Shrouded – Porcelain and black clay. 8″H x 5″W x 4″D
Bird in a gilded cage – Porcelain, black clay, and wire. 12.5″H x 11″W x 12″D
Rise – Porcelain, black clay, and wire. 8″H x 25″W x 4″D
Unbound – Porcelain, black clay, and wire. 8″H x 5″W x 4″D
Untitled (detail) – Clay and underglaze. 8″H x 5″W x 4″D
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Color study in preparation for finishing this clay panel, called ‘weighted’.
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Here’s a glimpse into some of the new figurative work I’m exploring. The first is a paper clay form. Here it is in the sculpting stage:
Here it is, brushed with underglaze and ready to be loaded into the gas kiln for the final firing:
The second piece is stoneware with porcelain glazing and porcelain winged forms around the head. This one is still in the greenware stage. The wax circles on the cheeks allowed the stoneware to show through in those areas when I was applying the porcelain glazing.
Exploring figurative content is feeling rewarding and so challenging!
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Process sketch for a new clay panel I’m working on.
What Once Was Pure
12” L x 19” H x .75” D Porcelain, overfired black clay, Groggy Stoneware, underglaze: Reduction Fired, cone 11
Dreamscape
15.5” L x 7.5” H x .75” D
Porcelain, Dark Stoneware, Light Stoneware, Slip, Oxide, Glaze: Multiple firings, Wood/Salt Fired and Reduction Fired to cone 11
Them
28” L x 10” H x .75” D
Porcelain, Dark Stoneware, Groggy Stoneware: Reduction Fired, cone 11
Glow
13” L x 15” H x .75” D
Porcelain, Dark Stoneware, overfired black clay, Groggy Stoneware, pink slip: Reduction Fired, cone 11
KUJICHGULIA (self determination)
20.25” L x 8” H x .75” D
Porcelain, Dark Stoneware, Groggy Stoneware, Slips, Oxide: Multiple firings, Wood/Salt Fired and Reduction Fired to cone 11
Randy
20.25” L x 8” H x .75” D
Porcelain, Dark Stoneware, Groggy Stoneware, Oxide: Reduction Fired, cone 11
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It feels so fun to print, draw and paint a vertical surface, then explore the interplay of ceramic elements on top.
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Figurative content is completely new for me. I’m enjoying the exploration and the challenge of interpreting new forms.
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The Gather Series:
And some others:
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This wall piece will be fired in Chris Gustin’s anagama kiln in October. Materials so far: Troy Porcelain (flashing porcelain) and black clay.
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Clay and glass.
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Porcelain, stoneware, glass, cone 6 firing.
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I’ve been wanting to explore kiln-cast glass for a while, so I’m excited to attend Daniel Clayman’s Haystack workshop at the end of August. I’ve been teaching myself to create objects in wax in preparation. Here are a few:
It will be interesting to see how they translate into glass.
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The Mudflat Studio December sale is happening this week. Two floors of functional and sculptural clay objects. Stop by and check it out.
81 Broadway, Somerville
December 5–14, 2014
Sale hours:
Saturdays, December 6 & 13, 10 am – 6 pm
Sundays, December 7 & 14, 10 am – 6 pm
Monday through Friday, December 8–12, 10 am – 9 pm
Here’s a little preview from my studio:
Hope to see you there.
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Porcelain wall forms in the unfired state.
I love when it feels like the clay is creating the form and I’m adding the rhythm.
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Attending from Mudflat Studio: (left to right) Melissa Bland, Jennifer DeAngelis, Eric Schwarzenbach, Angela Cunningham, Debra Fleury, Richard Freierman, Chloe Marr-Fuller, Zach Shaw, Lynn Gervens, and Noni Armony.
The show is up through August 11, 2013. Hours are monday-friday 9 a.m.- 5 p.m. at Charles Rose Architects, 155 Willow Ave, Somerville MA.
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I am nearly finished installing Anima, a sculptural clay installation exploring connection and community, which consists of 150 sculptural elements suspended beneath the clerestory at Charles Rose Architects. The opening reception and celebration is this Saturday, May 11th from 6-9:00 at Charles Rose Architects in Somerville.
Hope to see you there!
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Hello! This is an exciting time in the studio. I am working to finish a large group of clay objects that will be installed at Charles Rose Architects near Davis Square at the end of the month. The building has a clerestory running the length of the office and the pieces will be suspended in the air underneath.
This is the most ambitious project that I’ve taken on to date and I am learning so much every day. Each step I take pushes my boundaries as an artist and forces me to learn something new, or causes me to consider new resources. The biggest breakthrough has been asking for the support of my community of family, friends, students and other artists. I’m typically the self-reliant, John Wayne type of artist, but this project has forced me to think in new ways about what a community can bring to artistic expression.
The biggest surprise? Community brings SO MUCH. A group of individuals working together to make something inspirational results in something greater than the individual can achieve. My final result is not manifest, yet, but I see the signs. Something special is in the air for this project.
53 individual artists, family, friends, supporters, children and students made 9,520 of the individual ‘quill’ forms over two days. Here we are:
Here are some examples of the beautiful quill forms that we made together:
It was such an honor to work with these forms and so inspiring to notice the myriad individual styles. Here are some of the forms going into the first of many, many kilns:
Here are some of the individual pieces, after the cone 6 reduction firing (melty and delicious!):
Here is a little hanging mockup that I constructed in my studio. The final installation will evolve on site at the architects office.
Please mark your calendar and attend the opening on May 11th at Charles Rose Architects in Somerville, MA to see how this all turns out.
I’ll be excited to see you there!
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Inspiration from my trip to the Denver Botanic Garden this past July (above) and from Mt. Evans (below).
Enjoy!
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Debra Fleury 
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