Banner: Porcelain Grace, Meryl Ruth, Fine Art

 

   SHIRR-WOOD TEABAG, A CERAMIC TEAPOT


 

 

 
  • This work is the result of a request from the owners of Sherwood Gallery for a new work in the genre of my Teabag Series of ceramic purses serving as functional teapots,Specifically desired was a side spout design.
  • The name I chose was based on wordplay of the shirred panels of the handbag and the gallery's name.
  • The piece is made of stoneware clay. It is entirely hand-built, using clay slabconstruction methods for the body and spout, slabs from templates for the handles, extruded clay for the cording, press mold for the zipper and keys and sculpting for the supplemental pouch, feet.and detailwork.  The lid is a cut-away segment from the top of the vessel; with a press mold key to serve as its handle.
  • Construction sequence:
  • Size: 15.75" x 13.0" x 4.5".
  • Date: 2009
  • Displayed at the Sherwood Gallery, Laguna Beach, CA.
  • Sold.

Shirr-Wood Teabag is a ceramic teapot in the form of a designer handbag.
 

   ENLARGED VIEWS

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Enlarged view shown.

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Enlarged view shown.

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Enlarged view shown.

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  CREATIVE PROCESS

Creative process details illustrated.

  • This is a new stoneware teabag (my designation for a teapot-cum-purse) specifically designed and crafted on order for Sherwood Gallery, Laguna Beach, CA, where it is currently on exhibition.
  • It is constructed from clay slabs fitted with sculpted shirred ftont and rear panels.

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Creative process details illustrated.

  • Feet and stitching details are added.
  • Still to come are such structural features as the purse's strap handle and clasp and the teapot's spout and lid.

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Creative process details illustrated.

  • A zipper is fashioned in clay from a press mold made from a real zipper.
  • It is appended on the purse's body as a design embellishment for the fanciful purse

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Creative process details illustrated.

  • The spout is constructed of clay slabs. It is fitted into the opening formed in the side panel.
  • The sculpted lid in the form of a key and clasp is attached in place as well.
  • Cording of extruded clay and other details are added.

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Creative process details illustrated.

  • Strap handles are added. They are modeled in clay slabs from templates.
  • The handles are appended to the purse body by means of faux metal clay bands.

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Creative process details illustrated.

  • The sculpting phase of this piece is concluded with the addition of a small pouch with key at the back to provide secondary support for the pouring function.
  • Other detailwork finalizes construction. The piece will now be allowed to dry prior to its first firing to cone 06.
  • Underglazing will then begin. I envision a zebra pattern design for the surface treatment.

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Creative process details illustrated.

  • Firing to cone 06 was accomplished successfully. I had considerable concern about potential kiln damage because there were recognized risks. Air pockets in clay can cause serious destruction at the high temperatures to which ceramic works are exposed. Tiny holes were pierced in the undulating clay surfaces to prevent this harm. Moreover, the front and back panels had been made double thickness, the shirring having been placed on top of the interior flat clay surface. Such thick areas can also cause problems.during the firing process. Extra drying time served as a precautionary measure.
  • Beginning of the underglazing for elaboration of surface design features is then undertaken.

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Click for more process details Click for more process details Creative process details illustrated.

  • Undersurface of the work is decorated with zebra-striped glazing and signed in the clay.

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Click for more process details Click for more process details Creative process details illustrated.

  • More underglazing is applied for continuing design embellishments.

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Creative process details illustrated.

  • Still more underglazing is being done preparatory to another firing.   

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Creative process details illustrated.

  • Underglazing to provide coloration to the remaining surfaces is complete. 
  • Clear glossy glaze will be applied to all but the red shirred panels.
  • When this is done, the work will be fired to cone 5/6.

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Creative process details illustrated.

  • Red overglaze is added to enhance the coloration of the shirring on the front and back panels.
  • Silver luster is applied to the zipper, buttons and keys to complete the piece in anticipation of its last firing.

 

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  DETAILED VIEWS *

Detailed views shown


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