Espito, Ralph Project Description

Fulbright Curriculum Project Ceramic Techniques from Greece and Bulgaria Greek Attic Vases: Black and Red Figures This project is both research and curriculum oriented. While in Greece I had the opportunity to visit several potters who are making reproductions of classic red and black (and white) figure vases as a commercial venture. It was surprising to me how many artists are currently working in this manner. It could be compared to the traditional jug potters in the US but in Greece it seemed to be pervasive. Some of these works are fairly low quality, mass produced items for the tourist trade. However some of the potters are making much higher quality work and even venturing into attempting more original work. After discussions with the potters regarding technical issues, I determined that this could be a good project for students although it would take significant research and adjustments due to the different nature of the materials available in both countries. A short description of the process follows. Once a pot is made it is coated with terra sigillata slip (a type of liquid clay) and burnished to a smooth surface. The unfired slip can vary in color from red to black to white. In making the red figure type of ware, the slip is then removed by scraping away from the areas inside of the figures that are to be red. In the black figure type, the opposite is done: that is the slip is removed from all areas outside the figures leaving the figures black. Any white slip will remain white after the firing. The materials are crucial as the Greek clays will react to the firing a certain way and the only way for me to find out what the materials I have access to will react is to test them. The firing is an essential element as well. Kilns can be fired with an abundance of oxygen to create complete and clean combustion of fuel (oxidation). If more fuel than can be efficiently burned is introduced into the kiln it creates an oxygen poor atmosphere (reduction). Additionally carbon is introduced from the partially burnt fuel in the form of thick smoke. When oxidized and reduced in the correct sequence, certain clays and slips will produce blacks and reds similar to the ancient Greek vases. According to my Greek potter friends and some research, the kiln

should be fired in oxidation up to about 850 degrees Celsius and then reduced up to 950o C. The reduction continues as the kiln is allowed to cool back down to 850o C. At this point the kiln is allowed to oxidize and slowly cool. At the highest point of firing, the terra sigillata slip begins to melt and should accept carbon from the smoke of reduction. As it cools it reaches a point where it is no longer reactive and keeps the black color of the carbon. The clay body also accepts the carbon and is black until the kiln is re-oxidized as the temperature drops. The body is still reactive to a much lower temperature and the carbon burns off leaving the characteristic red of the clay. My first attempt at this type of firing was predictably uneven in its success. There was little in the way of intense color in any of the pieces but some small indications of color on a few of the tests. I used several different types of clays and several variations of terra sigillata slip. My attempt at reducing my electric kiln was not very successful. Electric kilns do not burn fuel and therefore combustible material must be introduced into the kiln to create reduction. I used sugar water and rope soaked in sugar water on the advice of the Greek potters. They said that the steam was essential. I also used twigs and small branches from the pine trees around my studio. I did not have enough material to reduce the kiln for a long enough period of time. I photographed the results but have not yet assembled the information in an organized way. I want to run more tests before putting together the lesson. I am working toward my second test firing soon. At the same time I am experimenting with other methods that are not as advanced or difficult that could approximate the same results. Commercially prepared materials that are widely available could be used to create “Greek-like” effects without the reduction firing which would allow a more general audience of student to be reached. In these cases the lesson plan could be more focused on history, mythology and the imagery of the classic work. The curricular goal of this project is to make this type of ceramic technique available and accessible for various levels of students. I will document the tested processes and results in writing and photos. I will create a lesson plan through written instructions and demonstrate techniques in photos and/or video. Advanced students could attempt the traditional making and firing methods and study the original works in their historical context. For others there would be exposure to the historical pieces, acquisition of some technical information and opportunities to create projects using materials and processes that fit each age/skill level and available resources.

Bulgarian Slipware: Traditional (Troyan) Pottery All through my travels in Bulgaria I repeatedly saw a traditional type of pottery with intricate slip designs that may be from the Troyan area of the country. This type of slip is colored clay of various hues. It is applied in linear and other patterns onto the surface of a clay pot that is wet or half wet. The liquid clay must be a certain consistency that allows it to be “feathered”. Feathering is dragging through the various colors of slip with a feather or other suitable too to create various patterns. I have used this technique before and it is certainly not particular to Bulgaria. However the potters of Bulgaria take this technique significantly farther than I have seen elsewhere and push the limits of the color palette as well. Since I already used a simpler variation of this technique in my ceramic classes I saw an opportunity to expand that demonstration and feel that my students will be excited to try it. My first attempts had mixed results. In Bulgaria I had discussions with potters and watched them work. Unfortunately I did not have to the opportunity to watch this particular technique in practice from beginning to end. I did discover that many potters use commercially available slips (sometimes called underglaze colors) that are formulated to a particular specific gravity (thickness or density). I used some commercial underglazes obtained here and found them to be much thinner than would work properly for this technique. While I still want to emulate the Bulgarian style, I found that having to deal with colors that were too runny created some unexpected challenges. The results were not a successful duplication of a technique but they were potentially useful in teaching. Students could achieve interesting and exciting effects by using thinner colors and tilting the pots to cause running in various directions. Other variations of this technique could pose very creative possibilities. So far I have made a series of about thirty bowls in three separate tests. I have achieved results that are getting closer to the effect I am working towards. I believe that with more tests and practice I will get quite close to the Bulgarian technique. My project will include documentation of the tests and results plus instructions for others to attempt to produce the effects. In essence I will write up a demonstration plan and class lecture for this technique.

While it may be an appropriate challenge for advanced ceramics students to attempt to reproduce the Bulgarian designs, I will also include information on my less successful attempts that could be used as a creative beginning point for lower level students. All students exposed to these creative projects would also be exposed to the culture and history of Bulgaria. I have photos of my work to this point, which I could send if helpful. I plan to include some with the final version of this project but have not edited them yet. Additionally I may make a short video illustrating the technique after achieving better and more consistent results.

Additional Activities I have begun to share and discuss the Greek Gods museum kit that was so generously supplied to us by the Acropolis Museum with educators in my area. I have lent it to teachers at Clancy Elementary School and Education Professors at Carroll College where I work. They are also aware of the Acropolis Museum website. I will continue to bring these materials to the attention of educators through out the area and who may find ways to incorporate them into their school’s curriculum. If there were interest I would pursue funding to help institutions obtain additional materials from the Museum in Athens. I have arranged and mounted an on-going series of exhibits of paintings here at Carroll College by Bulgarian artists who live in Chicago. The series will continue into the spring. I have been interviewed by the local newspaper about the trip and was elated to see a very informative article published. I wrote a short article on my Bulgarian experiences at the request of the Bulgarian Fulbright Office and submitted it to them for publication. I am working on a slide show and talk about my experiences that will be presented to the faculty at Carroll College next semester. The local public access television station may pick up this presentation for broader distribution. The same station will very likely present an interview with me about my experiences. I will make at least two bodies of artwork based on my experiences in each country and have exhibits of each. This is a longer term project which will take at least two years to complete. Finally, I am pursuing ESL materials for the American Farm School in Greece. While I have not yet had success in this search I hope to find curriculum materials to send them at some future point.

Submitted on October 31, 2008 by:

Ralph Esposito Professor of Art Carroll College 1601 North Benton Avenue Helena, MT 59624 [email protected] 406 447 4302