narratives . I am not always thrilled with the decisions I ’ ve made , but I can usually learn from my mistakes .
Wilson : Do you think you are more interested in form or surface or equally interested in both ?
DeBuse : Above all , forms have to be strong . It ’ s really disappointing to see great surfaces on weak or poorly crafted forms .
Because I ’ m exploring narrative and pattern through surface illustration , it ’ s the first thing people respond to , but it ’ s only the first step in understanding an object . Hopefully there will be a time , during use , when the surface takes a backseat to form and function . Getting form and surface to play nicely together is an ongoing challenge .
Wilson : How do you evaluate your work , and what sort of questions do you ask yourself as you look at your work ?
DeBuse : Using my own cups , bowls , plates , and jars provides many opportunities for evaluation . I ’ ve made changes to handles , weights , depths , and glaze surfaces after using my pieces or seeing them in use .
Photographing the work provides another level of evaluation . Because most people will see images of my pots before ever seeing them in person , it ’ s important that they photograph well . Sometimes I ’ ll take a photo of a piece in the leather hard stage and study the photo before I decide how I ’ ll approach surface . Sketching works the same way . Sometimes figuring out composition on a two-dimensional rendering provides a clearer understanding of the three-dimensional object . It can be less overwhelming .
When I first started participating in online national cup shows , I had not considered how the composition of the surface narrative would be read in one image . I made some changes to my work based on how
“ Failure just means I am trying new things and pushing beyond my comfort zone , right ?”
the photographs looked in that first show . Cups are best staged for photographs with the contour of the handle clearly visible from the side . Previously , when I was illustrating a narrative on a cup , I would wrap the image around the entire exterior , including the bottom . Sometimes the most important part of the story could only be seen by viewing the cup at a strange angle . Now , I try to consider how the piece will be photographed when I ’ m composing the surface . It ’ s still important to me that the entire 360 degrees of the object be considered , but my compositions have become more “ frontal ” and easier to read through a photo .
Seeing a large grouping of my work displayed at a show or gallery provides another opportunity to evaluate . Each of my pieces has a lot going on ! I ’ m always reminded of ways to make the work look better in a grouping by leaving more quiet space and larger fields of color in select areas on individual pieces , without sacrificing the individual personality that each piece has .
Wilson : How do you go about growing with your work or changing it ?
DeBuse : I sketch and draw actively and think about narratives I want to explore through my work . I have a lot of ideas and am easily seduced by novelty , so working completely through an idea is more of a challenge for me than changing techniques or clay bodies or glaze palettes .
Wilson : What are your glaze formulas and color formulas ? Do you use some commercial products ?
— Chandra DeBuse
DeBuse : My go-to base glaze is “ EM Satin ”. It takes color well and fits both my white and red clay bodies . I like how the surface changes from satin to glossier , depending on how quickly the kiln cools . [ Turn to “ Great Glazes ” on p . 28 of this issue for the EM Satin formula .]
Amaco Velvet Underglazes have been a studio staple for me . I especially like Chartreuse , Velour Black , and Radiant Red . I use these , along with Mayco Squash Yellow Underglaze , all over the surfaces of my work , including the bottoms of my pieces because they won ’ t flux out and stick to the kiln shelf at cone 6 .
I also love Stroke-and-Coats by Mayco for pops of intense color . I have been really enjoying Cutie Pie Coral and Orange-A-Peel lately .
I water down the commercial products and use them more like watercolor washes to fill in the lines of my drawings .
Wilson : My final question : what is wheat weaving ?
DeBuse : “ Wheat weaving ” is one of the “ straw arts ” that celebrate the harvest . The straw arts range from functional woven hats and baskets to cornhusk dolls to decorative braided strands of wheat , woven into small sculptures that hang on the wall or are placed in a shadow box . It is a crunchy craft that was very popular in the late ’ 70s and early ’ 80s in the rural midwest .[
Tune in to our next Clay Times issue for an illustrated , step-by-step look at Chandra ' s creative process . Columnist Lana Wilson may be reached at lana @ lanawilson . com . Lana ’ s Website for workshop information and images is www . lanawilson . com .
Perspectives I Beneath the Surface CLAYTIMES · COM n 20TH ANNIVERSARY • AUTUMN / WINTER 2015
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