9/05/2019

Nerikomi Troubleshooting information from 2010 replaced to this blog


from a post on Wednesday, October 20, 2010, nerikomi.blogspot.com
ドロシー・ファイブルマンの歴史と技法
Dorothy Feibleman's History and Expression
(this talks about exposure in Japan not her laminated translucent porcelain history between 1969~1993)

ドロシー・ファイブルマン氏は、2007年に岐阜県多治見市の市の倉さかづき美術館工房で行われたワークショップで、透光性のある磁器練り込みのクラスを教えました。
Dorothy Feibleman held a workshop in 2007 at the Sakazuki Museum in Tajimi, Gifu.

The Inax design prize gave her translucent colored laminated porcelain expression a lot of exposure in Japan in 1993. After 1993 she was awarded many opportunities. She exhibited her expression at the Green Gallery in Tokyo at the time of her Japan Foundation Fellowship and another residency at Shigaraki. After being awarded a gold at Mino, she exhibited her translucent laminated expression at Ichinokura Sakazuki Museum in 2003 and 2006 & gave slide lectures. She also exhibited at Yufuku Gallery in Tokyo. After which, she held a workshop in 2007 at Ichinokura where she showed her original expression GEOMETRIC 1,2,3,4,5 slides shows below marked DEMO showing the dyed green and pink clay that is actually white. She demonstrated some of her other original translucent laminated expression. 
Abel Lakatos filmed pink gradation, gradation spiral, Dorothy Flower Petal, and Blue Star when she was on residencies & teaching several times in Hungary :
Some of these below are on: http://nerikomi.blogspot.com/2012/07/
pink gradation demo
https://www.youtube.com/watch?v=tK10XY6OpRI
gradation spiral 
https://www.youtube.com/watch?v=XGLfVS2V4VI
Dorothy Flower Petal 
https://www.youtube.com/watch?v=onSG08Js3Dk
Blue Star 
https://www.youtube.com/watch?v=a9Y_BNUeEN4
The WHITE WHITE SAKAZUKI pictured above the demo photos, won a gold prize at Mino in 2002.

また1997年と1999年には、滋賀県信楽にある陶芸の森の工房にゲストアーティストとして滞在し、作品制作およびワークショップ&レクチャーを行いました。1998年には信楽窯業技術試験場で講演を実施しました。今回、彼女が今まで約40年間に渡り用いてきた、練り込み磁器の制作方法を紹介します。
In 1997 and 1999, she was a guest artist at the Shigaraki Ceramic Cultural Park, Shigaraki, Shiga Prefecture, where she produced works, conducted workshops and gave lectures. In 1998 she gave a lecture at the Shigaraki Ceramics Technology Laboratory. "Here is an introduction to how Dorothy makes her laminated porcelain that she has been making for 40 years". (now 50 years)


Photo Left: By Tomoki Fuji. Shown at an exhibition of Dorothy's work at Ichinokura Sakazuki Museum in 2003
Photo Right: Hungarain church in Transylvania by Dorothy Feibleman 1973


Photo: Dorothy Feibleman 2005
Here is a very short slide show of how the type of piece above was made
https://www.youtube.com/watch?v=CFj-vwxtRWw

The 5 slide videos below were made in Australia in 2004 for a class at Canberra photographed by Greg Daly.

Dorothy was using white porcelains in these slides.The pink and green colors burn out. The pieces were white like the ones above in this post. It is standard procedure in porcelain factories for material and process identification to put dye in porcelains used for different processes. They may look like the same porcelain and be the same porcelain sometimes except for the plasticizer used for flowers or jigger jolly or casting. Dorothy has (since 1995) used dye to identify her different whites she is laminating. This allows her to see what patterns she is making with white clay and to identify the translucency or color of different whites or opacity in each structural image she is making. Understanding this is important for her final expression after firing. Placement of white colors, textures and structural movement is all part of her expression.


The piece above (1999) made from several white porcelains. It is a similar construction imaging to the below demos. This piece was partially made in the UK and Japan in 1998-9 and finished at the Seto Ceramic and Glass Studio on the residency in 2000. There was a second one made from the same images but it was not perfect. It "was lost" by ...... there was a police report in Seto.
It is still "lost" probably in someone's private collection of endangered species items.

