Here's a few pots...

Hello Rob

This is some nice work and I especially like the blue drum! I'm looking forward to your gas firings!

I also have one question Rob. Does the gaskiln make some noise so that a neighbour might be annoyed?

Kind regards
Martin

Klaudia,

Thanks for your kind words. I respect your opinion as a fellow potter.

As far as the gas kiln goes, the neighbors don't mind at all as we are pretty well spaced apart anyway.

The sound of the burners on full is music to my music teacher ears

Thanks,
Rob

Hi Rob,

again a very fine job.
I wish you good luck.

Best regards
Peter

Rob, what days will you be at the convention? I hope to see you then.

Ed

Ed,

I am hoping to be there all three days. I never know for sure because my children have been complaining of a sore throat, and my wife is going crazy trying to get her end of semester exams graded, but I have made arrangements to be there for the whole thing.
Thanks for asking BTW. I am looking forward to seeing you there!

Rob

Peter,
Thanks for your encouragement. It is always an honor to have the support of a modern living bonsai legend

Perhaps you could tell me what you think of these next two.

First a medium sized bunjin in a rich dark clay....

Next, a slab constructed rectangle, with a bit of uplift in the feet. I think this would be good for a tree that has a bit of height to it and a rather formal triangular composition. I was influenced in a pot by Klaudia last year and I decided to try one in a similar way. I believe she had a top lip on it .

BTW, thanks Klaudia for you design inspiration!

Woo Hoo, Mr A we have been busy

Some good ones there sir I really like the bunjin and also Klaudia's inspired pot
Thanks for showing, I know your really busy getting ready for shows just got back from my big one in France, see thread on Bonsai page lots of pots!

All the best

Andy

Hi Rob,
Your pots are all very beautiful, it's hard to say what is most beautiful.
Each pot is very good work.

The high feet on your pot have a long tradition in China and Japan.
Look here:

http://www.bonsaipots.net/index.php?page=japan-blue-and-white
http://www.bonsaipots.net/index.php?page=penjing-album-of-gotha

Best regards
Peter

Andy
Thanks for your encouragement. I was delighted by your contest selection from your show in France

Peter
I found your articles to be very informative and entertaining. The west bonsai world is indebted to your work in bonsai pot culture. We need more info here in the west to help keep our art form relevant. I too consider myself a student, always trying to relate something new to something that I may have seen before.

For example here is a medium sized rough primative oval perhaps for a rugged pine. I would love to learn more of where this style first developed.

Here on this forum I see other potter's work. We all share, and it should be a complement when other potter's use an element or focus point from one another. I try when ever possible to give credit where necessary. IMO, if I see something that interests me, I try to use it in my own way. Artists and painters have been doing this for many, many years.

This is a piece that I made to be quite rough in its use of glaze and texture. I have seen this done quite often in art pottery. Naturally it would suit a tree with much age and character. I learned this technique back from my years as an undergrad in ceramics, but it is really not new. The photo does not reveal the subtle variations of blues that exist in the glazes. Since the pot sold I can no longer photograph it....

Hey Rob, nice! Have you tried SiC in layer one and another color without, over?
Wood

Rob,
Are you saying you TRIED to achieve this finish?
I have that happen from time to time as an accident which I usually correct with a third firing if I can?. In fact, I'm reglazing one right now to refire with another glaze over the original. it should be in next high fire.
I THINK the times I've had this happen came from putting coats of glaze over the last coat before it was completely dry?
The 'glass' bubbles are quite sharp if left untouched and will break open as time goes on so I go over the entire pot where they appear with a heavy wood rasp then reglaze/fire. Sometimes the magic works.
Here is a large soft rectangle I made about 6 years and did that too. I kept it for myself and now has a large trident maple in it.

D.

The glaze effect was achieved originally by applying a high alumina underglaze OVER one that is more fluid. It worked well on the test tile, so I reproduced it on the pot.

Dale,
Your suggestion of sanding off the sharp parts is a good one. Although I like the look of your refired pot, I am not sure if I should as it would lose the effect.

Thanks for your input; you have much to offer in your many years as a potter!

One thing is certain: I need to do more testing on this technique to get it right where I want it...

Ok, enough with the rough stuff for a while. Here are some nice ones from my last batch.

This is a medium large oval with a purse like profile:



This oval is about the same size, with a satin matt yellow glaze:
It was purchased at last weekend's show.

