Complexities of Teapot

1. Pelubangan bodi untuk spout bisa menggunakan mata bor

2. Sebelum masing-masing direkatkan, bodi dan spout-nya dikasari dulu
dengan sikat gigi basah

3. Sebelum direkatkan, profil bagian belakang spout diiris miring
sehingga mengikuti kontur dari bodi teko

4. Setelah spout rekat pada bodi, batas sambungan keduanya ditambal
dengan tanah liat lembek

5. Teknik 'urut' pembuatan handle

6. Sebelum handle-nya dibentuk, diamkan beberapa lama
sampai menjadi tidak terlalu basah

7. Handle yang sudah dibentuk

  

8. Teko yang sudah lengkap

Dalam membangun sebuah teko, 'moment' adalah hal yang penting. Bila salah satu komponen teko tidak memiliki kondisi kelembapan yang sama, maka resikonya adalah tidak menyatunya dengan kuat diantaranya, sehingga timbul keretakan atau malah lepas dari batas sambungannya. Bagi sebagian keramikus, membuat teko adalah hal yang paling 'merepotkan' terutama dalam hal teknis pembuatan. Karena harus membuat beberapa komponen teko, seperti bodi, spout, handle, dan tutupnya. Belum lagi masalah 'moment' tadi.

Bagi saya, bentuk teko adalah bentuk yang paling lengkap segala kerumitan, kesulitan, dan estetika keramik secara umum, khususnya jika dibentuk menggunakan alat pelarik / putar. Seorang belum bisa dikatakan sebagai ahli putar, jika ia belum bisa membuat sebuah teko. Selain masalah teknis di atas dalam konteks benda fungsional, teko harus kelihatan unity (ada keserasian antara masing-masing komponen teko). Misalnya kalau bentuk bodinya bulat, bentuk yang lainnya pun demikian (paling tidak mendekati) atau keseimbangan posisi  spout dan handle pada bodi dalam menciptakan bentuk teko yang elegan. Selain itu aspek ergonomis pun menjadi pertimbangan yang lain.      

"Amazing Moment"

Inilah saat-saat yang paling menegangkan, menunggu detik-detik akhir terlahirnya sebuah aterfak yang sangat unik dan eksklusif ke dunia ini. Pembakaran merupakan fase terakhir dari sebuah rangkaian fase yang begitu panjang dan melelahkan. Saat itu karya harus senantiasa diintip dan dipantau, agar mereka bisa mengatasi titik kritisnya dan kelak menjadi sebuah master piece. It's amazing moment, I think..  

Mug Series

 

My Workshop #2

I have 3 kilns, the one is big and the others are smaller. The big one has a capacity of 1/4 cubic (using plate 35 x 50 cm.) and the smaller ones has a capacity of 1/8 cubic (using plate 15 x 20 cm.). The first kiln that I had were the small one in 2001. I bought the second one. The kiln was not in good condition so it must be repaired. 

In 2002, I made the kiln (the big one) with my friend. I designed the kiln whereas my friend  made construction and installed the materials of the kiln. I bought the material kiln by my self such as shelves, ceramic fiber, burners, etc. At that time If I bought to the kiln supplier, the cost would be twice more expensive. In 2010, I bought another second kiln (the small one). My friend's work shop got bankrupt, beside the kiln she also sold everything in her work shop. 

 

Specialized in table ware and interior element ceramics Spesialisasi membuat keramik table ware dan elemen estetik dalam interior

The Witness

I usually put one cone and a small test piece for firing. In the picture there are two cones where one of them is just for test. I make my own cone, so every cones running out and make a new one, it must be tested by firing for temperature accuracy.  For small test piece, I made it from bisque ware which have been glazed and a hole in the middle, so you can draw it out by a steel rod.

The position of cones must be seen clearly enough from peep hole. In the bottom picture, you see the silhouette of the cones. Sometimes when temperature reach vitrified point, cones are not clearly enough to be seen by naked eye, it's a like the heavy fog around the pot. So to figure it out you can blow gently the peep hole by mouth in several times until the chamber atmosphere clear again. Remember to not get too close to the peep hole when you blow it, otherwise your mouth will be burned.

Specialized in table ware and interior element ceramics Spesialisasi membuat keramik table ware dan elemen estetik dalam interior

My Workshop #1

My workshop have many trees around. You will find birds, snakes, lizards, frogs, bats, etc. The trees are coconut, eugenia aquea, psidium guajaya, litchi, etc. My workshop place is in northern Bandung, so it's cool enough on rainy season.

Specialized in table ware and interior element ceramics Spesialisasi membuat keramik table ware dan elemen estetik dalam interior

Plate Mold

This plate has diameter 28 cm. and height 3 cm. May be if fired at 2246 F, it will be 24 cm. and 2.5 cm. The plate was my friend's design. We tried making a clay model for making this mold, but usually I use wooden or plaster material for model. Our consideration is the textural motif on the top of plate. We thought carving the clay (soft material)  is  easier than carving on the plaster (hard material). Carving the plaster is quite difficult and needs excellent skill.    

As you see, this mold used solid casting not drained casting method. Usually when you have appropriate thickness, the remaining of slip is poured back into container. Meanwhile solid casting just pour back the slip just little bit for making the foot. The principal difference is solid casting can reach two layers of the piece, inside and outside, drained casting only reach the outside section.    

1. Prepare for pouring the plaster
(bottom side)

2. The plaster near the edge of sphere

3. Strew the plaster into water

4. Making "island plaster" indicating
 stop for strewing. Just wait for 1
to 2 minutes the mixture is ready
for stirring

5. Prepare for second pouring
(top side)

6. Two parts of mold have been
released

8. Complete mold 

7. The model has been released 

Specialized in table ware and interior element ceramics Spesialisasi membuat keramik table ware dan elemen estetik dalam interior