Thank you for sharing. (Not all artists do.) I have been working with clay just a few years, unencumbered by academic degrees. I too got bored with the functional and opened myself up to new horizons in my old age. That colored paste you mentioned …now licensed…is it available in the U.S.? I do make colored slips, but haven’t achieved that paste like quality. Thanks again.
Exquisite and inspiring work. It sends me down to my studio to create new work. free my mind and enjoy the process of creation. Thank you for this video.
As a potter I can relate to moving away from the wheel and more towards sculpture. One downside to these kinds of pieces is they're so thick you have to wait weeks for them to be dry enought to bisque fire...That red glaze is spectacular, especially combined with the matte black.
Thanks for your comment -which gives me an opportunity to further emphasise that for new work new solutions always have to be found. I work on the basis that 'downsides' are opportunities for a reassessment of how we do things at the moment or have done in the past. Over the past number of years I've given workshops in various European countries as well as in the UK. Typically a workshop can be maybe 10 days in duration. In that short time students, many of whom are proffessionals of long standing, and who may be familiar with my work but are very unfamiliar with my work practices, leave all their baggage at the door and together we explore what's possible. We spend the first few days - at least three, making pieces of work using my methods. They are subsequently fired in the biscuit kiln, then glazed then fired again to stoneware temperatures. At the 10th day my students are able to unpack the kiln and take fully completed work home with them. In my own studio with a deadline to meet I have, in the past made a piece of work day 1, biscuit fired day 2 removed from kiln day 3 and glazed and reset back into the kiln and fired the same day to stoneware. Day 4 I can take it from the kiln completley finished. Apparent 'downsides' can be a door that's locked to new possibilities or a way of ensuring we find a key.
Wow, that is the texture I love. The wildness of the rocks and sea.
Fabulous insight into Edie`s work and inspiration.
Sweet. I see pottery as a natural extension of the landscape, just at a different scale. Eddie has influenced my work.
super film Eddie - very interesting, and beautifully made Good luck with your Big Show.
Thank you for sharing. (Not all artists do.) I have been working with clay just a few years, unencumbered by academic degrees. I too got bored with the functional and opened myself up to new horizons in my old age. That colored paste you mentioned …now licensed…is it available in the U.S.? I do make colored slips, but haven’t achieved that paste like quality. Thanks again.
Exquisite and inspiring work. It sends me down to my studio to create new work. free my mind and enjoy the process of creation. Thank you for this video.
You certainly achieved your goal. I reacted to the images very strongly, as if I was on that beach and held your beautiful pieces in my hands.
Amazing Eddie! A beautiful, fascinating film. The work is inspirational, the pieces with bonsai are phenomenal. Plaudits to everyone involved 👏🏻 🖤🤍
As a potter I can relate to moving away from the wheel and more towards sculpture. One downside to these kinds of pieces is they're so thick you have to wait weeks for them to be dry enought to bisque fire...That red glaze is spectacular, especially combined with the matte black.
Thanks for your comment -which gives me an opportunity to further emphasise that for new work new solutions always have to be found. I work on the basis that 'downsides' are opportunities for a reassessment of how we do things at the moment or have done in the past. Over the past number of years I've given workshops in various European countries as well as in the UK. Typically a workshop can be maybe 10 days in duration. In that short time students, many of whom are proffessionals of long standing, and who may be familiar with my work but are very unfamiliar with my work practices, leave all their baggage at the door and together we explore what's possible. We spend the first few days - at least three, making pieces of work using my methods. They are subsequently fired in the biscuit kiln, then glazed then fired again to stoneware temperatures. At the 10th day my students are able to unpack the kiln and take fully completed work home with them. In my own studio with a deadline to meet I have, in the past made a piece of work day 1, biscuit fired day 2 removed from kiln day 3 and glazed and reset back into the kiln and fired the same day to stoneware. Day 4 I can take it from the kiln completley finished.
Apparent 'downsides' can be a door that's locked to new possibilities or a way of ensuring we find a key.
absolutely my style