Idyllwild Arts has a long history of offering outstanding ceramics programs, with such renowned faculty as Fred Olsen, Shiro Otani, Susan Peterson, and Maria Martinez among others.  In recent years, Hot Clay faculty has included Ingrid Lilligren, Lesley Baker, Tom Bartel, Mary Kay Botkins, Lisa Clague, Cynthia Consentino, Patrick Crabb, Debra Fritts, Rosette Gault, Arthur Gonzalez, Glenn Grishkoff, Martha Grover, Stephen Horn, Jeff Irwin, Paul Lewing, Joe Molinaro, Lisa Orr, Terry Rothrock, Esther Shimazu, Neil Tetkowski, Geoff Wheeler, and Lana Wilson.

OVERVIEW

• Hands-On Workshops and Open Studios

• Demonstrations and lectures presented by all faculty

• Critiques and feedback

• Exhibits of faculty work

Explore innovative techniques and concepts in the workshop of your choice. Lectures and demonstrations are scheduled to allow participants in all workshops to attend. We emphasize an open studio with a great deal of crossover during each week’s workshops. Artist receptions for the faculty exhibit are planned June 25 and July 2.

Class size is limited to allow for maximum interaction among participants and with the instructors. The ceramics studio is equipped with gas and electric kilns, wheels, handbuilding equipment and a glaze lab.

Please note: Each week begins on Sunday at 9 a.m. and ends Saturday morning after the kilns are unloaded.)

This workshop will focus on decorating pots using the majolica process. Majolica is a glaze tradition that began in the Middle East in the 9th Century and flourished in Italy during the Renaissance. We will spend the first part of the session making simple forms that will provide surfaces for decorating. Then a variety of techniques using stains on the majolica glaze will be explored through demonstrations, discussions and slides. Finally work will be glazed, decorated and fired. Participants are encouraged to bring bisqued earthenware pots that will also be decorated and fired during the session. Some experience with clay is required.

This workshop will focus on pots designed for the table, exploring surface techniques and color, and learning throwing techniques particular to porcelain clay. A wide range of forms will be demonstrated and projects will be completed to the bisque stage. Students will explore various lip treatments for plates and bowls such as squaring, fluting and rolling rims, and learn about the nuances of the cup, saucer and mug. We will form pots out of various thrown parts, assembled at the leather-hard stage, including all non-round pots. This technique will allow you to make trays, square boxes and tall forms such as oval bottles/ewers, pitchers and teapots. Surface treatments will include carving, slip trailing and stain decoration (applied to bone dry pots). Silvie’s stain formula is possible to use from cone 04 to cone 10 under compatible clear glaze recipes. Silvie will also demonstrate glaze techniques. All skill levels welcome.

Students in this workshop will learn the traditional Hopi method of creating polychrome pottery. Revived at the turn of the century by Hopi potter Nampeyo of Hano, the ancient Sikyatki style of Hopi pottery is recognized and collected throughout the world. Students will learn the Hopi techniques of coil building, stone burnishing, painting with natural pigments, and firing. 

Students will also have the opportunity to experiment with two types of clay, the Hopi-Tewa gray clay, as well as the yellow ochre clay that Nampeyo often used; learn how to process and prepare raw clay for pottery making; prepare beeweed plant for paint; see demonstrations of slipping techniques using white kaolin and yellow ochre; and learn two firing techniques (for both gray and yellow ochre pots).

The natural clays and paints are provided by the artist, from the Hopi Reservation in Arizona. There is enough clay for each student to make 2 to 3 small pieces of pottery – all that can be successfully completed in the week-long workshop. This is not a production pottery course, but a careful examination of the delicate process of Hopi pottery making and the cultural foundation from which the art is inspired.