Kiln Opening

Sunday Morning-October 26, 2014

Made In Mud-Decorative Ceramics

Marcia Koski Finnerty

Arlington, Virginia USA

 

This is Firing #63:

A slow glaze firing to cone 5.

Well it has been a while, since I had enough art to fill up and fire this 10 Cubic Foot L&L programmable big boy!  

Here is a view of my kiln shed.  It is located outside, at the top of the steps, from my walk out, basement, studio. Very convenient as long as I don’t get a big snow storm and have to shovel out the stairwell before I hump all the green ware  and bisque up the steps.  I’m getting old!!!

As you can see the lid is closed.  I have not yet opened the kiln. I did not even take a quick peek!   Wanted to share the:  Excitement? Disappointment?  Frustration? Sadness? Glee? with all of you exactly as it happens. I let it cool to ambient temperature naturally. (around 70 degrees )

Absolutely beautiful fall day!  I did not use the down draft vent during firing as it is broken.  Does not seem to matter if I use it or not.  So being lazy and cheap….. I didn’t fix it.

  

First Look! 

SWEEEEET!

OOOOOOO! 

Mama Likey!!!!  

No explosions! No Glaze Runs

All Intact!  Colors look perfect! I’m really liking what I see!!!

I did LOADS of glaze and under glaze tests before I got to this point!!!

This is the top level and there are three more below.

These are textured slab plates which were placed over slump molds and have little feet rather than a foot ring.

Yes I did overhang the plates over the lower level.

Deep Breath! Remove and check the bottoms of each plate for cracks, and flaws. 

Close up of top level.  Unload to basement studio and remove kiln shelves.

Before I go to the next level below….. lets take a look at the  pyrometric cones.

Had a great firing.  This is Firing #63.

A slow glaze to cone 5.  No hold and no preheat. No forced venting.

Yes the cones were removed from the kiln for this photo, but this is what I see thru the peep hole during the final few moments and make sure kiln turns off.  Which it did. And Yes I keep detailed records of each and every firing in a notebook.  I use a “ ramp” method of firing.  I like a visual record and graphs to see rate of heating and temperature climbs. This helps me trouble shoot any heating/element problems before they get critical.

By the way I NEVER, NEVER, NEVER, fire the kiln without a cone pack and always stay close by when the end of the firing is near.  So even if it is 2 AM, and 15 degrees below zero….. I am there to check the cones and turn off the kiln in case the automatic shut-off fails!!!!  Which has occurred but once!

I don’t want to burn the house down!!! 

So crossing fingers that the next level reveals equally nice results…….  

Here is the second level and the bottom partially unloaded.  Still looking good!  Hmmm some of the Xmas ornaments came out a bit darker than anticipated.  Colors look good on the plate???  I used the same under glazes on the ornaments as on the plate. Perhaps the lighting?? So far so good!! 

 

On to the next level below…..

The third Level:  Still looking good.  Colors rich and nothing exploded or runny.  I’m happy! The bowl is looking good and shades of blue and green as anticipated.  Tried making some ugly gnome Xmas ornaments.  I love a creepy gnome.  Not your traditional Xmas ornaments.  Can’t explain it.  Just playing in the mud and having fun.  Yes this bowl overhangs the kiln shelf over the bottom level items.  I made sure the glaze underneath , on the bottom of the bowl would NOT potentially drip onto the items below!!!!  Because I know this glaze well I was certain it was safe to overhang.  Otherwise I would not pack the kiln in this manner.  Experience!  Knowledge! The foot was entirely supported on the shelf.  Just so’s ya know.

And finally, the Last level.

The Right side is the Bottom totally unloaded and left side is the last bowl and some ornaments. 

Oh Dang!!!! 

