Nerikomi Troubleshooting information from 2010 replaced to this blog

from a post on Wednesday, October 20, 2010, nerikomi.blogspot.com
Dorothy Feibleman's History and Expression
(this talks about exposure in Japan not her laminated translucent porcelain history between 1969~1993)


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. Dorothy exhibited her White/White ("Nerikomi") Expression in 1999, 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 in 2002, for her White/White ("Nerikomi") Expression, she exhibited her translucent laminated expression at Ichinokura Sakazuki Museum in 2003 and 2007 & gave slide lectures. She also exhibited at Yufuku Gallery in Tokyo in 2006. After which, she held a workshop in 2007 at Ichinokura where she showed her original expression GEOMETRIC 1,2,3,4,5 slides shown below marked DEMO showing her original use of dyed green and pink clay that is actually white. The dye burns out in the firing. She demonstrated some of her other original translucent laminated expression. At least since 1975, she has fired all her non-glazed porcelain in silica sand in saggars. She fired her student's work at Ichinokura in silica sand & made small saggars for the student work firing.  
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
gradation spiral 
Dorothy Flower Petal 
Blue Star 

The WHITE WHITE SAKAZUKI pictured above the demo photos, won a gold prize at Mino in 2002.

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. She always fires her work in silica sand in saggars as shown in this slide show. This is not a secret technique. It has an English industrial history.

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

Dorothy was using white porcelains in these slides. As mentioned above, the pink and green colors burn out. The fired 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. This makes it easy for staff to access the correct clay type so they can move it to the area of the factory where it will be used. If not dyed, the white porcelains may look like the same porcelain and be the same porcelain sometimes, except for the plasticizer used for flowers or jigger jolly or casting, etc. 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. Aniline dye was used in industry to identify factory porcelains so they were moved to the correct departments. Historically, white white translucent nerikomi did not exist before Dorothy developed her expression. Her invention of using dye which burns out in firing was essential for her to achieve her unique white white translucent signature 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

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.

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.

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



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

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.

3.b. 波状の面
3.b. Wavy surface


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. 


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.

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 Johnston


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.

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 the early 2000s, 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.