Sorry to bother, but can I just talk about ceramicists right now? and how of all the artists, they’re tied with photography in ‘concerning to the fae’? We wear iron dust like a second thought, in our hair and under our nails and dusted over our hands, stained into our skin in splashes of red iron oxide and earthenware clay. Everything in ceramics is iron, red clay and pretty much every traditional glaze, from celadon greens to brown-black temmokus. There’s a kind of transformative magic in pulling beautiful things from mud and iron and fire, but I imagine the EU ceramics department is that rare studio where red and buff stonewares and earthenwares are prized over translucent porcelain, where salt fire is used over soda. Could the Gentry even approach the ceramics building when a salt kiln was firing? The process is used less often because it throws off dangerous gasses as the salt vaporizes and glazes the pieces. I know it’s the idea of salt more than the thing, but would a salt-glazed pendant have the same protection as a packet of tablesalt? I have this image in my head of that being every basics student’s first assignment, a pendant of red-black stoneware glazed in iron oxides and salt, ceramics students rarely ‘borrowed’, less because they’re careful, and more because iron and salt have settled within incautious lungs, a fine patina of red has stained everything they own, there is iron in their shoes and salt in their hair, and the ceramics studio is the safest place in the art department, because I can’t say this enough. it doesn’t matter how careful you are, red clay dust contaminates everything in a ceramics studio, especially when everyone’s using the same clay at once.
This is less coherent than I wanted it to be, but I just pulled my first glazed pieces of the year out of the kiln and am feeling sentimental about my concentration just now.