I was using them to illustrate a point. Goes to show how people's preferences differ - even when viewing pots from the same potter!
I have seen a lot of bad pottery but I guess you have seen more bad pottery. I have not seen oxides used carelessly but it stands to reason that they have been since every other form of ceramic arts has been done very badly as well. Oxides, like glazes or even modeling the clay body can be horrendous or exquisite.
Welcome to the site! I really like what I see of your work!
One bit of advice I would give is to always remember that the pot and tree have to complement one another. You never want a pot that is the primary focus of attention. One reason why most bonsai pots use earth tones is because that is what most bonsai trees use
Also, keep in mind that it is not just the design and color of the pot that matters... it is the patina; the feeling of the pot being old and being used for a long time. To the extent that you can make your pot look old (even if it is new) you will attract more buyers. (Make sure you are familiar with the Japanese art asthetic of wabi-sabi).
Because most potters start with wheel-thrown pots, there are a lot of round pots out there, when rectangular shapes (slab built pots) are the number one shape of pot. Something to keep in mind. Additionally, I think the market is over-supplied with small pots. I understand the risk and cost associated with larger pots, but I have very few trees that would be planted in a pot smaller than 8"... and I can't tell you how many pots I see offered that are smaller than that, when my interest usually starts at 12" and goes up from there. A 12" pot would normally work for a 12 - 18" tree (as a general guideline depending on a lot of things). Just looking at all the trees on this site, how many are smaller than 12" tall? (not many)
My all-around favorite domestic potter is Sara Rayner. I have been following her work for over 25 years, and her pots are pretty universally excellent now - both showing plenty of creativity and individuality while working well for bonsai. She is a good example to look at because I think her portfolio is both uniquely American and yet embraces Japanese esthetic.
A new pot that looks old:
View attachment 332206
A simple pot with organic glaze. Note that the glaze gives the impression of wearing thin on the edges and rim of the pot - as if it had been handled for years - even though the pot is new.
View attachment 332205
Also for ideas look at high level exhibition bonsai, and the pots they are displayed in. @Walter Pall is a member here, and some of his exhibition pots are incredible - particularly some of his Japanese maple pots.
Thank you, Bonsai Nut, for your insight. All good advice. I do gravitate toward organic surfaces and textures. The popularity of brightly colored pots with sculptural elements has had me a little confused, so it is good to know that well-made "quiet" pots are still in demand. I can make four-foot-tall floor jars, so large pots are no problem... However, shipping anything that takes a box over 12 inches costs an incredible amount of money and that problem is only getting worse. For that reason I've kept most of the pots I've put up on my site and on the auction sites smaller. I hate telling someone that it will cost $58 to send a pot their way. I would love to become a vendor and take a display of pottery to some bonsai shows in the Midwest or even Northeast/Southeast, but it seems to be difficult to break into...so for now the auction sites are helping me to get some work out there. I do admire Sara Rayner's work. I would love to meet her one day and see some of her work in person.Welcome to the site! I really like what I see of your work!
One bit of advice I would give is to always remember that the pot and tree have to complement one another. You never want a pot that is the primary focus of attention. One reason why most bonsai pots use earth tones is because that is what most bonsai trees use
Also, keep in mind that it is not just the design and color of the pot that matters... it is the patina; the feeling of the pot being old and being used for a long time. To the extent that you can make your pot look old (even if it is new) you will attract more buyers. (Make sure you are familiar with the Japanese art asthetic of wabi-sabi).
Because most potters start with wheel-thrown pots, there are a lot of round pots out there, when rectangular shapes (slab built pots) are the number one shape of pot. Something to keep in mind. Additionally, I think the market is over-supplied with small pots. I understand the risk and cost associated with larger pots, but I have very few trees that would be planted in a pot smaller than 8"... and I can't tell you how many pots I see offered that are smaller than that, when my interest usually starts at 12" and goes up from there. A 12" pot would normally work for a 12 - 18" tree (as a general guideline depending on a lot of things). Just looking at all the trees on this site, how many are smaller than 12" tall? (not many)
My all-around favorite domestic potter is Sara Rayner. I have been following her work for over 25 years, and her pots are pretty universally excellent now - both showing plenty of creativity and individuality while working well for bonsai. She is a good example to look at because I think her portfolio is both uniquely American and yet embraces Japanese esthetic.
A new pot that looks old:
View attachment 332206
A simple pot with organic glaze. Note that the glaze gives the impression of wearing thin on the edges and rim of the pot - as if it had been handled for years - even though the pot is new.
View attachment 332205
Also for ideas look at high level exhibition bonsai, and the pots they are displayed in. @Walter Pall is a member here, and some of his exhibition pots are incredible - particularly some of his Japanese maple pots.
Thank you for the compliment on the koi pot! It was an experimental piece to try using a traditional Chinese oxide recipe for the blue. I think it is too loud for bonsai, but really didn't know how it would turn out until it was finished. I agree that more muted colors might suit a tree better. It will take practice to learn to control the application.
Thank you, Sorce! That pot is stained with iron oxide and fired in reduction so it has a satiny finish. I did like the rope edge border. Thank you for the compliment on the koi pot!
Thank you for your input, Adair M! I will be sure to work on rectangles. And I will look up the names you've suggested.
Bonsai Nut, I will keep all those things in mind. I do try to make solidly functional work. The "frost-proof" thing, though... As a potter that term kind of bugs me. All ceramic has some porosity. Any moisture absorption affects the clay body, and all things erode with time, even granite. All my work is vitrified, but vitrified isn't necessarily frost-proof. I run tests on my clay bodies that involve firing, soaking for 12 hours, boiling for 5 hours, weighing at each stage and plugging into a calculation to tell me if the body is "frost resistant", meaning that once moisture enters the walls there will be sufficient capillary action to allow it to escape again. But I don't feel I can say that it is "frost-proof", and that bothers me. I know the way I look at it is much more complicated than bonsai buyers even care to know, but I want to be honest. Even a badly fitting glaze can rip a clay body apart when subjected to stress like temperature fluctuation. But I'll do my best to insure my work is as durable as possible.
Interesting...Shohin being less than 6 inches?
Adair M, I'm not sure if underglazes beneath clear glaze on porcelain will fade much, but I'd be interested to see how it weathers. This little koi pot was an experiment to see how the blue stain recipe turned out, and I agree that it's a bit loud. I'll lean toward a gentler touch next time.
It is small, just 5 3/4 x 2 3/8.
Thank you, Clicio...drainage hole might be on the small side; my finger slides through comfortably. four wiring holes.I am a big fan of bonsai pottery.
That said, your koi pot would fit perfectly one of my shohin plants.
Does it have a good drainage hole?
Thank you so much, penumbra! I do love me a good oxide wash in reduction. I usually burnish my red iron oxide finishes before firing to give them a more satin surface, rather than just wiping back. I'd be happy to share techniques anytime. Always great to meet other potters.
