Hamish Jackson Hamish Jackson

First month as Mark Hewitt's Apprentice

Lauren and I moved down to Pittsboro, North Carolina at the end of May, and have been getting settled in to a house near Mark Hewitt's pottery. It's starting to feel like home; Lauren has been painting wildly with an off-white color called "drumskin" and some magic chalkboard paint.

Plans to make a vegetable patch in the garden are coming together. I have laid out tarps over the grass to kill it and get it ready for tilling next weekend. Once it's fenced in, we'll get a flock of chickens. Right in town we have the Livestock Conservancy who promote heritage breeds in order to keep livestock as diverse as possible. We're planning on raising struggling breeds. I want to get the chickens situated first, but Lauren is pretty excited about goats. The race is on.

Our valiant steed Lucille and the house, hidden by a big pecan tree.


It's been an adjustment moving here from New York. I was always busy in Brooklyn, but had a very loose schedule, whereas now I have a full on 8:30am-5pm job. The biggest culture shock has been the weather, though: from the relatively temperate climate of NY, we find ourselves in a positively wild one down here. Most days it's over 90 degrees Fahrenheit. The sun is unrelenting, but almost every afternoon we get a heavy shower. No wonder the plants grow so wild and trees so tall. Any portion of land left untended springs up like a jungle. A few days ago, we had a monumental storm with lightening striking repeatedly around us, winds so hard they broke a couple of my porch pots. Also there is an amazing amount of bugs here; large bugs, colorful bugs, biting bugs.

This shed is on our land (approximately an acre) and will house the chucks at night. The veg patch will be behind it.

The work is very enjoyable; Adrian (the other apprentice, who has been here 2 1/2 years now) and I generally do labour in the mornings and make pots in the afternoon. The labour can be anything from sorting wood to mixing glazes to landscaping, but our day usually starts by prepping Mark's clay; pugging it to his desired consistency and balling it up. Mark is a machine: one day last week he threw 100 mugs before 3pm and handled them all the next day. My best effort so far was 43-ish, but some of them did not survive the cull. Adrian is a very skilled thrower too, and both he and Mark have been very generous with demonstrations, getting me into the swing of it. The clay is stiffer and more groggy than I'm used to, but I can see how far you can stretch it. So far I have tried my hand at a different pot each week; juice cups (tumblers), pancheons (wide straight sided bowls), mugs and now honey pots, in that order. I have not got close to mastering any of the forms, but it's nice to be able to try out different forms rather than making hundreds of four-inch bowls for weeks (which was how I started at Winchcombe). Raw glazing and slip decoration have been probably the hardest part so far; I have a long way to go in terms of decorating pots.

But enough text for now. Our place is only a five minute walk from the pottery, and a lovely walk it is. Let me take you down there...

Walking down the road tut pottery.

Gorgeous trees lining the road.

One of Mark's planters.

Kiln shed to the left, workshop to the right and the barn (with finished pots) in the background.

Wood for the firing. Adrian and I were cutting some of this earlier today.

A finished stack of strips for the end of the firing.

Kiln shelves resting against the kiln, waiting for some TLC.

Follow me into the workshop;

This is the wheel I'm throwing on at present.

One of Daniel Johnston's (a former apprentice) honey pots.

I made my first stab at these little pots today (12oz clay). They were quite tricky; you have to leave a good amount of clay at the rim for a gallery and push out the belly impossibly far. Mark told me "they cannot be too fat. That's a challenge." The trouble is that once you get them really fat they want to split or collapse. Tough times! The one below was the nicest shape I managed, despite it not being nearly as fat as Daniel's.

My best effort today.

A small collection of honey pots and lids. Many didn't make it!

Here's some wares drying out (mostly Adrian and Mark's pots);

Bottles, tankards, tumblers, hanging plant pots, vases, platters, bowls and plates!

Some mugs I made last week. Mark will often use blue glass squares in his pieces. They melt when fired.

And finally some of Mark and Adrian's big pots;

Adrian's are the front two.
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NCECA in Review (Providence 2015). Friday 26th March.

[This post includes pictures from the NCECA annual cup sale, the Juried Student Show and the Armory Show including the Apprentice Lines Exhibition. I have included links to the featured artists' websites wherever possible].

I whisked myself out of bed bright and early for yoga and joined the long snaking queue for the opening of the annual cup sale after. There was still a decent selection when I got in there and bought myself a beautiful slip cast cup. 