These two above photos are from a powerpoint presentation given in Hungary & in Japan.
Photo of the piece: Mark Johnson.
Photo of gate in Romania: Dorothy Feibleman.

geometric 1 透光性のある磁器練り込み ドロシー DEMO

geometric 2 透光性のある磁器練り込みドロシー DEMO

geometric 3 透光性のある磁器練り込み ドロシー DEMO

geometric 4 透光性のある磁器練り込みドロシー DEMO

geometric 5 透光性のある磁器練り込み ドロシー DEMO

透光性のある磁器”練り込み”は、西洋的には顔料を混ぜた磁器土、または異なる白い磁器土を使用し制作されたものです。ドロシー・ファイブルマンは、構造的な透光性のある練り込み磁器を開発した最初の陶芸家で、構造的な透光性のある磁器土を使用し続けて37年になります。当時日本には透光性のある練り込みは、その長い歴史を見てもありませんでした。
Translucent porcelain "kneading" was produced using porcelain clay mixed with pigments or different white porcelain clays. Dorothy Feibleman was the first potter to develop her particular expression of structural translucent kneaded porcelain, and has been using structural translucent porcelain soil for 37 years. (now 50 years). At that time (1969), there was no translucent expression of kneading like Dorothy's in Japan, even with a long history. Not sure where this was quoted from at the time it was put in this blog but it is off by about +3 years.

ドロシー・ファイブルマンが初めて日本に構造的な透光性のある色付きの練り込み磁器土を紹介したのは1993年でした。1995年以前、彼女は制作に凹凸や平面に色の付いた磁器土を使用していましたが、1995年のハンガリーでの制作活動以降は、彼女のレパートリーに平面と凹凸を透光性の異なる白い磁器土を使用したものが加えられました。
In 1993 Dorothy Feibleman introduced the first structurally translucent colored kneaded porcelain clay to Japan. Before 1995, she used porcelain clay with textures and colored surfaces, but since working in Hungary in 1995, her repertoire increased to using white gradations with different translucencies, and textures.
This is a slightly better translation than given on google translate.

そのハンガリーの磁器土には、チェコ・カオリンが含有されていて、彼女はそれを透光性のある白い磁器土と組み合わせ、まるでプリカジュールかステンドグラスのような模様のブロックに作り上げます。濃い白が構造の中で強いほど、透光性のある磁器土は内へ溶けます。①凸凹、②凹凸、③平面の3種の仕上がりは、焼成の温度と焼成時間によって決まります。基本的に、これら3種の凹凸効果は焼成から出されることになります。
The Hungarian porcelain clay she used, contained Czech kaolin, she laminated it with her translucent white porcelain clay to make canes with a pattern like Plique a Jour or stained glass. The stronger dense white porcelain in the structure with the less translucent porcelain allows the more translucent porcelain to melt inside the stronger structure. The three finishes (1) 凸凹 unevenness, (2) 凹凸 unevenness, and (3) 平面 flat surface are determined by the firing temperature and firing time and her materials used. Basically, these three types of surface but actually structural unevenness come during all drying and firing and choice of materials in the clays.
What is not clear in the translation is that there are two texture types and the clays melt at different temperatures and move when they mature or are still porous.

1.凸凹 ガラス状の丸い構造(液体を透過しない)
1. Uneven/textured Glass-like rounded structure (is vitreous and does not leak)


Dorothy Feibleman © 1995 / Dorothy Feibleman ©1999

2. 凹凸
2. Uneven/texture



凹凸の構造のうち、濃い白色が盛り上がり、角になっている部分はつや消し効果の白磁器土を。また、凹んだ部分は、わずかに光沢のある白磁器土が使用されています。このような凹凸構造は、光が当たると影をつくり、やわらかく、ベルベットのような印象を与えます。しかし、このつや消しになっている部分は素焼きのようになっており、置き物用の作品にのみ適していると言えます。また、防水性がなく、多孔性になっているので、水を入れると浸透し、色のついたもの(お茶類、ワインやしょうゆなど)を入れるとシミになってしまうので、食卓用の食器としても使用しないほうがよいでしょう。

***国際的には、食品衛生法などにより、シリコンの防水剤は食卓用の食器には適していないとされています。

In this example, the white matte is not mature. In addition, the recessed parts of the image are made of vitrified white porcelain clay. This uneven structure creates a shadow giving it a soft, velvet-like impression.