This bowl has a big crack in the side where the fold occurs. (Around 11 O'clock).  This was an experimental piece.  I was trying to see how thin a slab I could make and then drape it over a slump mold.  Guess I got my answer!!!!  Well…… lesson learned is that for this method  the slab needs to be a little thicker. The crack did not show up in the bisque firing.  Absolutely no hint of a crack in the bisque piece.  Go figure????  Ornaments look OK.  These photos also help me understand what might be going on in the kiln and locating potential hot or cold spots. 

Next job is to clean and vacuum the kiln and do some clean up on all the kiln shelves.

Love to hear from you!!!   

Questions/comments send me a line. 

Fondest Regards, Marcia

Coming Soon Has Finally Arrived!

I know two months is hardly coming soon.

But I’m not a full time blogger-obviously…..

If I take time to publish and write these blogs……that means less time to make art and make beautiful music.  So to all those waiting patiently ..... many thanks.  Finally,  here for your viewing pleasure....more photos and descriptions.  

Theme Assignment for April 2014 shows:  Present a series of 5 related works of art.

Location:  Arlington Artists Alliance (AAA) Gallery Underground in Crystal City, Arlington, Virginia

 Here is the Gallery Underground in Crystal City, Arlington, Virginia. 

Our dedicated gallery manager and Talented artist:  Sandy Parker at the desk.

For the Series Show:  I selected a study of perforated and pierced ceramic artwork. I already had two pieces made and then added 3 new works for my total of 5.  The announcement of the themed show did not allow sufficient time to make 5 entirely new pieces.  But I did want to re-visit and expand on the “pierced/perforated Theme.   

From my collection:  Item 1.  Pierced rim vase 

The first  is  a 10 inch diameter  extruded “Clover leaf” tube with a slab bottom.  I enlarged and worked the top portion and pierced only the rim section.  Only the top outside and inside was glazed.   Oxide stains are on the lower carved outside surface.  I find it interesting to be able to view the inside surfaces from the outside.  One of my favorite glazes Tin Barn Blue.  Additionally, the light reflects out thru the holes.  I was inspired by Geodes.

This work represents one of the first explorations of poking holes through perfectly good pots.   

Must say .....the “first hole” is the most difficult. I agonize:  “Do I really want to do that?” “Why am I doing this?”  “This is really stupid!”   As my hand hesitates with the hole cutter???? What the heck am I doing as first one hole and then another penetrates the wall.  Then the question arises:  When to stop?  I don’t know what compelled me to begin this folly but I just keep on going???

Item 2: 

 

This second  work is a double walled and perforated vase.  So even though you can see light passing through the outside portions…… there is a 1.5 inch tube inserted down the center  all the way to the bottom which holds water and is totally functional.  

 This is a slab built piece which was draped around one of those orange construction cones.  I attached a  slab bottom and inserted an extruded tube in the center. 







When poking the holes with the hole cutter I had to be extremely careful NOT to go to far or I would penetrate the inner extruded tube. 

This was not glazed on the outside because the holes would’ve been sealed.  Rather I used an under glaze when at the leather hard stage.  Yes,  the inside of the tube is glazed and waterproof.  It is totally functional as a vase. 

New Work:

The three bowls below represent the newest works for this themed show.  Same construction methods for all: 

Rolled out 24 inch x 24 inch about 3/4 inch thick .  I use recycled clay.  The  slabs are draped over a large  plaster mold.  An extruded foot ring is attached and then the rims are refined or left in the rough.  Each hole is individually pierced at least 3-4 times before the clay reaches the leather hard stage.  And YES!! It is very difficult to handle that amount of clay!!!! Sometimes it flops around, pulls apart, falls on the floor and has air bubbles.  And if you are wondering...YES I do have a mechanical slab roller. I don't make these slabs with a rolling pin. I use a Northstar 24 Inch slab roller.  I love it!!!  

 Item #3

 
 The largest-red bowl is approx 16” in diameter, 11 inches tall. The same mold was used for all.  Only the rims are different.   For the largest red bowl I smoothed the rim.   

 All three bowls had a black under glaze applied at the leather hard stage and then I used a very thin clear glaze which did not clog up the holes. 

