Selasa, 22 Juli 2014

Ceramics Exibition | On The Way | Elena Lombardi and Stefano Giglio

 Stefano Giglio Studiopeacock |

Sponsored by Embassy of Italy in Jakarta Italian Culture Institute in Jakarta (IIC) Italia Ayo (65 anniversary of bilateral relations Italy - Indonesia)

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Italian artists Stefano Giglio and Elena Lombardi, will display at Secret Garden cafe in Ubud their works. They learned and practise ceramics in Venice with the master ceramist Andrea Sola.  Elena for this occasion will show their ceramics and venetian glass jellyfish (delicate, shiny and floating creatures inspired by the sea).   

Elena says: “Clay is a fascinating material, it allows you to experiment in so many ways during the creation.  Clay is a journey, a continuous research; it is an open door to grow creative abilities and perceptive developing. There is no form that you can’t create with it, but you have to understand it, how it works and engage with it!“.

Stefano will display their “precious peebles” made with two different techniques:

Bucchero It is an ancient Etruscan technique.  Bucchero ware is distinguished by its black fabric as well as glossy, black surface achieved through the unique “reduction” method in which it was firedAfter the leather-hard green ware was arranged in the kiln and the fire started, the vent holes were closed, thus reducing the supply of oxygen required in a normal kiln firing. In the smoke-filled atmosphere of the kiln, the oxygen-starved flames drew oxygen molecules from the iron oxide of the pottery. 

This process caused the fabric of the clay to change colour from its natural red to black. The lustrous, shiny, black surface of many bucchero pieces was achieved by diligent burnishing.

Western Raku
In the western style of raku firing, a reduction atmosphere is created by closing the pieces, removed from the kiln, while still glowing hot, in a can with combustible materials.

A reduction atmosphere induces a reaction between oxygen and the clay minerals, which affects the colour. It also affects the metal elements of the glaze. Closing the can reduces the oxygen content after the combustible materials such as sawdust (or paper, leaves) catch fire and forces the reaction to pull oxygen from the glazes.

Glazes gets metallic and iridescent effects just with deprivation of oxygen.

A particular marked craquelé on the glaze can be obtain by sprinkling flour on the pot while still glowing hot.  Pieces with no glaze have nowhere to get the oxygen from, so they take it from clay minerals. This atmosphere will turn clay black, making a matte colour. It is raku’s unpredictable results and intense colour that attract.

Stefano and Elena

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