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GOTTI

@teamgotti_

3 months ago

43

7

Posted On: July 29th 2026, 11:57 pm

Comments (7)

george.santiago.737001

2 months ago

george.santiago.737001

My condolences 🙏 prayers 🙏

deeluv672

2 months ago

deeluv672

What

la_taina_baby_69

2 months ago

la_taina_baby_69

My so sorry for your loss 🙏

khaliahclark

3 months ago

khaliahclark

Prayers

msabella_

3 months ago

msabella_

Omg I’m so sorry! My condolences to you and the family

melirocksz_

3 months ago

melirocksz_

@deebeback

cantwitu79

3 months ago

cantwitu79

I'm so sorry for your loss.

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This crimson clay, and these crimson pots I’ve been making on an extremely small scale haven’t been the easiest objects to get right and I’m still struggling to replicate my first few tests, despite following the recipes I jot down initially.

They also require a very subtlety different approach as with all the added flux in this clay that gives it that vibrant red colour, it also makes it more susceptible to slumping in the kiln if thrown or trimmed too finely. Both of which are traits I normally cherish, which means I’m having to purposefully craft these with a bit more heft in them but even this isn’t fixing the issue entirely and I reckon the blend of clay bodies I’m using needs another, stronger, addition.

The problem is, the more this blend is diluted, the less the red shows in the final product, this means the other, perhaps more straightforward solution is firing them at a lower temperature, which is exactly why I’ve been firing them on the lowest shelf and towards the front of that layer, as typically it always fires a touch cooler. Whereas in my preliminary tests, I fired a collection of these pots all of the kiln and those on the upper shelves definitely showed more signs of movement in their walls.

They didn’t all slump, some just began to bend and sort of lose their shapes, which in some ways can be rather delightful, provided the movement occurs in a way that feels perhaps balanced or aesthetically interesting. But there are times where it looks as if the pot is beginning to melt, or have a stroke, with one specific corner of the vessel slouching.

The whole idea with these pots was to make them with a red clay, coat them with a red glaze and also insert fragments of bronze into the material when it was still soft and malleable, which once fired turn into red blossoms on the surface. Red on red on red.

But I still need some time to perfect things. Perhaps perfect is the wrong word as that isn’t really what I’m looking for in my work, rather I’m looking to find that delicate line where there’s a degree of error in the pots that’s still deemed acceptable.

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