 

 Item #4:
 For the Chartreuse Bowl I decided to leave the rim in a more organic state. 

 

Item #5:

 For the black bowl I smoothed the rim a little but left it raggedy.

All items were first bisque fired to cone 05 and then glaze fired to cone 6 in an electric L&L kiln. 

Feel free to leave your comments ask a question and share your reactions. I know my work does not appeal to everyone.  But I’m making this stuff to please myself and have fun. But this blog stuff is a challenge!!! And I'm  obviously not a professional photographer.  Marcia Koski Finnerty

COMING SOON!

 

A new body of work!

When I opened the lid to the kiln...... I looked down and to my utter delight....... saw the bowl I had worked on for days. 

It  does not happen very often....that what you visualize in your minds eye  ....... comes out of the kiln better than you had imagined.  It is thrilling! 

Ceramic artists are at the mercy of the kiln gods. 

A sample of my latest work includes an entirely new color palette. Before this final glaze firing I prepared over 20 test tiles.

 I tested and compared over 30 different under glazes, different application methods and different glaze firing temperatures. Additionally, I had to also test some new clear glazes applied over the under glazes.  For this I thank Virginia Pates at NVCC and her recipe for clear glaze. IT was the Clear winner (excuse the pun). Each color is hand applied.





Slab Built over Hump Mold Fired to cone 5 in electric kiln




Please share with me what you would like to see or discuss. 


Examples:  Studio set up? Types of equipment utilized? Glaze test results? What would you find interesting?

Need your ideas and suggestions.

Re-discovering your creative spirit!

Now that I am old enough …. (I hit the magic senior Citizen #)  I am able to register for classes for free at the local community college.  How kool is that.???  I also get a free parking pass for the semester. 

So needing a creative “kick in the pants” last February, I decided that a way to stimulate my creative juices would be to sign up for a ceramic/sculpture class with the new professor at Northern Virginia Community College in Annandale, VA. 

The situation that developed for having such a “Debbie Downer” attitude was due to having suffered a very bad fracture of my arm.  Several months previously, I had suffered a bad fall and broke my wrist requiring surgery a surgical implant, several screws and physical therapy.  Very frustrating!  So at my age getting back in the saddle was difficult and depressing for a time. This class provided the needed stimulus and positive reinforcement to start working again.

 
 

Virginia Pates provided that much needed creative environment in her ceramic /sculpture studio. Even more wonderful were the creative students in the class.  Working in a studio  with all that creative energy was like receiving  a blood transfusion .   Working alone in my dark cold basement is not conducive to healing or stimulating the creative process.  I have to give a lot of the credit to my fellow students as well as a wonderful teacher.  I owe them a great deal of gratitude,  they all helped me get out of my creative funk.  And I was able to accomplish something that I tasked for myself as a new challenge.  I hoped to make a sculptural piece of artwork on as large a scale allowable by the equipment in the studio.  That is the limiting factor for most ceramic artists.  I hoped to develop a knowledge base about how to make large sculptural pieces, be able to fit them together before and after firing and also provide for easy /safe transport.

So for the first time I attempted to work on a large scale. Totally out of my comfort zone or experience. My idea was to utilize Large Extruded Squares, but did not now how to put them together. And more important How to get them apart! So Virginia suggested creating an inner lip just like a lidded jar with a gallery .  So that’s what I did and it worked very well and at this height. 

At home I have a very large extruder.  I can extrude 10” x 10” hollow squares.  I extruded about 10 of these each 12 inches tall placed them in plastic covered bins and carried them to the NVCC Studio.  I Placed a damp sponge in each bin to keep the clay at a nice working consistency . Made a lip, was able to conveniently stack 4 sections on top of each other, and went to work.  One tip to share:  I discovered Tyvec house wrap works great between each block.  I placed strips between the gallery and lip so that tabs stuck out between layers.  Made for easy separation. This is larger than anything I’ve ever made. And was within the size of the studio kiln. But I miscalculated by about ½ an inch. Grrrrrrr.  My goal was to fire it in one entire piece rather than sections.

