Work
Blackware are fired in a special process in order to keep the carbon inside the ceramic body. The chunks are usually wood fired under a metal container or something that will keep the oxygen out of the chunks. If this oxygen-reduced firing technique succeeds, this beautiful black color is created.
Black firing was practiced in many cultures and has survived to this day, albeit mostly as a special ceramic firing process. During my apprenticeship as a potter, I was particularly fascinated by the black-fired ceramics of the Celts. One day, these beautiful, often smoothly polished, matt black surfaces with beautiful ribbon decorations inspired me to write an article about this firing technique. During my research I discovered that the world of black-fired ceramics had left its mark not only here in Europe but also in North America. I discovered the pottery of Pueblo Native American Maria Antonia Martinez.
This was a surprise in two ways, first of course because of the beautiful ceramics she made with her husband and second because her name is very similar to mine. My name is Toni Maria. I was so pleased that I decided to dedicate the entire article to the work of her and her husband Julian. Despite the fact that I was so fascinated by this beautiful pottery, it would be another 10 years before I could hold my own black fired vessel in my hands.
The production of this form of pottery is very original. Hardly any modern tools are used. It is only burned in "wild" fire. If you also want to get "back to the roots" then contact me to book a course!
Work
"Raku" ceramics, as we know them here in Europe, is characterized by matt, black surfaces in combination with glazed areas. The glazed surfaces are usually traversed with a fine network of cracks which is also called as “craquele”.
This special form of ceramic gets its typical appearance mainly from the special firing process. Here, the vessels and objects to be burned are heated in a gas-powered oven in the open air until they glow. Then it gets exciting and a bit stressful, because now the glowing vessels and objects have to be removed from the kiln with long tongs to place them in containers with combustible materials such as sawdust and straw.
The containers must now be closed to prevent the air supply as much as possible. This is the only way the vessels and objects, which are mostly made of light clay, can turn into black pieces. How can one explain that ceramics made of white clay should suddenly turn black. I will try to explain it in the simplest way. The glowing pieces ignite the combustible material in the containers and carbon (CO2) is released, but to prevent it from simply rising into the sky in the form of smoke, the containers must be sealed so that the carbon can enter the vessels and objects. The glowing pieces want to get air (O2) to keep glowing. If thats not possible they have to be content with the black carbon, which also has a some O ("air") but also C (carbon) and therefore the pieces become black like coal.
The places that were covered with glaze before the firing process allow the light body to shine through because the carbon cannot get through here. The carbon in the shards can only seep through the cracks in the glaze, and that's exactly why you can see the cracks so well because they are black. The cracks themselves arise during removal from the kiln. The rapid cooling causes the glaze layer to crack very finely in many places.
Sometimes even the glazes react, typical is the so-called “persian-blue”, which is made with copper. The atmosphere in the sealed, air-sealed containers can be thought of as returning from the rust state to the normal metal state. This typical Persian blue or simply turquoise is caused by copper in the glaze. It contains almost copper rust as a component but very little! Glaze with copper rust components therefore usually turns turquoise if there is enough oxygen. Just as rusted church roofs made of copper pewter also look turquoise. But if we take away the oxygen, the copper returns to its normal metal-colored state and appears orange-red, metallically copper-colored.
So we achieve the metallic copper-red again through the exclusion of air. It shimmers and shines. We ceramists call this "chandelier".
Would you like to be part of such a process? Please contact me to book a course!
Work
Work
Work
The „HeartShell“ is a series of two ceramic sculptures in life size. The First one is called HeartShell and the second one „HeartShell – Mimicrysis“
HeartShell
The Heartshell protects the heart and defines the relationship to other people. It surrounds everyone like a invisible shell more or less perceptible.
Intimacy and privacy are great topics in these times. It's about fundamental questions of trust and percepting closeness and distance.
With my Installations I want to touch the audience, want to build liminal experiances in the range of self and outside perception and also in time and space.
It indicates an intimate meeting with a moveless counterpart, with a human figure, that's locaded in kind of a stasis. Everything seems to be frozen, like a snapshot. By moving around the installation it becomes a really fascinating experiance.
Her nakedness is very intimate, but the coverpainting on her skin alianates her and gives a subliminal experanceable distance.
Her empty gaze doesn't reveal where she's looking at. The cluster of very thin transluzent porcelain sheets in which the figure is locaded, represents a kind of sphere, a protective but nontheless a fragile kind of shell, that surrounds her and limits the beholder to keep the distance. It could be that the beholder get's an inner need to come closer, to really get her and look in her eyes, but its for nothing, you'll never get her. ;-D
The exhibited figure has the size of a real human beeing(height151cm ) Its burned on a temperature of 1230°C.
HeartShell – Mimicrysis
You see a human figure, naked in a postition, that shows that there is a kind of crisis going on. The ellbows based on her knees in a bend posture. The face is drawn by shock and fear and the hands hold in front of the mouth. The cluster of transluzent porcelainsheets isn't anymore like a protective space surrounding the human figure. It is displaced and open. It shows a moment of vulnerability. The coverpainting on her skin has two formal expressions. The first is like a flush of something coming from above and pushes the person in this bend posture. It's lokated in The back. The second formal expression is the red glowing colour based on the area of the belly. It's like showing the inner glowing of the person, the power, the life, the potential.
The name Mimicrysis ist a synthesis of the word mimicry and crisis. Mimicry in zoology is a function to protect a species from it's predators. So in the preciding artwork "HeartShell" the coverpainting its like a subliminal thing that alianates and gives a sort of distance. In this case the painting is showing the trauma. It doesn't helps to protect, it transports the inner crysis to the outside. The person is unprotected and everyone can see it. It's like a overrush of feelings and the person incapable to manage them.
The exhibited figure has the size of a real human beeing. It is burned in one piece on a temperature of 1230°C.
These both Installations are Artpieces for rent. For the private sector as well as the public, for example for the entrance area of companies. Feel free to contact me and get to know about the condition.
About
Hello, I'm Toni, a ceramist and a state-certified ceramic designer. I live and work in the small pottery town of Höhr-Grenzhausen.
Diversity inspires me and that's why my work and my range is very extensive. I love perfecting my artwork and developing new ones. The simple things as well as the special things are important to me. For a long time I tried to limit myself so that you can see a "line" in my work and I can give my customers something to hold on to. I did it, the nice thing is I don't have to do without variety.
If you would like to get to know me better and benefit from my diverse knowledge and skills about ceramics and learn more about it, then get in touch with me. It doesn't matter if you are a beginner or advanced.
I offer courses on various topics:
- Raku
- Black fired ware
- Glaze development
- Throwing on the potter's wheel
- Building ceramics
- Ceramic plastics and sculptures
- Ceramic transfer technology
- And other special techniques...
Take a look around my site here or on my Instagramaccound and get inspired. If something arouses your interest, just talk to me and I'll get back to you as soon as possible.
You can buy what you find in my Etsy shop or if you have special or personalized requests, just get in touch in the way of your choice.
Yours
Toni :D
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Toni Maria-Lange
Rheinstr. 64
56203 Höhr-Grenzhausen
Germany
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Toni Maria-Lange
Rheinstr. 64
56203 Höhr-Grenzhausen
Germany
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