Joyce Furney, working at The Clay Cellar in Kansas, makes spectacular metallic luster raku pottery that is incredible in its color and form.
Turning Point Gallery has proudly carried her work for years and is very excited to be featuring over 100 of her pieces in October. The show will be opening October 9, 2009 at the 2ndFriday Artwalk from 6-9pm and will be up through November 9. We've provided Joyce's description of the Raku process below so those interested can have a better understanding of the uniqueness of her work!
The Art of Raku is attributed to Zen Buddhist Monks of 16th Century Japan and was favored for the tea bowls of the great tea masters. In that culture and time Raku was much more than a method of making and firing pottery, it was a philosophy. The Japanese symbol for Raku can be translated as "enjoyment of freedom." However, as is often the case with adapting the philosophies of other cultures, we in the west have distilled Raku to a technical process. Raku is now generally accepted to mean a method of rapid firing and cooling of ceramic ware, and names the finished product.
Raku is the firing method used at The CLAY CELLAR. The process
as we employ it involves the following: forms are either wheel- thrown or hand built, using a white raku clay body formulated to withstand great thermal shock. Metallic stains and engobes (colored clays) are often brushed on the greenware forms for decoration. When trimmed and dried, the vessels are bisque fired to cone 04. The forms are then glazed with either crackle white glaze or a variety of metallic luster glazes. When thoroughly dry the forms are gas-fired to 1660-1800 degrees.
Once glaze-mature temperature is reached, the kiln is shut off and opened. The forms are removed with raku tongs and placed in a reduction sand pit lined with paper. The hot form ignites the combustibles, and a lid is lowered over the ware, smothering the fire and starving it of oxygen. The forms remain in this smoky environment for 5 to 20 minutes. Three important reactions occur: First, the glazes are reduced. Since a fire needs a sufficient amount of oxygen to burn properly, the oxygen molecules contained in the clay and glazes are being removed from the glaze mix, thus reducing the glaze.
This produces the rich metallic luster colors ranging from oxidized copper greens through reduced copper blues, purples, plums, reds, and copper penny which are the hallmark of metallic luster raku glazes. Secondly, carbon from the smoke is being trapped in the white clay body, turning it gray to black wherever the glaze cracked or the body was left unglazed.
This reaction creates the traditional Raku crackle effect. The third important reaction is the additional coo
ling of the form. This helps prevent massive thermal shock cracks from occurring when the form is removed from the reduction barrel and quenched in water. The quenching is more important with metallic luster glazes than crackle white, because the water freezes the color and prevents re-oxidation from occurring. The form is then thoroughly washed, exposing the rich colors that lie beneath the carbon black. The Raku experience is serendipitous and more often than not yields spectacularly brilliant results.
There are three very important WARNING DISCLAIMERS we want to state very plainly. Due to the glaze chemistry and low firing process used:
1. RAKU IS NOT FOOD SAFE!
2. RAKU IS NOT WATER TIGHT!
3. RAKU IS FRAGILE!
The metallic luster glazes we use contain carbonates, oxides, and nitrates that will leach out if in contact with food acids. Therefore NEVER USE A RAKU METALIC LUSTER VESSEL WITH FOOD. Consider them as vessels for visual pleasure and enjoy them in the love with which we make them. It should also be stated that even though their form may imply a function, that function is limited by the fragile nature of the non-vitrified clay body. Specifically in the case of vases, if used as a fresh cut flower vase, water would eventually leach through the porous clay and leave a stain on a wood table. Therefore if used with water use a plastic liner or place the vase on a glass plate to protect your furniture.
Raku should always be handled with care as it does not have the
strength of stoneware. Whenever possible, use both hands to pick it up and never pick a piece up by its lip. Raku may be cleaned with a mild soap and water or lightly buffed with very fine (0000) steel wool.
We hope you're intrigued! Raku is unique, affordable, and appreciated by nearly everyone. Great for spicing up a room or giving as a gift! With over 100 of
Joyce's pieces (not all shown on the website) there is surely something for everyone!