So I would like to introduce you to my new friend:  CLAY.

Virginia Pates Instructor at NVCC allowed me to set up my own spot in the communal studio.  I found an old desk chair outside near the dumpster.  I  removed the seat and securely attached a piece of plywood.  I made it level and used that as my portable work space.  The studio is used by ALL the ceramic classes as well as sculpture students so when you leave your work for the weekend /evening you have to anticipate the worst and cross your fingers. One of the other students in the class studying cartooning and animation helped give Clay some much needed personality and attitude.  Hopefully this would warn other students away with his menacing attitude????

Virginia Pates provided much needed guidance on methods/technical strategies about building stackable interlocking blocks for this sculpture/fountain.            Here you can see the little tabs of  House Wrap sticking out between each of the blocks.  There are 4 blocks stacked and interlocking.  The design blends between each layer of blocks.  The design is supposed to allude to fish swimming upstream to spawn. Heavy use of under glazes and all hand carved.

 

One thing I discovered in working this large is that it takes a long time to carve the entire surface!!!!  It takes focus and attention to maintain the momentum.  I did get bored but then it is time to STOP working and take a break. And that was good because it forced me to walk around the classroom/studio and interact with my fellow students.  It was important to stop, look, listen to see what they were doing. I gained more from them as I tried to understand what they found difficult, challenging and interesting.  Those conversations were transforming.  It was so good to be in classroom environment.   Also they would trickle over to where I was working and ask questions.  Good thoughtful and probing questions which really forced me to think about what, why I was doing what I was doing.  A rich exchange of information and fun.

The First Annual Open Studio Show and Sale

Sponsored By:  The Arlington Artists Alliance

On Saturday, October 15, 2011, I, along with 15 other Arlington Artists Alliance members www.arlingtonartistsalliance.org  opened our working studios to the general public.  We had 15 different artists and 12 different studios located around Arlington, County Virginia and Falls Church.  The tour included 3 commercial studios and 8 private homes.   Considering that this was the first time we sponsored such an event,  it turned out to be a surprising success! We also worked under a rather compressed time frame.  

Here are a couple of shots of my basement show room all cleaned up and ready for the general public.  

I purchased 6 pedestals in three different heights and two different dimensions.  (12" x 12" and 15" x 15" ) These are fantastic.  Easy to assemble, easy to store, easy to maintain, and easy to transport to other venues.  Very good price too!  

 I managed to locate a previously owned,  beautiful, white leather contemporary sofa on Craigs list. ( a very cool story)   Turned out the previous owner was also a ceramic artist. Very small world.   Finally got rid of the the 30 year old red plaid sofa.  Really did a lot to change the character of the basement from a "Man Cave" (not that there's anything wrong with that) to more of a "Gallery" ambiance. 

Here is the Bonsai Pot collection.  I happened to be one of the Finalists in the First North American Bonsai Pot competition several years ago.  That particular pot is currently in the bonsai pot collection at the National Arboretum in Washington D.C.  But here are several others. 

If I choose to have another Open Studio Tour and it is in the winter, I can still put a nice cozy fire in the fire place and serve some Hot Toddy's.  

         

It took me over a week working almost 8 hours a day to clean up the mess caused by the flooding in the adjacent room and the nearby carpet. Major storms invaded the area  the previous week! 

What a lot of work!  It was especially difficult to get rid of the “musty” smell.  But I persevered, and everything smelled nice.  OK perhaps not nice, but not as bad and obnoxious.  October 15^th was an absolutely beautiful (albeit WINDY) day and I was able to leave the basement door open.   We did loose several of our Orange and Yellow Balloons!  I also set out the mouse traps that night to catch any little visitors who might have found their way inside the house. 

Before the public entered the “show room” area of the basement they had to walk down the exterior basement steps into the actual “working studio” portion of the basement.  I had things labeled and cleaned up.  This worked very well.  I did not want the general public in the private part of my home.  (Security issue) Not that I have anything worth stealing.  We still have analog TV (not that I watch much TV )  and I can't even use my laptop on the internet.  

