Carol Smeraldo © 2015 All Rights Reserved

Carol Smeraldo

Nova Scotia

Phone: 902- 434-1336

Web Site Re-Design

  By C. Smeraldo

CATALOGUE:  RAKU   Item numbers ending with “R” CATALOGUE: “A SYMBOLIC JOURNEY”  Item numbers starting with SJ and AG CATALOGUE: PORCELAIN AND TRANSLUCENT PORCELAIN   Item numbers 999 on CATALOGUE: PASTEL PAINTINGS  Item numbers starting with “P”

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PORCELAIN GALLERY

To see more Porcelain check out Journey 1 and 3, Works Under $100, Illuminated and Hanging Galleries

“Flower Fish Tray”

SOLD

1210 “Up River Journey”

SOLD

1211 “Striped Tray”

Photo by B. Eisener

1213 “A Party on a Tray”

Photo by B. Eisener


1201

1200

1202

1219

1207 two views of same vase

Photo by B. Eisener


1208

1214

1199, 1209, 1198

Translucent Porcelain


Porcelain becomes molten during firing making it possible to design work that takes advantage of translucency but also there is the increased risk of unwanted deformation.  This risk can produce some very exciting work! Porcelain does not have to be translucent.  It can be opaque or some variation in between.  My own interest in porcelain developed while working with internationally known potter Cynthia Bringle at Haystack Mountain School of Crafts, ME.  It was love at first touch and delight that colour applied to the beautiful smooth white surface is clearer, purer and brighter just like painting on a white rather than brown canvas.  It has been worth the extra effort required to learn how to handle this unforgiving material.  Now that translucency has become a focus, the challenge is doubled.

A SMALL BIT OF HISTORY- About Translucent Porcelain


Translucent porcelain was first achieved in China when veins of pure kaolin and very sticky, bendable ball clays were combined to make clay bodies that could be hand formed and fired to high temperatures.  As the design of kilns and firing skills became more effective they could reach higher and higher temperatures until the temperature was high enough for the molten porcelain to be translucent without slumping.  Some clay bodies will deform but others will just barely hold their shape.  


The Chinese exported a lot of porcelain which became very popular in upper class Europe. A variety of wonderful traditional pottery was developed in Islamic countries and Europe in an effort to copy Chinese porcelain, such as:  Islamic luster ware and Majolica, Dutch Delftware, Spanish and Italian Majolica and English Bone China.  Coating darker clay bodies with white clay slip to imitate porcelain was a favourite method as well as covering darker bodies with very white opaque tin glazes.  In Germany they began to build kilns that could fire higher in order to produce salt glazed roof and drainage tiles that would last longer.  This was one of the technical breakthroughs needed for porcelain to be produced outside of China.  READ AND SEE MORE IN THE NEXT GALLERY-    ILLUMINATED AND HANGING WORKS

For information on a particular piece of work or to see other available or archived work, scroll down to the catalogues below.  To Return Here, click on your browser’s back button or the “x” on the menu tab labeled “Inventory” at the top of your browser.

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