After the first Critique on the sixth I completed the first step of my piece. I wanted to get to 3000 tiles but after seeing them all laid out I realized that I needed make more. The tiles were bisque fired and looked brilliantly white. Now that I have raised the count to 4300-5000 I have more work to do but in the end it will give that overwhelming feeling that I am trying to instill in the viewer. I still am planning on glazing this piece by following the color scheme exemplifying that of the sulfur site I photographed while traveling through Tanzania.
Vase I, 8" x 7" x 7", wheel thrown,
porcelain, cone 10 gas fired reduction
Carmel Glaze with Iron yellow over, 2000
Jon Britt
Jon Britt Article on Cat Litter, Antacid and other non-traditional glaze Materials:
http://www.ceramicstoday.com/articles/alternative_materials.htm
New Insights:
Lately I have been very interested in re-looking at Lewis Hines work. I am not sure if because I am drawn to the idea of him acquired different identities to sneak into mills, factories, etc. I know his work may not be considered "new" per say but I like taking second looks and paying attention to the details. 
"Mill Girl" by Lewis Hines
"Used Work Wear" by Lewis Hines
"Breaker Boys" by Lewis Hines
Also:
Tony Scherman's Intimate Drawings: In a 2007 interview published in Border Crossings, Robert Enright referred to the work of Toronto painter Tony Scherman as, “the everyday raised to the level of the monumental.” How fitting it is then that Scherman’s latest exhibition Intimate Drawings focuses on his daily drawings culled from his drawers. The exhibition was conceived as being something less formal in nature. And rather having any overarching theme, the show is just about drawing. He says if the show has any meaning it will be in the drawings. “Drawing is kind of like playing scales in painting,” says Scherman. “Drawing is contingent. The paper’s already lit and I’m just passing through. The arrow of time only goes one way in drawing; once you’ve used up all the light you’re done.”
Notes on the Critique October 6th of People who were not covered:
Alex: Cotton Candy, Furry beings, Why only the one hole? Why 9 of them? I want to pet them. I am interested to know why they were made and what inspired you?
Elise: Elements: clay built torso, soap poured over, pink/red/ orange tint. Ribs are very defined and raised the torso is so wide...man? woman? Hardened soap resembles sheet of ice that the blood as spread out through the cracks. I like all the shattered canals. Frozen in time. Something preserved. Why not hanging? If different execution do you think that it would be help the piece?
Pam: Pottery, gorgeous glazes. Her work has come so far. Interesting shapes chosen. earth toned set is my favorite. Love, love, love the glaze techniques. The blue set didn't really do anything for me. The speckled set had more diverse shapes. Overall very beautiful work very clean cut still.
Ashley: Fabric and lace, 6 squares. 1. guitar tree, good detail, creative. 2. polar bears starry night white paint? 3. girl and sheep-not really sure where it was going 4. kitty cat girl skirt and world. Why faceless pink and purple swirls and then half the earth. 5. Not sure. 6. Alphabet Soup Love the detail on the bowl and the craftsmanship. Why only vowels? I think overall I would have liked to hear where her ideas were driven from. I think that it was a very nice piece but like said an explanation i think would have been helpful. (In order to follow her thought process)
Abbey: Elements: clay built road kill skeleton, material, other than textural additives, green paint-why? although I like it. Beautiful piece I would have liked to see a series though. I loved the island piece on the left what great texture and tonal value in the glazing and the green paint added. Overall one word I use TEXTURE. Definitely captured the color and texture of a decaying body of some sort. If you didn't want to do the route of a series, large scale would be nice. We'll talk!