 

I don’t even want to show photos of my work space.  Looks depressing!  Gosh how can anyone work in there you would exclaim???  Maybe some other time I’ll share some photos. 

It is your typical 1930's basement.  Designed to be a basement not a place to actually use.  ( “Pocked marked” and  cracked cement floors, Exposed pipes in the ceiling, Hanging florescent shop lights, Exposed  floor joists above their heads, Cinder block walls with Peeling paint , Hot water heater, Noisy boiler, Old cement laundry tubs and Husbands work bench-  Your get the picture) Then the public then entered the well lit and clean show room.

Here I am demonstrating my Shimpo extruder.  Other equipment in my studio includes:   24 inch North Star- Slab roller, 5 inch North Star-extruder, a monster 12 inch - Bailey Extruder , Brent Pottery wheel.

   

Here I'm extruding  some "straps" which will eventually be made into a coil pot.   OMG that machine has changed my life!  Great piece of equipment!  I’ll discuss my method of working in later blogs. This has different dies which can easily be changed so that I can also make coils.  The clay comes out like butter. 

 Because I do a lot of extruding my preference for the clay is that it have a higher water content than most manufacture's currently produce.  I  use recycled clay obtained from local studios.  (The clay is free!!! It's actually "clay slop")  If I did not own the pug mill I would not be able to properly process all the clay.

Sorry to get off topic but I'll have more on my working process and studio set up later. 

A week after the Studio tour we had a follow up meeting of lessons learned and discuss what to do next (if anything). 

At the meeting;  it was agreed to begin planning another event for fall 2012.  Probably also in October.  We all agreed that it was a huge success in that if forced us to clean up our spaces and complete all those unfinished art projects piled up in the corners of the house.   One of the most overlooked benefits was that each artist was forced to do some self promotion and be able to talk about the process of making their art. This is one area  that many artists are not comfortable discussing:  Talking with strangers about “how” they actually  make their art and the creative processes which occur.  Most of the time we don’t really understand it ourselves; it just happens.  

We hope to grow the number of participating artists and especially increase the representation from the south part of Arlington County.   We will be forming working groups after the new year.  I guess I’ll be the chair person again??? 

One very special opportunity presented itself when LeAnn Kalita  (long time AAA artist and member) was asked to write an article about planning an event such as this and the problems which occur.  She did a fantastic job and the timing could not have been better.  It came out at the same time as our  event!!!  Take a look at  October 2011 issue of Élan magazine.  I actually had my urn “Under The Ocean” photo published.  I was thrilled.  See:  www.arlingtonartistsalliance.org/Events/studiotour/Elan.pdf.  Our event also appeared in their calendar section. Photos of artwork from participating artists also appeared in print and really helped promote this event and the artists.  We can’t thank LeAnn and Élan Magazine enough for all their support. 

I'll need to take a couple of weeks break from any further postings as I MUST focus on getting ready for xmas sales and shows.  

More later. Thanks for visiting.  Marcia

Non-Traditional Cremation Urns and Jars-Stoneware

Made In Mud - Decorative Ceramics

“Non-Traditional” Cremation Urns and Jars

For Pets and People

Marcia Koski Finnerty

Made in USA

                                                        “Rusty Gears” $425.00

      For automotive mechanic.

If you desire a cremation urn or jar that screams here are the ashes of my deceased (fill in the blank) then this is not the place for you.  If you want something a little more, individual, edgy, sculptural, or unique, then you’ve come to the right place.  If you were looking for an urn which more appropriately  reflects the “quirky spirit of an  individual, or that one of a kind” personality of a loved one or pet then I can help design a special ceramic container that more closely reflects those characteristics.  I of course am happy to help with a more traditional style container if that is your wish. However, you might be happier with other traditional cremation urns/jar manufacturers, and to be honest they can probably make one cheaper, and faster.  My urns are made from high fire stoneware clay in my studio located in Arlington, Virginia.  My urns/jars are:  Frost proof, dishwasher safe and food safe except where noted.   