However, this chalk like raised part is like a low fired bisque unglazed piece, it is not suitable for use with food. Also, since it is not waterproof and porous, it absorbs water and becomes weaker, stains when exposed to oil, tea, wine, soy sauce, dirty finger prints, etc. It is very weak so it is not usually good for large work. 

*** Internationally, silicone waterproofing agents are not suitable for tableware due to food hygiene laws.

3.a. 平面
3.a. Smooth


作品全体が、素焼きのようなつや消し効果や、わずかに光沢のある磁器土を使用していなければ、それはガラス質(水漏れしない状態)であり、シミにもならず、そして食器としても使用できます。
If the porcelains used are chemically suited to each other they will vitrify within the same firing range.



(http://dorothyfeibleman.blogspot.com/2010/07/blog-post.html, enlarged image)
Made in the UK in 1995 and 1997 and first shown publicly in Japan at the Seto Ceramic and Glass Center when she was a resident 1999~2000.

3.b. 波状の面
3.b. Wavy surface

もし、二種類の磁器土が使用されていれば、どちらの土もガラス質になりえます。しかし、両方の磁器土の収縮率が同じとは限りません。結果として、水面上の小さな波のような大変面白い効果が得られますが、どちらの磁器土もガラス質になっていればシミになることはありません。(http.//dorothyfeibleman.blogspot.com/2010/07/blog-post.html,同じ画像の拡大)

If two types of porcelain are used, However, the shrinkage/vitrification point is within the same range of both porcelain clay but is not always the same. The result is a very interesting effect, like a small wave on the surface of the water. 



ドロシー・ファイブルマン氏は、混ぜ合わせることのできる7色の透光性のある磁器土を利用できるようにした最初の陶芸家です。透光性のある色付きの磁器土は5色あり、さらに透光性のある白と黒は際限なく混ぜ合わせることができ、様々な色の表現を可能にしました。その磁器土は、1984年からヨーロッパのポドモレス社(後にポッタリークラフト社)で、その会社がリモージュ社の一部門になるまで販売されていました。


Dorothy Feibleman was the first ceramist to make available to the public, seven intermixable colors of translucent porcelain clay. It was sold by Podmores in Europe (later Potterycrafts) from 1984 until the company became part of Limoges.


練り上げの人間国宝、故松井康成氏は、1997年に信楽にある陶芸の森で彼女の制作した透光性のある白と白の凹凸のある器を見た後、彼女の磁器土に興味を持ち、後に同じ磁器土を2トン、イギリスの原料店から購入しました。
In 1997, the late 松井 康成 MATSUI KOUSEI saw her translucent white and white textured vessels she produced at Shigaraki Ceramic Cultural Park. Like the small cup pictured on the left below. He said to the translators, "I want her clay" and Dorothy told him anyone could purchase it from Potterycrafts (the D.F. colored porcelain sold since the early 1980s). He purchased one ton of Dorothy's dry translucent porcelain clay from Potterycrafts U.K.












photos above and below: Mark Johnson





これらの透光性のある白の凹凸のある作品の一つが、1998年の国際陶磁器フェスティバル美濃の芸術セクションにおいて展示され、後にニューヨーク市にあるメトロポリタン美術館に永久収蔵品として購入されました。

This white/white translucent piece was displayed in the Art Section 1998 at International Ceramic Festival Mino. It was soon purchased for the permanent collection at the Metropolitan Museum of Art in New York City.

This page was mainly about white/white work and was put on in 2010 in English.
Below is a piece that was in the same Mino '98 as the work that the Metropolitan Museum acquired.
It was made from translucent porcelain but was not photographed with light. It looks totally different with light shining through it.


In 1998 Mino Competition, Dorothy was awarded a silver in the design section for this piece of her colored work.
會田 雄亮 Yusuke Aida was the head judge in the design section that year.

