Alan
and Rosemary Bennett's Resume
Alan received an MFA in Ceramics from Ohio State University and a BFA from Arizona State University.
Alan’s art has been exhibited internationally as well as throughout the
United States.
Rosemary has a BAE degree from Ohio State University. Her work has been shown nationally. Alan and Rosemary
met at OSU in 1980. Alan worked as a designer and technical consultant
for El Palomar Ceramics in Talaquepaque, Jalisco, Mexico.
They started this business together in 196 and have worked as full time
clay artists in Bath, NY since 1990.
“Our experiences snorkeling and fishing strongly
influence our art. We make art about fish, aquatic life and animals.
The process starts with a series of sketches. We use stoneware clay or
porcelain to make the basic forms. We manipulate these forms, hollow
them out and then we add the details. Then we sculpt the teeth and eyes
out of porcelain. The pieces are fired again. Our sculptures are about
form, expression, color, texture, and movement. Each piece is unique.
There are five basic ways we glaze the pieces. “ - Alan & Rosemary
Bennett
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Fish Glaze: This magnesium carbonate glaze shrinks more than
the clay body during the firing process. The finished glaze has a rough,
dry, scaly texture.
Raku: An ancient Japanese traditional technique, the pieces
are pulled out of the kiln when they are red hot and smothered with sawdust.
The end product has a variety of blacks and grays in the clay body and
elegant crackle patterns in the glaze
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Gas Reduction: A technique from an ancient Chinese tradition
created during the Sung dynasty. The pieces are fired at high temperatures
in the gas kiln where the oxygen levels are reduced to achieve rich surface
decorations from the layers of glossy or matte glazes.
Wood/Soda: Colored slips with over glazes are fired in a wood-fired
kiln. During the firing, wood ash deposits enhance the colors and the
soda adds an orange peel texture. The glaze result is a soft earthy
finish with subtle color.
Crystal Glazes:
Special glazes are applied by brush to porcelain pieces. The pieces are
fired to 2300 and then “soaked” at a slightly lower temperature for six
or more hours. This creates an environment conducive to growing crystals
in the glaze formed by a combination of zinc and silica. The end result
never comes out the same twice as the crystals are different sizes.
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