Gearing up to mix a new batch of clay. Looking at chunks of clay, pots from the last firing and drawings for inspiration.

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Gearing up to mix a new batch of clay. Looking at chunks of clay, pots from the last firing and drawings for inspiration.
Heidi Gustafson, who has spent the past five years collecting and working with ocher, walks along Whidbey Island’s Double Bluff Beach, off the coast of Washington, in search of the material. She came to scout this area, where she spent time as a child, after recalling its interesting cliff exposure.Some ochers, Gustafson believes, are calling out to be turned into a pigment. Others are more resistant. Those ocher fragments are either returned to their point of origin, or, if Gustafson cannot get back there, placed outside in a stone graveyard of sorts that she has created in the forest near her cabin. A few of her ocher-based artworks hang on the wall.
https://www.nytimes.com/2019/10/24/t-magazine/ocher-heidi-gustafson.html
When I buy cider or vegetables at our rural farmer's market and a vendor tells me their produce is local I once imagined they meant a few miles from our location. I now know that in fact, local cider might be coming from Pennsylvania, 100 miles away. So in my clay search I have questioned the use of the term local materials. For me, local has come to mean intriguing and accessible. That might be a two and a half hour drive to Perryville, Maryland to the Stancills mine, or even five hours to North Carolina for tantalizing new ingredients. Local has come to mean the clay is of aesthetic use and of practical availability. I hve come to like the term wild materials or minimally processed.
Brick sculpture on the west shore
Mug and birchbark.
Clay painting With mud and granite dust
I stayed home and made collages and paintings while warren went on a field trip to Jc stone and brought home interesting granite dust and chunks.
Experiments with local materials, thinking about paint but with a broad definition.