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I am working to set up my own studio and I really need a kiln. I've been looking at what's available and have my mind set on a little cutie called Rohde ecotop. The kiln I'll be getting must be reliable. It's an investment for years to come and I want it to perform well and last a long time. I chose a small item in the series for practical and financial reasons: a small kiln can be fired more often without unnecessary losses in energy. It is less expensive to purchase and has a lower running cost. I don't need a large kiln as I've never been fond of working large scale. I don't have enough space for something like that anyway.

I was lucky enough to be able to try firing few different types and sizes of ceramic kilns: gas and electric, tiny up to rather large ones. I prefer the convenience of electric kilns over unexpected results of gas ones. I'd normally also choose a front loading kiln over a top loader. My ecotop kiln is going to be top loader, however. It requires less space around it and with the size I am opting for stretching your back to lift heavy kiln shelves is really not going to be an issue.

Needless to say, I am super excited about this. I just can't wait for the purchase to be finalised and the new toy with all its gadgets (controller, kiln furniture, etc) to arrive. I won't be getting it until the studio space is ready, though. I have nowhere to put it and I can't fire it just about anywhere. The space it will be in must be well ventilated and ready to take some heavy duty messing. Serious health hazards are associated with the whole environment surrounding a ceramic process, so it needs a space that's well prepared to take it. Untill it's ready, I'll just keep daydreaming...

Some people ask me: How do you do it? Often they are curious about the whole process, but at times the question is specifically referring to the small scale of my work. It is pretty awesome for those not familiar with working in miniature scale. I never had a problem with it. In fact, I've loved all things tiny ever since I was a little kid. My favourite stories involved creatures like gnomes and elves. I adored Thumbelina and Tom Thumb. I also liked, and still do, making small stuff. So how do I do it?

First of all, I always like to try things out in three dimensional forms rather than drawing. Therefore, working on a larger piece, I make a downsized maquette first. This is how I got used to making tiny objects. I actuallly prefer developing and modelling miniature scale.

Even most skilled hands have their limitations. Every crafts person needs his/her tools. I have mine, too. The ones I use most often are: a wooden sculpting tool, a metal one, scalpel blade, needle and stylus. I also use soft brushes to smooth out the surface, apply a little moisture etc. For larger tasks I employ other tools, as well. My favourite ones are cutlery and other kitchen utensils. They have so many different uses! For small scale modelling, aside from above mentioned items, I also use toothpicks and various other small objects if necessary. Sticking to the few favourite, most versatile tools is the main thing. I have a whole bunch of tools that I don't use at all. I keep them in a box for safe storage, but don't clutter my working area with them.

Of course, it takes time to finish anything properly. With small scale perhaps more so than with larger pieces, it is absolutely crucial to get all the details right. Careful execution means the work will be really amazing. There is no point in rushing it. The most important part of the whole job is to be patient and careful. And to keep practicing!

Enough of the holidays!

You may have been wonering what I have been up to lately. Truth is, nothing much. I allowed myself a little break. I was feeling a little drained and I thought I deserved a bit of time for myself.

In the meantime, I went to visit an Irish language primary schood Gaelscoil Mhic Amhlaigh in Knocknacarra/Galway again. I was there last year for some clay fun and this time it was equally enjoyable. The workshops consisted of a brief introduction into the history and practice of ceramics, a presentation of basic handbuilding techniques and some explorations of the material, the results of which you can see in the picture. Naturally, it's only a selection, all of the work would not fit in the image! The kids were tremendously inventive and enthusiastic about the whole experience. I have a feeling I might be heading there again...

Other than that, I have been testing some hand-modelling materials to see what suited me best when working out prototypes. I tried the following: polymer clay, air drying sculpting paste, paper mache and a nylon reinforced ceramic material. All of them were causing me more problems than helping with the progress of the work.

While I can appreciate the qualities of polymer clay, I just cannot bring myself to working with it. I don't like the fact you have to stick it in the oven (which may sound odd coming from a person who loves kiln-fired stuff, but maybe it's precisely that - kind of feels like cheating) and the way it behaves in my hands, its texture. I know people who reckon it's the best thing ever, but it's not for me. Price is another factor to consider.

