The series of stop-action photographs presented here offers intimate insights into the detailsof my creativeprocess. The dynamic images are intended to graphically illustrate the sequence of steps that I usually take as I pursue my quest for artistic authenticity and development of my ceramic art works.
Each of these image groups depicts another stage in the evolution of a given work from conceptualization to sketching, design and formulation, and then to construction, firing, coloration and completion. More detailed information about the specific ceramic piece that is shown being worked on, Kit and Ka-Poodle, is provided on its own object detail page.
Site visitors are invited to survey the entire sequence below or to sample it piecemeal as time permits and interest warrants.
Meryl is shown drawing the preliminary sketches for the ceramic piece.
Meryl cuts cardboard templates for use in construction of clay panels. Clay slabs are rolled out, and then cut to size and shape. After drying, the edges of the slabs are joined together by scoring and slipping to form the shape of the body of the piece.
Meryl adds details to the front panel of the piece. Plastic covering, shown here, is needed to prevent drying at this greenware stage.
The side pocket is formed from predesigned templates for clay slabs that have been previously rolled out and cut to match. The pocket thus constructed is then attached to the body of the work.
Meryl now proceeds to design, form and place the opposite side pocket for the ceramic work.
Meryl now rolls out clay slabs, which are then cut into long strips and attached as faux leather strings to the front of the satchel body.
Having rolled out the clay slabs and cut the faux strings, Meryl now attaches them to the satchel front panel.
First Meryl assesses the design and the size of the front strap for the knapsack. Then she determines how and where to locate it. Detail work follows after she has attached the strap in place.
The strap is being constructed for the back of the knapsack. Meryl begins by cutting the double straps and applying a pattern to them. A hot air gun dries the straps after they have been shaped, but before they are attached to the back of the satchel.
Small incremental pieces of clay are used to construct the poodle's head. It is further modified by carving to add delicate details.
To create an accurate portrait likeness of the poodle, Meryl sculpts intricate details of its face and head.
Further refirnements are made for the sculpted dogs' heads to ensure realism. Many deliberate details are added as well.
Meryl adds further intricate scultping details for the heads.
Process photographs show the ceramic work in the advanced state of construction as Meryl nears completion of the modeling phase prior to the piece's first kiln firing.
Meryl provides the last finishing touches to the sculpting process by adding more clay slip to create the proper surface texture and for enhancing the dog collars.
More process images of the work after the sculpting phase is complete and before firings are undertaken and coloration embellishments with glazes are begun.
At this point, the work is allowed to air dry for a week or more before its first kiln firing. Underglazes are then applied after the successful firing has been completed.
Meryl continues the long intricate process of applying detailed underglazes to the work, shown here as the leopard-skin pattern is hand-painted onto the body of the work.
Having completed her preliminary underglazing, Meryl applies a clear coating of cone 6 glaze to the leopard skin area. The dogs' head will not be glazes so as to retain their matte finish in the completetd work.
OVERGLAZING and COLD FINISHING
After yet another firing, gold luster is applied to the hardware and mother of pearl luster is hand-painted on the rests of the piece. A final refiring is also done. Addiitional cold finish touches complete the work.