Electric Mid&Hi Fired Ceramics
Potters & Sculptors - Making Rock from Mud
Blown Away by the Pottery of Timothy Sullivan
Yesterday, my wife and I attended the Art in the Grove festival in Coconut Grove, FL. With 350 artists, there weren't many potters, and with one exception, I was not that impressed with what I saw. I was fortunate enough, though, to meet Timothy Sullivan, and I was simply boggled by the beauty of his pieces. He gas fires to cone 10 and makes use of multiple patterned glazes to give incredibly rich surfaces. He makes extensive use of Tenmoku glazes for blacks, browns, and red browns. He then refires in an electric kiln into the 1700 degree range, and some of the Tenmoku changes to brighter red, orange, and yellow. Elegant simple shapes for vases and covered jars, boxes, and abstract wall pieces were the most prevalent of his pieces. I urge anyone interested in superior modern pottery to visit his website. http://www.creeksidepottery.com/ for some inspiring eye candy.
I just discovered Tim's work posted on Pinterest at http://www.pinterest.com/CreeksidePotter/creekside-pottery/ where you can view larger, more detailed images.
Comment
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Comment by Nadine Mercader on May 5, 2014 at 6:06pm
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What magnificent glaze colors! The forms are also very exciting. OH MY!
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I just had a look and added some of your work to my pinterest page Tim, it's gorgeous!
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Greatly appreciated. That sounds like the constant trial and error I'm used to.
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Comment by Timothy Sullivan on February 19, 2014 at 8:40am
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When I get the pieces that I want to electric refire out of the gas kiln, they immediately go into my Skutt with no additional glazes added. Based upon my observations, reduction is a forced process that requires the iron (or copper) to release oxygen causing a state change that produces all of those wonderful and warm cone 10 reduction colors that we reduction potters love so much. When a piece with an appropriate glaze is refired in a passive oxygen rich atmosphere - it wants it's oxygen back, a state change occurs, and can produce a variety of yellow, yellow/green and orange hues. I have not found this to be pleasing with all iron glazes, while the theory holds true, the results are not always desirable. 1700 degrees is not a magic number, and changes can be achieved below and above that range, with heat work and time being significant factors. Even when the chemistry of two glazes appears to be identical in Insight, different colors can be realized if the raw materials are different. I'm experimenting now with sourcing Calcium Carb from whiting vs wollastonite and getting quite different results. Hope this helps.
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Comment by George Lewter on February 18, 2014 at 9:19pm
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I don't know, Norm. We spoke for maybe 20 minutes. I didn't want to distract him too much from actual customers. I will invite him to join the network so we might be able to ask him a few questions.
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Does he add any additional glaze prior to the 1,700 F firing?
Our studio has a book of pieces with this depth of glazing, but all of those pieces are the result of multiple glaze applications and refirings.
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