NCECA 2015 cup sale frenzy

Next up I attended a meeting of the Green Task Force. There weren't that many of us at the meeting but some positive ideas came up, such as the potential for a collaborative project for next year's NCECA involving bricks made from recycled materials. From here I went to a very entertaining lecture on Grayson Perry and then over to the Apprenticeship Panel Discussion.

Mark Shapiro introduced the speakers; Louise Cort discussed the tradition of apprenticeships in Japan, Lucie Brisson about her time apprenticing with Simon Levin, and Daniel Johnson spoke about his experiences as an apprentice in Thailand, under Mark Hewitt and Clive Bowen, as well as taking on apprentices of his own now. Daniel blew me away with his straightforward attitude and the slides of his outrageously large and fine pots. He discussed the freedom of working for a studio and not "owning" the pots you make. Someone in the audience asked at the end about students not getting the chance to make their own work and he replied simply that every pot you make is your work. It is about building up your skills, not your collection of pots. I firmly believe this too. Daniel's talk gave me the shivers that stayed with me through the whole afternoon. I felt extremely privileged to have been accepted by Mark Hewitt to be his next apprentice (I'm starting in a few days).


Daniel's 100 Large Jars Project

I spent a good section of the afternoon exploring the juried student show on display pretty close to the Convention Centre. Here are the pictures -- some incredible work.

Michelle Laxalt, Keeper (Chimera), Paper clay, underglaze, cone 04 electric fired, acrylic paint, oil paint, varnish, gold leaf. Georgia State University.

Rachel Bigley, Calcium, Earthenware, latex paint, and dry pigments. Georgia State University.

Wen-Dan Lin, White Curl / Iron Skin, Arizona State University.

Ivan Camona, Royalty, Earthernware, hand built, engobe, glazes, fired at cone 04, cold-finish. Oregon College of Art and Craft.

Abby Nohal, Topographical Recollections, Stoneware and glaze, fired in a gas kiln to cone 10 reduction. Duchess Community College.

Sarah Heitmeyer, A Slice Of Ups And Downs, Earthenware, underglaze, cone 04, glaze. SUNY.

Scott Steder, In Play, Stoneware, glaze, and copper oxide, wood/salt fired to cone10 reduction. Wichita State University.

Love this piece but not sure who made it.

Stuart Gair, Row of Vases, Carved stoneware, white slip, glazed white, soda fired to cone 11. University of Nebraska.

Angela Biederman, Cow in Tall Grass, Stoneware, glaze, cone 6 oxidation. Kent State University.

Brent Pafford, Skillets, Cone 9 porcelain, oxidation. Clemson University.

Hannah Cameron, K23, Ceramic, encaustic, resin. Ohio University.

Kelly Stevenson, GROUNDLESS DISENGAGEMENT, Lizella stoneware, cone 04, wood, acrylic, encaustic, resin. Georgia State University.

Willian Harning, Mizusashi, Wood fired, Montana stoneware with shino. Montana State University.

Sara Catapano, UNTITLED (EXCAVATION), Black stoneware, soda fired white stoneware, custom pedestal. University of Miami.

Stuart Gair, Liquor Set, Carved stoneware, flashing slip, cone 11 soda fired. University of Nebraska.

I was tired by the evening, but decided I couldn't miss the Armory Show opening in Pawtucket. I got on the wrong bus but the driver was very friendly and altered the end of his route to drop me right outside. I think this show was my favourite of NCECA 2015. There was a vast array of work, around the central "Apprentice Lines" exhibit.

Organised by Mark Shapiro, Apprentice Lines showcased many of Americas prominent masters and their apprentices. On the walls were cups/mugs from each master and their apprentices. These clusters were connected via black taped lines to pedestals bearing larger pieces of work. Walking around the exhibition was enjoyable because you could clearly see the connections and deviations in style. It was really interactive and I found myself going back round to pieces, circling the exhibit and gleaning more as I did. There was an excited buzz in the air and people clicking away with their cameras and phones everywhere you turned. I ran out of space on my camera's memory card so the latter half of these pics were kindly passed along to me by Rene Theberge.


Silvie Granatelli, Platter.
Chris Gustin, Teabowl with dimple.
Mark Hewitt, Stoneware Jar.
Mark Hewitt, Pitcher.
Brian R. Jones, Lidded Pitcher.
Simon Levin, Platter.
Daniel Garretson, Teapot.
Michael McCarthy, Covered Jar.
Steve Theberge, Teapot.

