MAGYAR NYELV

The raku process involves the rapid firing and cooling of the ware, with the pots being removed red hot from the kiln and is probably the most exciting and spectacular of all pottery techniques. Raku, the Japanese expression meaning enjoyment or happiness has many connotations. It is the name given to the particular technique, a philosophical state of mind and a religious endeavour - or possibly a combination of all three.

The raku kiln is often seen as a symbol of experimental involvement with heat and ceramic, in contrast to the production kiln and its repetitious control. The popularity of raku has grown rapidly in recent years and the introduction of morecontrollable, efficient and portable ceramic fibre kilns has made this technique more accessible to potters. It is in the ability to control the design, decoration and carbonising of the unglazed areas to a totally individual level, added to the inevitable and unpredictable movement of crazing and shadows across the surfaces that, for me, the intrigue of raku lies.

Steve Mattison has been a professional ceramic artist for nearly 30 years, Working as a professional ceramic artist for over twenty five years specializing in wood-fired salt glaze and raku. He is a firm believer in the education and development of the ceramic arts and since the mid 1980's he has been an active educator, endeavouring to pass on the enthusiasm and knowledge to new generations of ceramic artists, teaching art and design in several universities and colleges throughout Europe and America.

. . . . . .

Steve's work is represented in many museums and private collections throughout Europe and the United States and he has contributed to several magazines and books. He is the author of the best-selling ceramic book “The Complete Potter” now translated into eight languages.

Visit Steve Mattison's website - www.stevemattison.com

 

Mastercourse
Coloured and Laminated Raku
with Steve Mattison (GB)
9 – 15 April, 2015

COURSE CONTENT

During the course participants will learn:
1. Colouring clays
2. Laminating clay
3. Pressmoulding techniques
4. A variety of surface treatments
5. Glaze formulation and mixing.
6. Glazes and surface resists
7. Raku firing techniques.

During the week there will be various slide presentations and videos aimed at broadening your experience of making and offering an insight into other makers' approaches.

The workshop language will be English.

MATERIALS AND PREPARATION FOR THE COURSE

Included in the fee for this course are clay and firing costs. Participants will receive 20 kg clay suitable for the firings. You can purchase more if wish from our technicians.

  • Participants should bring with them their small personal hand tools. Remember to pack them in your stowed luggage not in hand luggage for flying. We can provide a basic tool kit for purchase if you need.
  • Notebook, or sketch pad and pencil.
  • Overall/apron.
COURSE TIMETABLE
Thursday 9 April, 2015
10.00 - 12.00 Introduction to the course
12.00 - 14.00 Lunch
14.00 - 17.00 Afternoon workshop
18.00 Steve Mattison presentation
Friday 10 April, 2015
09.00 - 12.00 Morning workshop
12.00 - 14.00 Lunch
14.00 - 17.00 Afternoon workshop
Saturday 11 and Sunday 12 April, 2015
Weekend free to visit museums, galleries, Budapest, or continue working if you wish. Work made during the first two days will be bisque fired ready for Monday workshop.

Monday 13 April, 2015
09.00 - 12.00 Morning workshop - glazes and mixing
12.00 - 14.00 Lunch
14.00 - 17.00 Afternoon workshop - glaze work

Tursday 14 and Wednesday 15 April, 2015
09.00 - 12.00 Morning workshop - Firings
12.00 - 14.00 Lunch
14.00 - 17.00 Afternoon workshop - Firings

Evening working – The studios will be available if you wish to continue making items, though these sessions will not be taught. Additional materials to those provided by the course may be purchased from the technicians.

The tutor instructs students in health and safety issues relevant to this course. Students may work unsupervised on agreed projects once they have satisfied the tutor as to their competence. There may be restrictions on the equipment available to students in the tutor’s absence.

 

Workshop /Mastercourse fee
The workshop fee is 150.000 Hungarian Forints (HUF).

Fees for the masterclass include

  • Your accommodation in a single room with shared bathroom on a self catering basis.
  • The basic materials and firings you will need for your course. (Extra materials may be purchased if you wish to make additional work.)
  • Teaching fee.
  • 24 hour access to your studio.

A 50% deposit is required upon acceptance to secure your place on the course. The balance may either be paid in advance or in cash on arrival at the studio. It may be possible for you to make applications to arts councils and funding organisations in your home country to attend the course. We will help you in any way we can with any applications for funding you make.

Accommodation
Rooms are simply furnished with bed, desk, chairs, wardrobe and cupboard and supplied with clean bed-linen, pillows and towels. Accommodation is in single rooms with shared facilities or we have a limited number of single en-suite rooms with their own shower and WC at a supplement cost. Artists have the use of modern, fully equipped kitchens with large, shared refrigerators, cookers and microwave ovens. All cups, plates, cooking pots, saucepans and cutlery is provided. There are spacious lounges and dining rooms. All accommodation is self catering.