Under the Ocean-$450

For the Scuba Diver

Jewel of the Potomac-$335.00

If “Bling” is your thing?

My paradigm is that a container should fulfill three requirements:  1. Be expertly crafted and designed.  2.  Last an eternity, 3.  Say something meaningful about the individual it was made for, the artist who made it, and the culture/society where it was made.

My basis for this approach comes from the field of archeology. How do archeologists learn about the deeds of people, the activities of past societies and customs of long gone cultures?  In many instances these bits of information & knowledge are gleaned from excavations of graves, tombs, and funerary objects.  Consequently, I, as an artist hope to construct/design objects that will last an eternity, teach people about the accomplishments of the deceased, and say something about our culture. A cremation Jar/Urn can serve many purposes during its life.  Use it as a dog treat jar or cookie jar until it is needed for the final job.  Display it proudly as a work of art.  Use it and enjoy it while you are living as well as when you are dead.    My jars are food safe, & dishwasher

safe.  They can be reused again and again.

 

The Hand-$365.00

             This individual worked as a hand therapist?

I encourage YOU to contribute to the actual design process.  This is what separates my urns from others.  It is not just a brass plaque glued to the outside of a generic brass or wooden box, but rather a container imbued with the spirit of the deceased.  When discovered in a 1,000 years, archeologists will know something more than just a name of some random deceased person,  but will understand the personality and something about  their accomplishments.  Share the foibles about the deceased.  Laugh over their jokes, or cherish their compassion towards family and friends. We can work together to design a suitable container which memorializes their individual spirit.

Red Ruby $345.00

Regards, Marcia Koski Finnerty

Made In Mud – Decorative Ceramics

Non-Traditional Cremation Urns and Jars.

My construction method: 

I use high fire stoneware clays fired in an electric kiln.   My two methods are:  Slab and Extruder.  The extruder squeezes the clay  through a die.  I use simple geometric shapes to begin with and then alter as required according to your specifications of design and size.  Hollow extruded shapes include:  Squares, Circles, Cloverleaves, & Triangles.

 

Aquatic Fossils

$375.00

From these few simple basic hollow shapes an infinite number of other shapes can be constructed.  I can carve,  impress, paddle, rearrange add to and redefine the basic shape.  At the appropriate time, a flat slab is rolled out and added to make the bottom.  I often add design elements to the interior and to the inside bottom.  Seams are reinforced. Another slab is rolled out for the top and the lid, with it’s supporting structures are added.   The lid is designed such that it can be glued and permanently sealed at a later date if desired.  The lids are also designed such that the knobs can be customized.  Often individuals choose to select items of a personal nature which can be affixed to the lid and function as a knob.  Examples have included shotgun shell casings, rocks,/stones, fish hooks, golf balls, Lego’s , baby shoes, sea shells,  the list goes on etc.  If it can be glued or screwed to the top it can be attached.   

Mixed Clay-Agate Boxes $375.00 / Each

Shown with  a selection of optional knobs

If no type of knob is specified, I use a “generic, “plain” metal knob (brass, or brushed nickel) screwed onto the lid which is removable so that you can attach or glue a knob of your choice and customize to your needs at a later date. In the mean time it is completely serviceable for everyday needs.

Ok so now you are interested in learning more about exactly how to proceed in this endeavor.

Q.  First question one usually asks is about price.  How much is this going to cost?

Rock Bottom Example:

10” x 10” x 10”square = (100 cubic inches=100 lbs) smooth surface with a generic screwed on  metal knob, one color= $145.00 (includes, shipping via UPS, & packing) (Fall 2011)

Q.  Second Question is :  How do I know what size urn to purchase?

Very easy:  One cubic inch = 1 lb of body weight at time of death.