All of the other materials are somehow easier to handle, but I returned to my favourite mixture of earthenware and paper pulp. It may not be suitable for everyone, but I'm so used to working with it I just feel most comfortable building from it.

Now that I started experimenting again, I turned my kitchen into this crazy little lab of mine. It's not exactly the best place for preparing meals right now, but let's face it - I'm not much of a cook anyway. And I need to work somewhere before a proper studio is finally available, which should be soon enough. So until then it's takaway and sandwiches ;)

What am I going to do now? College is practically over (bar few formalities that need completing). The exhibition finished last Saturday and now I am finally free to do whatever I please! I know many of my fellow recent graduates see this perspective as a little daunting. Some people chose to go on with study or find work outside of the art world. I am incredibly lucky in that I will be able to use my very own studio soon.

While I may consider returning to education eventually, at the moment I just want to create work I have not had time for so far. My head and notebooks are full of ideas. The exhibition marked a stage for me and now I feel ready to discover what else awaits me in the future.

I will continue to report here regularly as well, so be sure to check for updates!

PS. The image is of Faye resting on a light box outside the dark room in college. She seemed just as tired as I was after the exhibition. The poor thing is still waiting to be painted, wigged and dressed. It may not happen for a while but I wanted to take some images of her around the building before I leave it for good. I'll always be able to go back to use the library etc., but when I'm not there I tend to forget what an incredible place it is, full of interesting little corners like this.

The exhibition I have been working so hard for, my degree show, is finally open.

The opening was a great success. I got lots of positive feedback, some great comments and compliments. Overall it was a joyful and exciting occasion.

I would have never been able to get to this stage without the continuos support from my friends, family, college tutors and everyone involved in the organisation of the event. A huge thank you to all of you!!!

The exhibition is open in the Cluin Mhuire (art) campus of Galway Mayo Intitute of Technology until Saturday. Come and see it for yourselves. I will be more than happy to meet you there and answer any questions, too :)

This last while has been utterly exhaustible. I have been working towards putting my final year art show together. By working I mean preparing the artwork, painting the room it will be presented in, building the stands and so on. The assessments are behind me now and the exhibition opens in a week's time. I am rarely out of words but on this occasion I really just don't know what to say. It feels a little surreal to think it will be over soon.

As usual I am already thinking of what I'll do when I am not a college student any more. I am ready to move on to all of the exciting things ahead!

As some of you may know already, I am just about to finish art school. However, sometimes I feel closer to craft and design than art. I will not bore you with long definitions of art and elaborate on the differences between art and the other two mentioned disciplines. At the moment, after few years of such discussions, I am fed up with them altogether, to be perfectly honest. I am of the opinion any division of that sort is superficial and shallow and the variations between them fluid and sublte. The elements of all three are constantly intermingled.

Personally, I feel it is crucial for the work to be carefully executed. Conceptual art as such is not for me. I agree, an idea or a concept are of essence, but not enough to capture one's interest, astonish, rapture, provoke thought and response alone. Artworks based purely on an idea repel me. They are often an unfulfilled promise of how that concept could be brought to life in a visually attractive way. Not even necessarily beautiful, but considered, careful, polished. Sloppy, careless finish is in my humble opinion completely unnacceplable and lazy.

In my own work I also avoid taking shortcuts. I don't purposely complicate my life, but I am very critical (too critical?) of myself as an artist. I do not allow myself to accept excuses suggested to me - "nobody will notice, nobody will mind". If I know something is imperfect and does not fulfill my high standards, I resist showing the work. However, at times in college I am forced to tolerate certain secondary flaws due to time limitations and other factors.

This is why I am a little frustrated and tired with a situation in which my work has to be completed in a rushed manner and without due attention. Hence the recent meltdown. I realise I will have to deal with deadlines other than assessments once college is finished. I deceive myself hoping I will have more control over my time, though.

