After 30 Years a Potter Changes to a Painterly Approach to His Pottery Surfaces Using Colored Slips By Tim Ludwig
Sometimes you just need a change. Tim Ludwig began to feel that his work needed a change about ten years ago, so he took a workshop with Bede Clark. After seeing Bede work with slips and colored stains, he found the direction he wanted to take. He’s been perfecting his technique ever since.
In today’s post, Tim explains how he creates his lovely botanical paintings on his pottery. He also shares the recipes for his slip and earthenware clay body. – Jennifer Harnetty.
About 10 years ago, I started to feel that it was time to change my work, and that I wanted more control over the surface. This came after nearly 30 years of making work, and for a time finishing it in salt, wood, primitive, and saggar firings. So, I enrolled in a summer class at Arrowmont School of Crafts in Gatlinburg, Tennessee. The instructor, Bede Clarke, was using slips with stains to create a surface that was astonishing. My life, and my work was about to change. Using what I learned about creating these surfaces, I started integrating them with the loose vessel forms I had developed over many years, forms influenced by the 1960s abstract expressionist, Pete Voulkos, and everyone else who thought it was okay to make crooked pots.
Pottery Making Illustrated
In today’s post, Tim explains how he creates his lovely botanical paintings on his pottery. He also shares the recipes for his slip and earthenware clay body. – Jennifer Harnetty.
About 10 years ago, I started to feel that it was time to change my work, and that I wanted more control over the surface. This came after nearly 30 years of making work, and for a time finishing it in salt, wood, primitive, and saggar firings. So, I enrolled in a summer class at Arrowmont School of Crafts in Gatlinburg, Tennessee. The instructor, Bede Clarke, was using slips with stains to create a surface that was astonishing. My life, and my work was about to change. Using what I learned about creating these surfaces, I started integrating them with the loose vessel forms I had developed over many years, forms influenced by the 1960s abstract expressionist, Pete Voulkos, and everyone else who thought it was okay to make crooked pots.
Pottery Making Illustrated
elongated jar with crown imperial
23x22x8
