfaces are painted in black underglaze, and the underglaze is wiped off to enhance the surface texture.
    • The "kerchief" and the spout are colored in a white underglaze.
    • Gold cone 5/6 glaze is applied to the sides and the bottom of the backpack/teapot as well as the "cording," buckles and grommets.
    • The art work is now refired to cone 5/6 to vitrify the glazes. A serious kiln accident reduced the piece to shards. This necessitated restarting the project all over again from the beginning.
    • [Additional details to be added]
  • Date: 2018.
  • Size: 14.5” x 11.0” x 9.0”. [To be finalized after final firing.]
  • Available for purchase.
  • Price: [To be inserted].
  • Work in Progress.
 


ENLARGED VIEWS

 

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CREATIVE PROCESS

 

 

   

 

Construction phase.

 

  • A hand-built stoneware teapot is made in the form of a motorcyclist's leather backpack fashioned after a leather jacket.
  • Various techniques are used to construct each element of the teapot plus the several decorative clay components that make up the faux-leather aspects of the jacket design of the backpack.
  • When completed, all parts are joined together permanently by the score and slip method.
  • The work is then allowed to dry thoroughly to its greenware state in preparation for its first kiln firing.

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 Construction phase completed.   

 

  • The teapot has been successfully fired for the first time to cone 04.
  • Glossy cone 4/5 glaze is applied to the interior chamber to make it waterproof and functional as a teapot.
  • Black underglaze is painted on the outer surfaces and wiped off. This enhances the interstices to emphasize the surface texture.
  • White underglaze is applied to the "kerchief" and the spout.
  • Gold cone 5/6 glaze is painted on the side and bottom panels of the teapot as well as the cording, buckles and grommets.
  • Refiring is done to cone 5/6.

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A kiln accident destroys the piece, which must now be reconstructed from the beginning again.

 

  • The refiring process sadly destroyed the work in progress by reducing it to shards, as shown here. This destructive incident came as a surprise, unexpected and devastating.
  • It represented a huge waste of time and effort, albeit a recognized hazard of creating ceramic works.
  • Further, it meant that it would be necessary to restart construcion from the beginning, duplicating all the aforementioned steps.
  • Differences from the original work can be expected to occur given the one-of-a-kind aspect of this work of art.

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[Addiitonal images to be inserted]

 

 

  • [Additional verbiage to be added to the captions]

WORK IN PROGRESS

PAGE UNDER CONSTRUCTION

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