Maya Machin, Stacked Containers.
Mark Shapiro, Set of 3 Bottles.

Now for the professional snaps by Rene Theberge:

Photo by Rene Theberge

Photo by Rene Theberge
Photo by Rene Theberge
Photo by Rene Theberge
Photo by Rene Theberge
Photo by Rene Theberge

Photo by Rene Theberge
Photo by Rene Theberge
Photo by Rene Theberge
Photo by Rene Theberge
Photo by Rene Theberge
Photo by Rene Theberge

There were five other exhibits in the Armory Show with some very interesting work too, but I only have these few pictures below. The little figures tickled me. Unsure of the artist though.




This was in the centre of the plates in the picture above.
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NCECA in Review (Providence 2015). Thursday 26th March.

[This post includes pictures from the K-12 exhibit, the Resources Hall, demonstrating artists and the NCECA Biennial, with links to the featured artists websites wherever possible.]

I started the day with sunrise yoga taught by Debra Chronister. Lots of shoulder-opening stretches and wrist-strengthening exercises. Her series of wrist and forearm stretches felt really good; it's on her website (linked above). I had breakfast at the wonderful Ellie's Bakery nearby, packed full of pottery people with blue NCECA badges hanging around their necks.

Back in the Convention Centre, I attended a couple of lectures. The first on "The Basics of Business in the Arts" by Heidi McKenzie and then one called "Become Your Own Photographer" by Dustin Miyakawa. Heidi's talk reminded me of many things I have been meaning to do, but putting off, like writing an artist's statement. Dustin's talk proved to me that I had been photographing my work all wrong: he was fond of saying "that's just amateur hour."
Dustin and his lighting set up

From here, I wandered into the K-12 exhibition. There were some absolutely stunning ceramics that would have been at home in any of the exhibits at NCECA. Here are a few snaps:

Jimin Park, Grandfather's Teapot, Grade 12.

Joshua Castle, Teapot Set, Grade 8.

George Liu, Perception, Grade 12

Rhys Castro, Kitchen Yellow, Grade 12.

Jeremy  Sweeten, Shino Bottle, Grade 12.

Johanna Engebrecht, Nancy's Teapot, Grade 9.

Brandon Benson, Sink, Grade 11.

Next I bumbled in to see Gustavo Perez and Linda Christianson demonstrating. They worked well together, with Gustavo describing his process as Linda threw the beginnings of her pieces. I found Gustavo's process fascinating. He works with cylinders and alters them; usually with a scalpel or several scalpels strapped together, and by pushing out parts of the form from the inside. He embodied the idea that ceramics should be playful, saying, "my idea is that you have to try every idea that comes into your head." Gustavo only finds the piece interesting whilst he is changing it; once fired, he loses interest.


Gustavo Perez

Altered cylinder

More altered cylinders

Gustavo in action

I fancied a wander after this, so I took a look around the Resources Hall. I spoke to quite a few people including the lovely folks at the log book (a long-running wood-firing journal) and Claudia and Pietro from La Meridiana. It was great seeing Claudia and Pietro again, and reminded me of my time at their school in Tuscany. It's a magical place, and I recommend going if you can! 

I also found lots of interesting pots in the Resources Hall. Most of the pictures have captions with the artist and a link to their site, but there were a couple I failed to note down; help out in a comment if you know the artist.

Marian Baker, Green stoneware teapot, Yarmouth, 2014.

Jim Dugan, Resident Artist, Baltimore Clayworks.

Kevin Rhode, Oyster Seeds.

I love this teapot but don't know who made it: anyone know? Please leave it in a comment if you do!

Hunt Dalglish, Finger combed slip platter.

Hunt Dalglish, Finger combed slip platter.

Liz Quackenbush, various pieces.

An airstream full of pots.

Inside the stream.

David Bogus, Optimist Luggage 101, Earthenware, 2014, $1500.

David Bogus

David Bogus, Boot Stack, Earthenware, Suitcase, 2014, $4000.

Unsure of this artist.

More pots. Pots everywhere!

Audrey Roseluk (these mugs feel amazing in the hand and I bought one for my wife Lauren).

Steven Hill

Henderson's Redware

I bought a lovely brush from this chap, whose name I cannot recall.

Bamboo handled brushes with various hairs.

Lots of clay on that wheel.

