|“I’m trying to recreate the feeling I get from being in the landscape.”
– Elaine Parks
1. I start by rolling out two or more slabs between 1/4 and 3/4 of an inch thick on a canvas-covered board.
3. I flip them onto a thick piece of foam.
4. I poke holes into the inside surface using either my finger or a small wooden tool, depending on what size hole I’m looking for. Sometimes, I draw on the front surface with a pencil while the slab is still on the canvas board, then transfer the slab to the foam and push out around the drawn lines.
5. I bend the individual pieces around forms, so they will set up in a curve. I usually use rolled towels and cardboard tubes from rolls of newsprint.
6. After the pieces get to a soft-leather-hard stage, I stand them upright and join them together. I don’t let them get too set up, because I want them to be soft enough to push from the inside when the piece is together. Sometimes this part is a little tricky, getting the cylinder to stand up and get it joined while it’s a bit soft, but I can get a more organic result this way. The curve of the individual piece is helpful. At this stage, I wish I had three hands.
7. To finish, I push the seams together to get them joined well, then I push out and in to get the texture how I want it.
8. After it sets up to firm leather hard, I lay the form on its side on the foam and beef up the seams with coils.
9. Last, I add the foot, which is quite thick. I do this when the
10. I dry the piece very slowly and then fire to cone 04.
11. I glaze using a combination of studio-mixed and commercial
12. Last, I fire again to cone 06.
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