Before and after

8,2" height x 5,1"diameter /21 cm altura x 13 cm diâmetro
Handbuilt on manual wheel, anagama, 1300º.

Kenjiro Ikoma - A pionner.

Kenjiro Ikoma Sensei was born in Mie, Japan.
He came to Brazil after de second world war, with almost 30 y.o.
The first Anagama Kiln in Brazil was made by Ikoma Sensei,
with his own hands, in the early eighties.
His criativity has no limits and besides the pottery, he continuously
teach me to look for simple solutions for the most difficult problems.
Ikoma Sensei has my admiration and respect as an artist, a Master
and specially as a human being. He is always a great inspiration for me.

Kenjiro Ikoma Sensei nasceu em Mie, Japão.
Ele veio para o Brasil a aproximadamente 30 anos atrás,
depois da segunda gerra mundial,
.O primeiro forno anagama no Brasil foi feito por Ikoma Sensei,
com suas próprias mãos, no início dos anos oitenta.
A criatividade dele não tem limites, e além da cerâmica, ele sempre me ensina a buscar soluções simples mesmo para os problemas difíceis.
Ikoma Sensei tem minha admiração e respeito, como artista, como Mestre e especialmente como ser humano. Para mim, ele é uma grande inspiração sempre.

The first anagama by Ikoma Sensei.

The current anagama kiln.

Great time!

During this week, I meet my friend Vicente Cardia.
Together, we unpacked the last Vicente´s bicuit fire.
During the afternoon, we exchange some ideas
and impressions about his new test glazes.
I enjoy to talk to Vicente, we are always sharing informations. And I feel on him
the same pottery passion that I belive it's necessary in our work.

Flowers for my visitors!

Handbuilt, anagama kiln, 1300ºC.

I would like to thank all the visitors and specially the supporting comments.
It is encouraging to experience the challenges of pottery.
I'm not good with flower arranging, but today I decided to take a risk, and decorate the blog.

P.S. - I would like to know what my friend and ceramist
Iweth Kusano (also an ikebana master) ,
think about this... ;-)))

First pieces

From my wheel student in Vinhedo, Eunice Okabe. Congratulations Eunice!

Foto by Eunice Okabe.

Enjoying the good weather

The weather forecast says the temperature will drop down, but
today is still pleasant, 24 º C. I trimmed some pieces,
did some slipware aplications and put them to dry.
I´m not sure if this lids will work well... Let's see...

André, thanks for the photos!

Unpacking the biscuit ;-)

My kiln is a small Stecno, but paking gently it can handle the job.

Some Plates from Square Series

Today...Mugs in process!

Recife Airport

When I was coming back to São Paulo, I had the opportunity to register this big wall panel with scenes from northeastern Brazil, made by Francisco Brennand.
It's in Recife Airport 1st floor, near the departure gate.

Oficina Francisco Brennand

I just arrived from a trip to Recife, my home city, and I would like to share
with you the artwork of Francisco Brennand, a sculptor that uses ceramic
as a way to express his art. Brennand artwork reflects his vast culture and
wide interest in multiple visions. The Brennand workshop is huge.
It is settled in the old family pottery factory, wich I remember from my
childhood. It is very different now and I can assure you that he worked hard.
He walks through sexuality, fauna and flora, mythology, big heads,
and tragic women themes. If you intend to go to Recife, take some time to visit "Oficina Brennand"; (www.brennand.com.br). It is a must see tour.

Mixed Slips

At this experience, we mixed in a 50%/50% proportion, various clay slips.
The test bodies was biscuit fired (900° C) before the application.
A coating of clear glaze was applied on the lower part of slip application.
The first row was fired in an electric kiln, 1250° C.
The second row was fired in gas kiln, 1350°C.
In both cases we had nice results. No problems during drying or
firing them, and no unbounded slips.
Using the results, we can now, change the clay color surfaces, satisfing my students. :-)

Sossô, prá vc :
Aqui são misturas de engobes naturais (meio a meio) aplicados no biscoito! E depois esmaltamos com vidrado transparente na parte inferior da plaquinha, só para ver como ficava. Todos funcionaram bem, nada descolou. A intenção era ter uma opção, um recurso, para alterar as cores dos corpos cerâmicos que não prentedemos esmaltar. Principalmente para queimas no forno elétrico, quando nem sempre conseguimos uma cor de argila que nos agrade. Assim minhas alunas ficaram mais satisfeitas. Com mais alguns testes, conseguimos resultados especiais, que fazem lembrar a queima a lenha ou mesmo a gás! ;-) Simples não é?

Slips

Here we have some slip applications, applied on "Farias/TecnoArte" white clay, in hard leather.

1. Creme clay slip, from "Paschoal Massas Cerâmicas" Sao Paulo-SP
2. Red clay slip, from "Massas São Camilo", Itu-SP
3. Terracota slip, from "Eder Rezende" , Vinhedo- SP; (local supplier)
4. Tabaco slip, from "Paschoal Massas Cerâmicas", Sao Paulo-SP
5. White clay slip, from "Farias/TecnoArte", Sao Paulo- SP
6. Porcelain slip, from "PSH", Canada
7. Porcelain slip, from "Paschoal Massas Cerâmicas" Sao Paulo-SP
8. Brazilian Ball Clay slip, São Simão.

Porcelain from Paschoal (7) and São Simão(8) peal off...

The upper line of tests was fired using an eletric kiln at 1260ºC
The bottom line of tests was fired in a gas kiln at 1300ºC

Target Hit

From last firing (eletric kiln).
Plate with translucid glaze and slipwarwe.
27 cm (or app 10.6") diam. 1250ºC (2.282ºF)

Sunday Lunch

I was in the studio, trimming some pieces, when I listened the calling of my fellows.
The Marmosets (saguis de tufo preto e saguis de tufo branco) came for lunch time.
They are curious, but they have a very suspicious nature too, we established a trusting relationship, and they come to pick the bananas and persimmons they love so much. Today I decided to take some shots from them.

Bezel by me ;-)

Ceramic jewelry in silver bezel (made by me!) , special detail in Swarovski crystal.
Done at Cecilia Pardini Atelier.