Trained in the art of printmaking, Simon Bull has gone on to discover new and exciting ways of expressing his personal artistic vision through this powerful medium. The etchings, which were his signature works in the UK, were developed over a period of years and combine his love of watercolor, traditional etching and aquatint techniques. Together 
with a joyous expression of form, he fuses all of these elements into a celebration of color and life.
in the UK of original hand finished prints.
areas to enhance the jewel like feel. The pastel introduces a layer of opaque color to complement the transparent layers of ink. The piece is finally completed after Simon adds his signature and the edition number in pencil below the image.
as we employ it involves the following: forms are either wheel- thrown or hand built, using a white raku clay body formulated to withstand great thermal shock. Metallic stains and engobes (colored clays) are often brushed on the greenware forms for decoration. When trimmed and dried, the vessels are bisque fired to cone 04. The forms are then glazed with either crackle white glaze or a variety of metallic luster glazes. When thoroughly dry the forms are gas-fired to 1660-1800 degrees.
ling of the form. This helps prevent massive thermal shock cracks from occurring when the form is removed from the reduction barrel and quenched in water. The quenching is more important with metallic luster glazes than crackle white, because the water freezes the color and prevents re-oxidation from occurring. The form is then thoroughly washed, exposing the rich colors that lie beneath the carbon black. The Raku experience is serendipitous and more often than not yields spectacularly brilliant results.
strength of stoneware. Whenever possible, use both hands to pick it up and never pick a piece up by its lip. Raku may be cleaned with a mild soap and water or lightly buffed with very fine (0000) steel wool.
Those of you familiar with art reproductions know how important the numbering system can be. Low numbers in small editions are the most valuable in a series. Simon Bull's highly collected worldwide work is no exception. That's why we at Turning Point Gallery were thrilled when we received not one, but FOUR of Simon's newest pieces that were number one in their editions!
"RE:eVALUation" considers the element of time and features a functioning timepiece. The Bauers created it using the construction plans for a Shaker clock ("grandfather" style) from the early 1800's. Instead of following these plans in precise detail, they used various metal and plastic found objects incorporated into its design. "RE:eVALUation" will now be available exclusively at Turning Point Gallery. We hope you'll come by the gallery and see this magnificent piece for yourselves!
Her first cover was the May 8, 2009 issue of The Chronicle of the Horse. The Chronicle of the Horse is written for the accomplished competitor. The magazine reports on nearly every major hunter/jumper horse show, dressage show, horse trials, steeplechase and driving event as well as foxhunting and events abroad. Regular features include in-depth profiles, valuable health care and training tips, all geared to the seriously involved competitor.
one of its most glorious creatures - the horse. For them the horse is a metaphor that embraces the spirit of nature, a connection that touches the hearts and minds of many people, even those who have had little or no direct experience with this magnificent animal. The horse has always been a symbol that registers in the collective unconscious as freedom, strength and powerful beauty.
grandfather, uncle and cousins are all welders and the process has fascinated her for as long as she can remember. She studied welding and blacksmithing at Central Carolina Community College, and continued learning on her own and taking classes to perfect her technique.
Turning Point Gallery's featured artist for April is Chapel Hill's Eduardo Lapetina. The 2ndFriday ArtWalk on April 10 was the artist reception and opening for this colorful show. Despite being Good Friday, almost 100 people came to the opening to view over 25 of Eduardo's newest paintings. Patrons young and old were drawn in by the vibrant colors and turbulent textures of Eduardo's works.
work. His affable
Massachusetts' Mary Calkins has become a diverse painter over the years as her many abilities, interests and experiences have been used to build a broad repertoire of imagery and styles. Her work has more recently turned towards the current modern trends for contemporary design influenced by its strong clean lines, bold forms and saturated colors.
adventures and travel as inspiration for his expression. When asked about his major influences, Garrett feels affected by every artist he’s ever seen. Aware of his own unique place in time, he finds inspiration in contemporary living and working artists, and feels that now is the most important period in the history of art.
The symbolic shapes and colors of Eduardo Lapetina's paintings express his deepest emotions and passion for life. This leads him to apply paint to the canvas in unusual ways; by pouring, splashing, dripping, and scratching. The paintings also require layers upon layers of paint to create sensuous and turbulent surface texture that is as vital and as complicated as life itself. Eduardo moved to Chapel Hill in 1976.
Q: In what decade was the first photograph taken? A: 1820s
Charlotte area potter Sylvia Coppola of Duck Creek Pottery demonstrated handbuilding with clay at Turning Point Gallery for the 2ndFriday ArtWalk on February 13. Artwalk participants were able to watch her make textured tripod mugs, and a handbuilt vase. She used items such as drawer pulls, napkin rings, buttons, and textured rolling pins to create the unique pieces. People were then encouraged to go inside the gallery to see over 100 pieces in their finished form.
appreciative, enthralled crowd. A group of Girl Scouts selling cookies nearby were lucky enough to have the opportunity to earn their clay badges working with a pro as well! Sylvia took a little break from throwing to show them the art of pinch pot making to help them earn their badge. All in all it was an exciting event which inspired those young and old to learn more about pottery making and buy a beautiful pot to enjoy!
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