Q.  How do I calculate the volume? 

Volume (in cubic inches) = length x height x width

So a 50 lb dog might require a 50 cubic inch container.  A square box of dimensions 5” x 5” x 5” =125 cubic inches would hold the ashes of a 125 lb dog.  More than enough for a 50 lb dog. 

For this purpose a smaller:  4” x 4”x 4” =64 cubic inches  would be perfectly acceptable for a 50 lb dog and serve the purpose quite well.  Some individuals are requesting the urn be large enough to contain the ashes of themselves and their beloved pet (s).    Not a problem. It’s their choice.

The price for my urns are based on size and amount of surface decoration.  Larger= higher cost. If a lot of design elements are required, complex surface designs, multi firings for color then those are going to cost more.  So large complex designs will cost more than smaller, smooth surface and simple colors.  These urns are designed to be individual sculptural works of art in and of themselves, suitable for display and of museum quality.  Because they also may happen to serve as a final resting place for your loved one should not diminish their artistic qualities as stand alone sculpture.

Tree Stump-$450.00

For your Dog and You?

Made In Mud: Marcia K. Finnerty-Solo Show

www.arlingtonarts.org/venues/lee-arts-center-exhibitions.aspx#1
Welcome to My Very First Blog Entry
Didn't think I would ever do this. But Here it is.


I know: "Shameless Self Promotion"

Is this what being an artist is all about????

I hope that my work will speak for itself. But just in case .... I've been told that it is necessary to do some marketing. So here is my first attempt. It is an invitation to visit the Lee Art Center Mini Gallery. (Details below. )


Pandora's Boxes and Urns Exhibition
Jan. 8-Jan. 28, 2010.


I'm trying to get the word out about my solo show: Pandora's Boxes and Jars at the Lee Arts Center. This is my second solo show at that location. The location is 5722 Lee Highway, Arlington, VA 22207. Call Arlington County, Virginia Cultural Affairs Division 703-228-0560 for available times.

Usually, the LAC is open from 9:30 am till 6:00 pm.










My previous show was several years ago. It was titled: "Ceramic Art From From Local Clay Deposits, "Can You Burn A Mud PIE" That exhibition was a collection of small hand built ceramics made using locally dug clays. I was very, very lucky to get an individual artists grant from Arlington County.






Now I'm struggleing with the marketing end of being an artist. My initial goal was to try to enter the Cremation Urn market. I also am trying to make a statement. These containers can be utilized as cookie jars, as well as cremation urns for family or pets. Love to hear your comments.














This current exhibiton consists of 22 jars/urns and one vignette.























The Vignette is titled : "Tea With Dear Old Dad".






Yes, my fathers' ashes are in one of the Jelly Jars.





Yes I did make the Blue Berry Jam.



If you knew my dad; Lauri W. Koski, he would highly approve of this use of his remains.





He would have laughed his " Ash " off. I know terrible pun but appropriate for him.





The opening reception was Jan 8, 2010. Had some great food and wonderful music. The Band was courtesy of my wonderful friends from the FOB group . (Friends of Old Time Banjo )





Unfortunately, the BCS bowl was on TV and Snow was in the forecast. So ...Turnout was less than expected.





I would love to find another venue for this exhibition after Jan 28, 2010!!!!


Not sure what to do for my next project. Most of these urns/jars were made using a very large extruder. I love working with the extruder as it saves stress on my old joints and wrists.



I'm waiting for the photographer to return the photos of the 23 pieces of art work from this show. I'll try to upload some of the photos when they are ready. Hope to get some comments for you all out there.



On another note: I just rejoined the Arlington Artists Alliance after several years gap. I believe artists should support their fellow artists. Great to see so many new faces. The growth of this organization has been super. I'm looking forward to doing a "coil pot" demo at the Ft. Smith week long art event in a few months.



In the mean time I'll be playing Irish Music (Concertina & Whistle)at the 4 P's Restaurant in Fall Church, Monday nite 8:30 pm till??? See ya then.