En-suite accommodation
If you require a single room with a private bathroom there is a supplement cost of 24,000 HUF for the course.

Studios and workshops
Studios are provided for single, double or larger shared workshop spaces. There is water in most studios, tables and chairs as you need and central heating. Artists have 24 hour access to the workshops. In addition to the clay studios we have a fully equipped plaster workshop for model and mould making. We have a silkscreen printing facility for direct and indirect print including vacuum print bed, photo exposure screen and pressure washer. There is a fully equipped lecture and conference room with TV, video and DVD, digital and slide projectors. We have an extensive library of ceramic books and magazines as well as other art publications. There is computer broadband internet access (wi-fi) in most areas and residents can make use of this facility for browsing or email.

Studio materials and equipment
There are slabrollers, electric and kick wheels, extruders, pugmills, ballmills etc. provided for artist’s use and we have 9 electric kilns of varying sizes, three gas kilns (firing to 1400c for porcelain), 4 wood-fired kilns, two for salt or soda and raku kilns.

We stock a variety of clays including

  • KS21 a stoneware chamotte (grogged) body
  • White and coloured Creaton chamotte or smooth textured clays
  • Two kinds of porcelain, one of extremely high quality, fine and translucent only available in Europe here at the studio. Both porcelains are available as plastic clay and slip.

Conditions
All participants must be insured for medical and personal liability for the duration of their masterclass at ICS. For EU citzens - please bring your EU Healthcard. During the work period the ICS may document and publish the work of the artist in publications or on the ICS website. ICS cannot offer storage for any artist’s works after the masterclass is completed.

Information and application form please email:
Steve Mattison, International Ceramics Studio
icshu@me.com


Raku – Rétegelt és színezett raku
Mesterkurzus Steve Mattison (Nagy-Britannia) vezetésével
2015. április 9 – 15

A raku eljárás, magában foglalva a tárgyak gyors égetését és hűtését, a kemencéből vörösen izzóan kikerülő az edényeket, alighanem a legizgalmasabb és leglátványosabb az összes kerámia technika közül. A raku japán kifejezés, élvezetet, boldogságot jelent, de több másodlagos jelentése is van. Ezt az elnevezést viseli ez a különleges technika, egy filozófikus lelkiállapot és egy vallásos törekvés – illetve nagy valószínűséggel mindháromnak a kombinációja.

A raku kemencére gyakran tekintenek úgy, mint a tűzzel és a kerámiával történő kísérletezés szimbólumára, szemben a termelésben használt kemencével és annak „unalmas” szabályozottságával. A raku népszerűsége rohamosan nőtt az utóbbi években, a jobban kontrollálható, jó teljesítő képességű, hordozható, kerámia szálból készült kemencékkel ez a technika egyre inkább elérhetővé válik a keramikusoknak. A tervezés irányításának, a mázatlan területek teljesen egyedi dekorálásának és a füstfekete felületek létrehozásának képességében, amihez hozzáadódik a repedések és árnyékok elkerülhetetlen és kiszámíthatatlan mozgása, rejlik a raku titokzatossága.

Steve Mattison több mint 25 éve professzionális keramikusművész, a fatüzes sómázra és a rakura specializálódott. Elkötelezett híve az oktatásnak és a kerámiaművészet fejlődésének. Az 1980-as évek közepe óta aktívan tanít, erőfeszítései arra irányulnak, hogy a keramikusok új generációjának átadja lelkesedését és tudását. Számos egyetemen és főiskolán vezet kurzusokat Angliában és a kontinensen.

. . . . . .

Munkái megtalálhatóak több múzeumban és magángyűjteményben Európában és az Egyesült Államokban, szakfolyóiratokban és könyvekben publikál. Szerzője a bestsellernek számító, The Complete Potter című kerámiakönyvnek.

A mesterkurzus alatt a résztvevők az alábbiakat sajátítják el:

1. Az agyagok színezése
2. Az agyag rétegelése
3. Préselési technikák
4. A felület kezelésének változatossága
5. Máz készítés és keverés
6. Mázak és maszkoló engobe
7. Raku égetési technikák A mesterkurzus angol nyelvű.

A mesterkurzus angol nyelvű!

informátió:
Strohner Márton, Magyar kapcsolat
Ha magyar nyelven kíván emailt küldeni, cimezze
icshu@t-online.hu


Nemzetközi Kerámia Stúdió - International Ceramics Studio
Kápolna u.11. Kecskemét 6000, Hungary

www.icshu.org