After much exploring downstairs I went back up to hear John Baymore's talk, "What Makes a Teabowl a Chawan?" This was awesome. John cleared up many questions I had had about the Japanese Tea Ceremony and made me realise that I must go and see it for real and participate. I learnt the difference between coach and oust for example: thick and thin tea. It became clear that there was a level of intricate detail to the movements and conventions that John did not begin to describe.

I nearly went to grab some dinner but decided to head straight to the Biennial at Brown University, stomach rumbling away. I was so happy to arrive and find a long table laid out with pita breads, falafel, hummus and other executive snacks, as well as obliging barmen serving wine. I ate far too much and meandered around happily red wine in hand. The work was mostly sculptural and tended towards conceptual art rather than functional pieces.


Christy Wittmer, Scavanged, 2014, Porcelain, wood, concrete, styrofoam cup, dirt, rubber band.

Nancy Green, Wood Fired Hollow Square Tray, 2013. Anagram wood fired, Shigaraki clay.

Donna Cole, Regeneration II, 2014, Porcelain, Crystalline glaze. 

Zac Spates, Firebox Pitcher, 2013, Wood fired porcelain, shino slip.

Virginia Pates, The Lower Parking Lot, 2014, Thrown and altered porcelain, fired dirt from the lower parking lot at the Annandale Campus of Northern Virginia Community College (NB: best notecard description I saw at NCECA). 
Liza Riddle, Closed Form  #321, Hand built wet clay applied to a previously fired form, water soluble metals, iron, nickel, cobalt and other metal salts.

Aaron Nelson, Pixel, 2013, Upcycled vintage porcelain plates, digital decals, rare earth magnets, steel, data matrix code.

Vlad Basarab, The Archeology of Memory-Large Book, 2014, Unfired white clay and video.

Vlad Basarab, The Archeology of Memory-Large Book, 2014. (You could see how rain water had started forming streams that cut through and eroded sections of the clay book).
Jessika Edgar, Seated Woman, 2014. Red earthenware with mica, majolica glaze, rubber, copper leaf, metal stool.

YunWook Mun, Poof 2.0, 2014. Unglazed porcelain, porcelain slip, steel shelves, pedestals.

YunWook Mun, Poof 2.0, 2014. Unglazed porcelain, porcelain slip, steel shelves, pedestals.

YunWook Mun, Poof 2.0, 2014. Unglazed porcelain, porcelain slip, steel shelves, pedestals.

Brooks Oliver, Wobble Vessels, (wobble vase, wobble curved vase, wobble bowl, wobble vase/bowl), 2014. Cast porcelain.

Young Mi Kim, Vessel 1, 2013. Coiled and pinched stoneware, glaze.

Jeremy Brooks, Shinowear, 2014. Wood fired stoneware, shine glaze, ceramic decal.

Jeremy BrooksComing Out, 2013. Manufactured porcelain plate, frame, ceramic decal.

Ivan Albreht, Re-deconstructed platter, 2014. Broken and reassembled glazed porcelain, custom decals, gold luster, epoxy, gold leaf powder.

Lorna Meaden, Shot Glasses, 2014. Wood and soda fired porcelain, slip inlay.

Philip Finder, Teapot, 2014, Stoneware, glazed and sandblasted.

Marissa Neuman, 90 Degrees and Sunny, 2014. Stoneware, underglaze, clear glaze, wood, foam, textiles.

Zimra Beiner, Grey Alphabet, 2013. Glazed earthenware, wooden bench.

Zimra Beiner, Grey Alphabet, 2013. Glazed earthenware, wooden bench.

Jeffrey Mongrain, State of the Union Address, Dec 3rd 1929, President Herbert Hoover;"... returning to normal...", 2012. Sculpted sound translation, clay and marble dust.

Eva Kwong, KERMES, 2013. Coil-built stoneware, glaze, oxide painting with flashing.

Misty Gamble, Sunday, 2013. Casting slip, beads, enamel pearls, rhinestones, glaze.

Misty GambleSunday, 2013. Casting slip, beads, enamel, pearls, rhinestones, glaze.

Jin Kim, Heteronymous, 2014, Porcelain and Plexiglas.

Well, that took awhile to catalogue! I hope you enjoyed the pictures, and I will be posting soon about Friday of NCECA. 

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NCECA in Review (Providence 2015). Wednesday 25th March.