I have no greatly ambitious plans for the nearest future. The most exciting thing I am waiting for is my own private studio. I do complain about my work every now and again, but the truth is i really like it and I am perfectly happy when I can concentrate on it. I also intend to experiment with dolls in ways I could not even think of until now. Before I gain access to my new studio, the kitchen table will have to do as a working area. It means the lack of a kiln. It won't stop me from doing other work, of which I shall report here. My porcelain doll is in constant need of improvements (I discover problems in every new version, mostly in the torso construction) and at the moment it is a particular challenge. Her parts will be used in my end of year exhibition. I learned a lot in college, but I will truly be relieved when the show finally opens. I only need to do some more preparations now...

Porcelain can be painted with a number of mediums and techniques. I've heard of oil painted dolls, though I've never seen them. A variety of ceramic treatments can be applied, too. Traditionally, high bisque fired dolls are painted with china paints. Technically, these are onglaze colours that can be applied to any white ceramic ware. To add colour and expression to dolls, these pulverised minerals are applied in a very specific manner.

Firstly, paints need to be prepared. They come in powder form and have to be mixed with oils or water based painting mediums. On a white ceramic tile they are ground with a palette knife untill the right consistency is achieved. They can be stored in closed containers afterwards.

Secondly, the doll pieces need to be cleaned (again, I know! - a dollmaker must really be a little obsessive about keeping everything spotless) by wiping them with surgical spirits (it may be also referred to as rubbing or denaturated alcohol). Prepared in this way, the pieces are free of any oil residue from one’s fingers etc.

Paints are applied in layers and low fired (around 730 degrees) between applications. From what I've read, everybody has a different way of doing it, some people apply an overal wash (thin layer of colour) first, others leave it to the end. Usually red colours need to be fired a little lower and they're applied at the end, so they don't burn out in the next firing.

This is all I know about the process. I must admit I am completely unexperienced when it comes to this. I've only ever given it a go once and it was not a very successful attempt (to put it mildly). Still, I will continue to try until I'm happy with the results. Wish me luck!

The only problem is, I won't be able to do it for a while. More in next post.

I mean, that is, high firing.

After the pieces are wet cleaned (or otherwise prepared) for the high bisque firing, they are carefully loaded into the kiln again, in pretty much the same way as for soft firing. The only difference is, this time the temperature will go to around 1240 degrees C. That allows porcelain to mature and become vitrified (waterproof). It becomes hard and also a little transcluscent where thin. At this stage it is practically impossible to alter it in any way. It may warp in the kiln if not propped up sufficiently. Every potter will tell you, clay has a memory. Porcelain is particularly unforgiving. It seems to want to return to any shape it was bent to while still wet. Slipcast pieces must be handled very delicately before they dry. Porcelain is a tough and demanding material, but it is also very beautiful. Once you know how to control it it will thank you for the right treatment.

Removing perfectly white parts from the kiln is like a little celebration, joyful and gratifying. I am always very nervous when firing. So many things can go wrong and you won't know until you let the kiln cool down completely afterwards and open the door.

The pieces need to be scrubbed again to achieve a perfectly smooth surface finish. This time it's not as dreadful as the wet cleaning, though, and nowhere near as time/energy consuming (nor frustrating).

As for the meltdown, I'll keep you posted.

Wet cleaning is definitely the part of the process I hate the most. It comes way ahead of working with plaster. Most of the time I don't mind doing it when I get into the rythm, but it can be very frustrating and is certainly not my favourite thing to do.

Soft fired porcelain doll parts are dipped slowly into lukewarm water and allowed to soak for a few minutes. After that they are scrubbed and polished with abrasive sponges (very fine grit) and cleaned of with special brushes. It's very messy as the pieces have to be kept wet and rinsed off often. Sooner or later I am covered in water dripping down onto everything in spite of wearing a waterproof apron. Being damp for a few hours is usually not much fun. I suppose I should be used to it by now living in rainy Ireland, but I still prefer to avoid it.

This is why I decided to try something else. The wet cleaning method is adviced for health reasons (fired clay particles are heavier and less harmful), but there must be a better way to do this! I am determined to either find or invent one. I'll have you posted, and in the meantime keep your fingers crossed as I dive back into the world of wet cleaning!