I started this process studing Shigaraki.  I was facinated how so much stuff could be put in clay and still be fired in a kiln.  I tend to take things quite literally so when posed with the challange to make a shigaraki like clay of course I went to the extreme.  I really don't know any other way to go.  That led to an obsession learning all there was to know and understand about aluminas, fluxes, sands and clays.  I could play endlessly with them.  They are like Lego bits to me and I can make whatever I want to whenever. Like always my vessels are just a method to work my maddness. This unique direction was a blast.  I made a clay body I could weld to.  I later found that to be a waste of time seeing as I could simply make holes in the clay and bolt metal to it if I really wanted to.  What came from it were these clay bodies that resembled basalt volcanic rock.  I have spent some time stabilizing them and they work well.  I even have a version that can be put through the Rakau process.  When reduced it will appear as a reflective copper surface no matter how rough the surface of the vessel.  The lighter of these I reduced and let a bit of O2 in.  The reflective copper look wasn't quite as nice as this toned down version.  The darker one still holds one secret.  I have only witnessed it once but I know what I saw.  Many glazes rise up and then lay down in the firing and maturing process of glazes.  This one rose up alright but not in bubbles.  It rose up in pyramid like triangle prism like structures.  I have yet to chase down that one but I will.  I know its there.  

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