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Davis Rosenbaum

Davis Rosenbaum

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Published by Stefan Van Cleemput

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Published by: Stefan Van Cleemput on Sep 14, 2012
Copyright:Attribution Non-commercial


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PotteryMaking Illustrated
 January/February 2007
ter a long day in the studio, I oten unwindand relax by watching a movie while snack-ing. Going to the kitchen, I collect the ap-propriate pots, bag o chips, dip and drinks.Careully juggling all these items back to the couch,I sometimes spill dip and chips along the way. Atercleaning the mess, I can fnally relax.Practical issues based around comort, convenienceand ood are a rich source o inspiration. As a potterocusing on unction and orm, what could I createto ease the schlepping o my chips and dip? Ideas, re-search and designs begin by asking questions aboutunction and orm that assist our special needs or uses.By choosing unction as a guiding limitation, I’m reeto explore alternative orms, evaluating them by their
Snacking on Form and Function
by Steve Davis-Rosenbaum
Chip Dip
Much o Steve Davis-Rosenbaum’s pottery originatesrom the basic human joys o eating and cooking withall the overtones these activities evoke: freside, nourish-ment, camaraderie. For Steve, beautiul pottery dishesare synonymous with love o ood and its presentation,and his pottery production ocuses on everyday dishesor use in cooking, dining and home decoration.
unction, proportion, line, shape and space (both neg-ative and positive). My process or developing a neworm begins with drawing preliminary sketches, andexperimentation and play in the studio, which resultsin a 3-D “sketch book” o shapes and orms.Beore beginning the design or my Chip and Dip, Ihad been creating multiple vessel orms or more thanfteen years. In addition, I had researched the histori-cal multiple vessel orms rom a variety o culturesthroughout time. Over the ages, potters have had theimpulse to put two pots together creating new ormsand uses or them. For example, multiple vessel potshave been ound as early as the Neolithic period inlocations such as China, Peru and Iran. Many o thesepots had a variety o unctions in religious and mar-riage ceremonies, as decoration or or daily use. Mymultiple vessels also revolve around a defned unc-tion and the relationships between the individual potswhen placed together creating new space, line andvolume. Successul pots are created by understandingthe unction and constantly evaluating how the piecesgo together.The challenge here is not to just remake the Chipand Dip, but to use it as a jumping o point to inspirenew orms and designs.
PotteryMaking Illustrated
 January/February 2007
Designing a Chip and Dip
When deciding on size, envision the amount o chipsand the quantity o dip required or the chips beoreyou start making bowls. I usually make fve sets bowlsand straps then mix and match the parts till each be-comes aesthetically pleasing. I needed, I go back tothe wheel and remake bowls.
Throwing the Bowls
I throw all the pieces in the same sitting and create4–5 sets at a time. Depending on the frmness o theclay and rate o drying, I plan my studio schedule tohave a 3–5 day period to work on the multiple orms.I also throw multiple parts or each Chip and Dip, al-lowing mysel to make critical aesthetic decisions dur-ing assembly. By working on several Chip and Dipsat the same time, new ideas develop while I work oneach pot. This design requires two bowls or the con-struction/assemblage, which should be proportionalto each other and, when placed side by side or heldon top o each other, give the sense o belonging to-gether.Allow the bowls to set up and reach the sot sideo leather hard. Completely fnish the large bowl bycleaning the rim and trimming the oot beore addingany other parts. Cut and manipulate the small bowl toft the shape o the strap later.
Making the Strap/Handle
Throw the strap as a donut, opening the clay allthe way to the wheelhead and pulling the walls o the clay to the edge o the bat (fg. A). To fnish thewalls o the strap, taper the rim (fg. B). Cut andlet set up to the sot side o leather hard. Turn thedonut upside down and trim the bottom o the strapthen shape it to match the thrown end. Place thestrap on a canvas and cut one end, then move eachend to create a shape or the desired design (fg. C).Remember, the top will hold the smaller pot and theshape needs to allow hands to enter and leave withchips. Let stand to set up more so it can stand onits own.
Since there are multiple pieces to the Chip and Dip,timing and attention to the attachment areas is veryimportant. Beore the pot can be assembled, all thepieces need to be at the correct stage o leather hard.To control the drying time, the pot stays covered inplastic until the desired frmness is reached. Sometimesspraying pieces with water and covering to maintaincorrect frmness is necessary.When the pieces are ready, mark the location o thehandle on the large bowl (fg 1), score the rim (fg. 2).Shape the handle making sure the ends o the strap arewide enough to straddle the large bowl (fg. 3). When
Timing is Everything!
For multipiece projects, all parts need to dry at thesame rate. Depending on studio conditions, spraying theform with water throughout the process might be necessary. After adding each piece, wrap the piece in plastic to slow thedrying. It might be necessary to wrap sections of the potif one area starts to dry faster than another. It is best to work on the Chip and Dip over a few days, leavingtime for areas to set up to support attach-ments and desired forms.
PotteryMaking Illustrated
 January/February 2007
the handle can stand on its own, score and slip theends and attach it to the large bowl (fg. 4). Using asot sponge, chamois or fngers, stretch the strap (likepulling a handle) into shape to change the tension o the clay and prevent warping and twisting. Supportthe handle in the center with a prop made rom leatherhard clay (fg. 5). Place a piece o paper between theprop and the clay parts to ensure easy removal. Withthe prop still in place, hold the small bowl up to thehandle, making sure the shape and proportion workwell. Cut the bottom edge to match the curve o thetop o the strap (fg. 6). I rework the tension, align-
Marking the location o the handle onthe large bowl.Scoring the rim.Checking the ft othe handle.
Attaching the handle to the large bowl.Adding a support o leather-hard clayto the center o the handle.Cutting the bottom edge o the smallbowl to match the curve o the top othe strap.
ment and shape o the strap and check all previousattachments.
 Attaching the Small Dip Bowl to the Handle
Score and slip the edges o the bowl and handlebeore attaching the small bowl to the handle (fg.7). Place a coil around the inner and outer seams tohelp secure the bowl. Be sure to work in the clay andblend it so the coils disappear. Ater the bowls set upto leather hard, add handles to top bowl and trim therim o the large bowl. I fnd that this visually fnishesthe orm creating one new orm rom many parts.

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