Five kilos of bone china borders my current physical strength to wedge, roll and prepare for a decent slab. At 3 mm thickness the wet slab measures 60 x 80 or close. This maybe the size limitation.
Testing slab four refined technique one. Results after the firing will let me know if it is a useful production technique.
Layers of boards, stretch taut canvas, a veneer of plywood behind this with a muslin layer, interfacing, bone china, interfacing and a canvas top stack like a wedding gown procession. The slab roller is like a big press without heat.
June 16th
First morning I woke knowing I’d slept, jet lag has moved over to Sarah’s side of the room. Later in the day, she is able to tell me dawn arrives at 4:30AM, and the birds are loudest at the start of the morning light. Yes, I say, I know.
Tonight after dinner, we print out the plan of how the panels with layout, 3 high by 5 wide – with two layers – off set by two panels, etc. This means a count of 30 panels (hoping we can make 1/hour – that means around a week for ‘production’)
But onto a more romantic view of our time here, lived in the moment. Looking outside between ripping the edge of paper for our full scale mock up – the light is spectacular – for moments – between opening a window to capture one view – without the glare of glass – and then attempting through the glass for a better composition of the clock tower – the light has faded in brilliance. An invitation to be present for the special movement of time and sensing one’s presence in the moment.
Moved the slab roller into the studio today that meant we moved everything around. The entry zone is for clay – and wet work, middle section for displaying our mock up – and the final and then the end zone near the stairs for our clean desks. Our linen cloth on the work surface is most elegant with freesia and starburst of purple flowers gracing the centerline.
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