A couple of weeks ago, I went to NCECA. My very first NCECA. It blew me away -- I saw incredible work and met incredible people. I've never met so many potters/ceramicists. It felt like I was getting inducted into a long lost family; a GIANT long lost family. I feel it is my duty to share my experience with you and put up lots of pictures of the ceramics that I was lucky enough to see.

There are far too many pictures for one post, so I'm going to split it up into the three main days I was there. I have attached a link to the artists website in the captions underneath the pics: just click on their name and it should open a new window.

Being from England, I had never been close enough to go to the conference before, but this year the location was perfect: Brooklyn is only a three hour bus ride from Providence. So I booked the time off work and struck out, back-pack full of pots, excited but unsure of what it was going to be like. I chatted to a board member upon arrival who told me that I must be very selective as there is far too much to see; to plan my time carefully. He advised me that Wednesday afternoon was a good time to go out into town and see some of the exhibitions scattered around. I took his advice and headed to MECA, the Maine Alumni Show. Lovely work. I only took a few pictures but here they are anyway:

Sam Thompson, Wood Fired Bottle, 2013 ($100).

Sheri Inez Kotowski, Ceremonial Tea Bowl IX, Pit Fired, Non-Functional ($400).

Adrian King, Canister Jar, Stoneware, 2012 ($200).

Marian Baker, Two Teabowls, Porcelain, ($90 set).

Matthew McGovern, 1997, Vase, Porcelain ($190)

From here I stumbled into a little café with an interesting tile exhibition downstairs and a more conceptual exhibit by an Indian artist upstairs.

untitled, ceramic, David Allyn & Xander Marro

No Smoking 1-3, David Allyn, Porcelain.

No Smoking 2, David Allyn, Porcelain.

Is This Sci-Fi Enough for You? Ceramic, Harrisson Bucy & John Wyand and Joan Wyand

Drunkards Path, Ceramic Underglaze, Oxides, Muffy Brandt & Nidal Fakouri.

Follow me upstairs...


One over two, Two over one, Ashwini Bhat, Anagama fired stoneware, text from "Burning Towers, Standing Wall," by Forrest Gander.

One over two, Two over one, Ashwini Bhat.

One over two, Two over one, Ashwini Bhat.

One over two, Two over one, Ashwini Bhat.

Rings of Saturn, Anagama Fired Stoneware, Ashwini Bhat.

Next up, I saw the offerings of La Mesa. I spent quite a while here. It was a stunning array of work from serious potters across the states. The pots were selling fast, but thankfully they just marked those that had sold and left them out for viewing. To my surprise, everyone picked the pots and sculptures up to examine them. You could tell the crowd was all potters: we simply must see the bottoms! What did they do with the bottom of the pot? Why is that so fascinating?



Sharlene Valenzuela

After spending awhile at La Mesa, time was wearing on, so I made my way back to the Conference Centre to see the opening lectures. I have to say I found the keynote speaker a tad disappointing. Frederick Douglass Opie was very knowledgeable, but not really a pottery person. It was interesting but lacked the sense of honesty that the rest of the conference exuded. I will admit though that I fell asleep, so cannot give a full review.

The other introductory talks were good though and the music afterwards was excellent: Ethel -- a group pushing the boundaries of string instruments -- played an exuberant set ranging from their own arrangements to interpretations of classics such as Kashmir. It was certainly in keeping with the “Lively Experiment” theme and the audience seemed to appreciate the sounds on display. Afterwards I went home, put on some Miles Davis, ran a bath and studied my programme guide, circling the next day's necessities. Thursday looked like it was going to be very busy.

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Visit to Robbie Lobell's Pottery in Coupeville, Washington

Before we moved to Brooklyn last summer, Lauren and I took a trip up to Seattle with her parents, Pat and Nelson. It was July and we were hoping for fine weather, but the rumours were true; it tipped it down for the first couple of days of our trip. Thankfully the rain didn't last, so we took the ferry over to Whidbey Island to visit Robbie Lobell's pottery. I had wanted to visit her for a couple of years after narrowly missing the chance to work with her at La Meridiana in Tuscany.

Robbie makes flameware for use in the kitchen, which appeals to me as I love to cook. Flameware pots can be used directly on a stove top and endure severe temperature shocks. You can take them directly from the freezer to the oven without worrying about cracking. To do so requires much testing and specificity of materials. Things I was keen to learn!

The drive from Seattle was beautiful, and we felt like we were in the middle of nowhere, almost disbelieving when we arrived at the pottery, tucked away in the woods of Coupeville, down a little rickety road.