Hi Rob, nice pots. I really like that blue glaze on the next to last oval.

Roger

Roger,
Thanks for taking time to comment. That glaze is one of my favorites. Here is another example on a pot in a similar style to the yellow one above:

Hi Rob,

once again very good work, I like both of glazes well.

Best regards
Peter

Hi Rob

I love this glaze as well, perfect for a Japanese Maple as well as many other deciduous trees. Thanks for showing and good to see things have calmed down a little for you.

All the best

Andy

Peter and Andy,

Many thanks for your support. I always enjoy seeing both of your work here on the IBC!

Rob

Hello Rob

Sorry for replying so lately...

I was influenced in a pot by Klaudia last year and I decided to try one in a similar way.

A very nice and "light" pot....so I can't be to wrong with my feets

BTW, thanks Klaudia for you design inspiration!

You are welcome Rob!

I also like your latest pots ....the primitive and glazed ones...very nice......
I think I should copy you now !!!!!

Kind regards
Klaudia

Thanks for the kind words!

Since I have been busy with several projects, I got around to finding time to post a few from my last batch:





I am anxious to see how the clay in the drum above holds out in a reduced atmosphere. Being that is has a lot of iron and manganese it may have to remain something that I only fire in my electric. I think a set of test tiles for this clay will be necessary. Clays with high iron are NOT recommended in reduction because the iron fluxes out, causing bloating, slumping, etc.

At any rate, it will be interesting to give it a try.

Thanks for letting me ramble.

-Rob

Dale Cochoy wrote:Rob,
Are you saying you TRIED to achieve this finish?
I have that happen from time to time as an accident which I usually correct with a third firing if I can?. In fact, I'm reglazing one right now to refire with another glaze over the original. it should be in next high fire.
I THINK the times I've had this happen came from putting coats of glaze over the last coat before it was completely dry?
The 'glass' bubbles are quite sharp if left untouched and will break open as time goes on so I go over the entire pot where they appear with a heavy wood rasp then reglaze/fire. Sometimes the magic works.
Here is a large soft rectangle I made about 6 years and did that too. I kept it for myself and now has a large trident maple in it.

D.

Hey guys.

I "quote" this because it's a few post back. I remember years ago seeing Jim Barrett's pots for sale at conventions. He always had a few "mistakes" for sale - glazes that didn't quite work, or other strange things. I always went for them first because they were one-of-a-kind and WONDERFUL. Anyway, thought I'd throw this in - don't trash the freaks!

Russell

Russell Coker wrote:

Dale Cochoy wrote:Rob,
Are you saying you TRIED to achieve this finish?
I have that happen from time to time as an accident which I usually correct with a third firing if I can?. In fact, I'm reglazing one right now to refire with another glaze over the original. it should be in next high fire.
I THINK the times I've had this happen came from putting coats of glaze over the last coat before it was completely dry?
The 'glass' bubbles are quite sharp if left untouched and will break open as time goes on so I go over the entire pot where they appear with a heavy wood rasp then reglaze/fire. Sometimes the magic works.
Here is a large soft rectangle I made about 6 years and did that too. I kept it for myself and now has a large trident maple in it.

D.

Hey guys.

I "quote" this because it's a few post back. I remember years ago seeing Jim Barrett's pots for sale at conventions. He always had a few "mistakes" for sale - glazes that didn't quite work, or other strange things. I always went for them first because they were one-of-a-kind and WONDERFUL. Anyway, thought I'd throw this in - don't trash the freaks!

Russell

I bought the pot in question and, like Russell pointed out, it's the one that jumped out from his display for it's uniqueness.

Ed

Rob Addonizio wrote:I am anxious to see how the clay in the drum above holds out in a reduced atmosphere. Being that is has a lot of iron and manganese it may have to remain something that I only fire in my electric. I think a set of test tiles for this clay will be necessary. Clays with high iron are NOT recommended in reduction because the iron fluxes out, causing bloating, slumping, etc.

Rob,

I don't think you will have any problems with this clay body in your gas kiln.

I use several high iron content clay bodies and have not had any of the problems that you noted.

I am sure that once you run a few reduction firings you will find that the outcome is preferable to oxidation.

Keep those unique ideas flowing.

Good luck and may the kiln gods smile on you.

Regards,
Paul