1986年、岐阜県の国際陶磁器フェスティバル美濃において、初めてドロシー・ファイブルマン氏の作品が展示されました。彼女が陶芸家として日本に定着したのは1993年で、1997年以降、その存在感を著しく確立していきました。2000年のINAX実験工房での制作活動後、愛知県常滑市に独立工房を立ち上げ、現在もそこで制作活動を続けています。
In 1986, Dorothy Feibleman's laminated porcelain work was exhibited for the first time at Mino International Ceramic Festival in Gifu Prefecture. She won the Inax design prize in Japan in 1993, and since 1997, she has been making work in Japan regularly. After her production activity at the INAX Experimental Studio in 2000, she established an independent workshop in Tokoname City, Aichi Prefecture.


Resurrected from 2010 posting on nerikomi.blogspot.com and translated back into English. Translation is in blue. red or magenta new added info.

8/03/2019

Dorothy's "WAVE" Bone China is at BARNEYS

Dorothy Feibleman's "WAVE" 
"New nerikomi" tableware made from bone china by Nikko - available online at BARNEYS


2/26/2019

Some of my ancient history 1978~1981

Exhibition at the Craft Potters Gallery, London, UK, 1981
Creamer, Teapot, and Fish furniture 

Photo: David Cripps



Tiger Barbs Top Dwellers
Small Cichlids Bottom Dwellers
Crayfish Dwelling mainly in the double walled checkered nerikomi zogan form
"Elephant" fish aquarium is not displayed
My work at the CPA 1981 exhibition displayed 4 large tanks,
ceramic forms, brooches (hanging), and my fish as an installation
Made from 1978 to 1981

2/22/2019

DOROTHY X NIKKO - Dorothy's nerikomi expression in bone china - online catalogue


Dorothy's nerikomi expression in bone china produced in Japan by Nikko Ceramic Company
Catalogue online today.
Three new lines by Dorothy. 
CLOVER, WAVE, GEOMETRIC




















The catalogue is also coming soon in English.  
There are three new ranges.






COLLECTION
I made the pastry (in the photo with the tea) on my new bone china tableware. I have made it since about age 10. Many people who taste it think it is from their country. I used to take it to Lucie Rie when I would visit her. It makes everyone happy. Here, I have put my general version, that I sent to a friend, one of the times I was a guest artist at Togei no Mori, in Shigaraki. When I was at university, I would put it in the freezer and secretly bake it in the test kiln (do not do this it is bad workshop practice) when the teachers were in meetings. They would come back and comment the department smelled wonderful. But,it would all be gone by the time they finished their meetings. I came back after Christmas break one year and Caroline had eaten it all and the freezer was empty. She couldn't stop eating it over the vacation. It even made my very dry teacher Franz Wildenhain smile. He left a meeting for it - he had a good nose.  Making it is similar to making my ceramic work. It is structural. I do serve my edible work  on my work often.  I always make it when I give workshops. So, we will make it at Meridiana for the students in Tuscany who attend my workshop. Since then, I must admit, that as an Inax Design Prize winner, in 1993, in Japan, I did bake a noteworthy chocolate cake (a recipe from Lucie Rie's family that she gave me) in a ceramic dry box in our workshop (not in the company). It took 4 hours but it worked perfectly. (I am not recommending dry boxes or kilns for preparing food in . But,I have a horrible suspicion, all potters do this at some time in their lives with the full knowledge it is idiotic. At the time seems convenient but they know it is really a bad idea). I have worked in companies (in the 20th century - I did not say 21st century) where at 2a.m. I smelled steak and followed the smell and there it was, on the kiln shelf at the end of the tunnel kiln, a thick sirloin steak and onions and baked potato in foil, on aluminum foil, next to a cooling down product.

The recipe is below:



1/18/2019

Dorothy Feibleman Nerikomi Workshop

This workshop is fully booked but there is a waiting list in case of any cancellations.
If you wanted to sign up but were too late, please put your name on the 
CANCELLATION RESERVATION WAITING LIST OR 
SEND A BOOKING REQUEST for THE NEXT DOROTHY WORKSHOP AT MERIDIANA.








https://www.lameridiana.fi.it/ceramic-workshops-2019/pottery-workshops-dorothy-feibleman-40-19.htm
info@lameridiana.fi.it