A headland on the drive from Seattle
We stopped to admire a stony beach
We were greeted by two friendly pooches called Kozmo and Maestro, then Robbie and her partner Maryon Attwood. We took a tour of the premises, including a sneak peak into their wonderful garden. The plums were plump, ripe and absolutely gorgeous.

Kozmo taking a load off.
The vegetable garden



I was most taken with this pot, and very much want to make one at some point. It is by Louise Harter:

Best watering can ever?
Into the studio...

Maestro
Neat tools
Robbie by her wheel
http://3.bp.blogspot.com/-nejvj6bUqeY/VKNN-BOLGAI/AAAAAAAADqA/FLncUGyDkEQ/s1600/DSCN2736.JPG
Robbie's two teachers and mentors, Karen Karnes and Mikhail Zakin
This picture hangs right above Robbie's wheel. She told us how much she had learned from these two ladies. Mikhail Zakin just passed away in 2012.


Her original kiln, up by the house:

70 cubic feet propane-fueled soda vapor kiln.

Look at the build up on those bricks!
As we walked around, we noticed pots of a different style and found out that Robbie had two apprentices: Clovy Tsuchiya and Jordan Jones. Mary Krochmalny, a summer intern from the Rhode Island School of Design, was also staying and working there.

Bisque pots by Clovy Tsuchiya
Bisque pots by Mary Krochmalny
Animal mugs and poof pots by Jordan Jones
Close up of some of Jordan Jones' pots
Teapot by Clovy Tsuchiya
I love the shape of these teapots; they look like snails!
After we had done the full tour of the studio by their house, Robbie took us down to the "production annex," which is an additional space they rent. Robbie is moving towards a more mechanised process of producing her flameware, using a large hydraulic press. It was very interesting to see her process developing. Here is her new 142 cubic foot car kiln (propane-fueled soda vapor).

It is on rollers which makes it much easier to load.

Kiln shelves

Robbie explaining the press

Molds for the handles


Mold for a casserole dish
They are seriously heavy duty pieces of equipment
This is the hydraulic press which gives 130,000 pounds per square inch!
Bisque ware
Stamp
Glazed and waiting to be fired

Back to the house and into the showroom! Robbie's pots are beautiful, but also extremely durable and a pleasure to use. Pat and Nelson very kindly bought one for Lauren and I as a marriage present and we have enjoyed many a meal from it; from cassoulet to mac n cheese to coq au vin.



Mugs and oil/vinegar bottles.
Square casserole dishes
This beauty is the one we took home with us.
You can see how pleasing the surface of the clay is here

It was an adventure going to visit Robbie and her team out in Coupeville, and I recommend a visit if you are in the area. It's a truly stunning place. The apprentices seemed to be having a great time, and I would recommend the program to young potters looking to develop their own style and learn the art of soda firing.




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Happy holidays! and, my first time lapse!

To anyone and everyone who reads this, I wish you a very merry Christmas and a happy New Year. I had planned on going back to England this holiday, but my travel and work permit from the US government only arrived in mid December, by which point the flights were far too expensive. So Lauren and I went back to stay with her folks in Los Angeles. It could be worse. The weather is pretty fabulous, we've soaking up as much sun as possible before going back to cold reality in New York. On Christmas Day we followed the strict Jewish tradition of going out to a movie and then Chinese food. The Chinese was a shambles but The Interview was surprisingly funny, and we did not get nuked, either, which felt like an extra Christmas present.

I was planning to post lots of pics of pieces I have made recently, however I managed to lose my phone. It is in Dallas Love Field somewhere. The lost and found people couldn't find it even though I emailed them a map of the precise location. Pish tush. So I have been set back somewhat.

However I did get a pretty exciting toy for xmas which I managed to have a brief play with. It is a GoPro Hero 3 (silver edition), complete with extras such as a chest harness, head strap, etc. So I figured I could do some pottery videos with it strapped to my chest or head. However, upon attempying this, I realised that the camera has to be super close to the clay for it to be visible due to the extreme wide angle.

So I strapped it to a stool. It wasn't totally secure and somewhat impeded my motions on the peddle, but I was kind of in a rush and managed anyway. I decided to try out the time lapse function. It consists of 776 photographs taken one every half a second. When they are all put together and played like a video it condenses down to 25 seconds.

So here it is below: the first in my GoPro Pottery series! Good cheer to yea and have a glass of port on me!


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