About
the Glaze
the Artwork
the Artwork
I have worked primarily with Shino since first encountering these glazes in 1998 – the entirety of my non-student potting career – and still find the Shino glaze family provides a tremendous visual and textural breadth. These glazes remain highly sensitive to clay body, application, kiln atmosphere, and duration of the firing which in tur
I have worked primarily with Shino since first encountering these glazes in 1998 – the entirety of my non-student potting career – and still find the Shino glaze family provides a tremendous visual and textural breadth. These glazes remain highly sensitive to clay body, application, kiln atmosphere, and duration of the firing which in turn allows for tremendous diversity with a touch of serendipity.
Most contemporary American Shino glazes contain a balance of feldspar, soda ash and kaolin to build the central components of the glaze; which, when fired, produces a thick semi-transparent brown to white semi-gloss surface.
I owe my potting career to those pioneering potters who have tested and re-tested, fired and failed only to persevere in their pursuit of all Shino and their myriad possibilities.
the Artwork
the Artwork
the Artwork
My ceramic works are informed directly by my love for natural objects coupled with a passion for utilitarian pottery. Natural shapes, textures, patterns and symbols provide design elements for my artwork as I explore the hand-made object within a defined domestic landscape. The dialogue between a hand-made object and the user is a signifi
My ceramic works are informed directly by my love for natural objects coupled with a passion for utilitarian pottery. Natural shapes, textures, patterns and symbols provide design elements for my artwork as I explore the hand-made object within a defined domestic landscape. The dialogue between a hand-made object and the user is a significant ritual and my goal is to craft elegant pottery to enhance daily routine. Through my design and surface glaze work I explore shifts in nature through the seasons; abstracting natural and man-made cycles of a farmer’s field, rolling hillsides and the fertile landscape.
Artist
the Artwork
Artist
Matthew Hyleck received a BFA from Xavier University in 1997. He is currently an associate artist and instructor at Baltimore Clayworks whose outstanding functional pottery has earned recognition by the Maryland State Arts Council IAA in Craft in 2018, 2011, 2007 and 2005 and has received recognition within the field of ceramics. His stu
Matthew Hyleck received a BFA from Xavier University in 1997. He is currently an associate artist and instructor at Baltimore Clayworks whose outstanding functional pottery has earned recognition by the Maryland State Arts Council IAA in Craft in 2018, 2011, 2007 and 2005 and has received recognition within the field of ceramics. His studio work was featured on the December 2011 Ceramics Monthly cover article. Additionally he has completed visiting artist-residencies at Tainan National University for the Arts, Taiwan R.O.C., Ohio University’s Woodfire Symposium and Watershed Craft Center’s artists invite artists residency. He serves as the education coordinator for Baltimore Clayworks Mt. Washington campus, a position he has held since October 2000. He maintains an active home studio in the Beverly Hills neighborhood of Baltimore City
Glaze Process
Step 1:
Bisque work at ^06 (1850° F) receives first application of Shino glaze and pattern grid is prepared. Generally this first application consists of a thin orange Shino glaze.
Step 2:
Wax resist pattern is applied on top of 1st Shino glaze and allowed to dry minimum of 1 day.
Step 3:
Second layer of Shino is applied and wood ash is sifted on to localized areas of the piece.
Step 4:
Glaze fired in downdraft gas reduction kiln to ^10 (2310° F). Shino glazed stoneware and porcelain pieces are food and dishwasher safe.