It has been exactly a month ago that I wrote a blog. Too long, but lots happened.
Of course, the holidays and we went to Hawaii with the whole family (almost). Unfortunately, the girlfriend of my oldest could not come, because her Grandma was very terribly ill. Luckily, it seems she is somewhat better now.
We had a nice time and some of us did some diving; we all snorkeled with the Manta Rays!; we did some deep sea fishing and could a tuna!; we traveled some around the island; had a wonderful Luau dinner and relaxed near the pool and the sea with lots of snorkeling. We saw also dolphins and some turtles! How lucky can you get!

After the New Year I went finally back into my workshop after 3 1/2 months. I tried during and after the radiation period, but somehow I was quite tired. Not that I did not do anything (I did go to Holland), but I got another breast infection and having two antibiotics is tiring your body.
I started first with spraying some small works and checking if it still all worked and that the kiln was working properly. Then I sprayed 2 big plates (17.75″ x 19″ x 1″ or 45cm x 48 cm x 2.5cm) for an order and today they choose one of them and will hang it on their wall. It turned out very well. The plate is called “Schellen” (Shell) plate. Their last name starts with schellen, so, it is a very appropriate plate!!!

A wonderful start!!!!

My life is still planned around my Herceptin treatments. They go all fine and you kind of get in the habit of going to the hospital. They know you by now and it is a welcoming place in the sense that they are there to help you. It feels to me like that. I understand that for others it may and will be completely different. Again, I just feel very lucky and thankful.

Next week, I will go to Israel for a week with Adriaan. Can you believe that? It is just wonderful. It is my birthday next week and he has a boardmeeting there and I don’t want to be by myself, so, we make it a little vacation. We are looking into this already for some time but every time there was something else and the company is about to be sold or they are working on it and the temperature is very nice now. So, it seemed like the right time before the chance is gone.

I will keep you posted!

I made some movies:
- http://youtu.be/FkhGZV_EPwc About the exhibition.
- http://youtu.be/_F4vxCZ_DNQ About the historical surroundings of the show.

- http://www.flickr.com/photos/swanica/sets/72157628372545471/ A slideshow of the exhibition and the surroundings.

Tegelen is a village in the province of Limburg in the Netherlands. It was an independent municipality until 2001, when it was merged into the municipality of Venlo.
The name of the glacial era of Tiglian (part of the Pleistocene) is derived from Tegelen because of the many fossils found there from this era in the local clay.
During excavations in Tegelen Roman pottery and tile ovens were found. The Sint-Martinus church is mentioned in diocesan and monasterial archives dating back to the year 800. Because of its strategic location, various castles and reinforced farms were soon established. The most important of these were the Castle of Holtmühle (with the barn Tiendschuur) and the Munt. During the Middle Ages, there were several battles in and around Tegelen, because of its proximity to the walled city of Venlo.
Early in the 19th century Tegelen developed into a regional centre of industry. At first, tile and pottery factories were established, and later that century, metallurgy and tobacco factories. After 1900 agriculture was added to the mix. Pottery and related industries were very successful in Tegelen from 1750 until World War II. They specialized mainly in the low fire red earthenware with a lead glaze. The pots were decorated with slips in many colors and engraved.

The centuries old expertise in ceramics and pottery is kept alive by courses held in the ceramic center of Tiendschuur.

On March 11, 2011, Japan was hit by a significant earthquake.
The world-famous pottery village, Mashiko, about 90km northeast from Tokyo was also heavily hit and the potters’ houses, kilns, workshops and their works were severely damaged. Mashiko has a 10,000 year old pottery tradition, in this highly regarded pottery village in Japan.
Ceramics Center Tiendschuur Museum in the Netherlands is 75 years and treats its visitors on an exhibition of ceramics of 15 potters from this village from a country par excellence: Japan!
The Tiendschuur shows the finest ceramics in the world and supports its creators.
The proceeds from these exhibition sales go to the potters in Mashiko and the Mashiko pottery fund.

This Saturday I will go to Holland to be at the opening of the Exhibition of 15 Mashiko Potters in the Tiendschuur Ceramics Museum in Tegelen in the Netherlands. Through the hard work of quite some people it was made possible. But money is still very much needed. Please, find it in your heart to donate to this fund to save the village of Mashiko. I know it is not an easy time for everybody and it is present giving time. Please, see what you can do and look at the information for donations on the bank info picture.

Today, (Monday, August the 1st) I had my 3rd chemo. Everything went well. You are there the whole day, but they take good care of you. The medications also keeps you going. So, I quickly want to show you some pictures of the decorations I finished on 3 big plates. They are still green ware, not fired yet. The clay has a red color and on the 3rd plate you see it is still drying. The 1st and 2nd plate I already put the black slip on (a liquid paint able clay which you have to put on before the 1st firing).

19.75″ x 2.5″; 50cm x 6cm

It is already Friday. I didn’t succeed to put on the pictures. The chemo got to me, especially yesterday and today. Tomorrow, may be better.

21.25″ x 2.75″; 53,5cm x 7cm

The engravings on the plates are inspired by the Flower of Life symbol, which dates to at least 400AD, and is possibly much older that that. Throughout human history, philosophers, artists, and architects around the world have known the Flower of Life for its perfect form, proportion, and harmony. It is considered to be a symbol of sacred geometry, depicting the fundamental forms of space and time. It is the form beneath our being and points to a divine order in our reality. It is a visual expression of the connections life weaves through all mankind. A Flower of Life pattern can be constructed with a pen, compass and paper, by creating multiple series of interlinking circles. The Flower of Life can be found in the temples, art, and manuscripts of cultures all over the world.

21″ x 6,5″ ; 53cm x 16,5cm

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This month I would have been on a visiting pottery tour in China organized by Guangzhen “Po” Zhou. Of course, I could not join, but Po Zhou was so wonderful to take pictures of my Kamakura-red Bamboo Teapot, which is permanently displayed in the exhibition hall for international teapots in the Yixing Ceramic Museum. Please, see the blog of July 8, 2010 and May 5, 2010.

I was not able to write about this exciting workshop, because a lot happened last week with the preparation for my “Sakura” exhibition at the end of this month and my 2-week trip to the US.

On March the 4th and 5th I attended a Master Class Ceramics Workshop given by David and Margaret Frith at the International School of the Sacred School in Steve Tootell’s ceramics room and organized by Steve Tootell and the JapanASCD (Assoc. of Supervision and Curriculum Development).

David and Margaret are potters in stoneware and porcelain. They set up their first workshop in 1963. Their reputations are well established. David with his mastery of the potter’s wheel makes majestic pieces decorated with his personal style of waxed motifs under heavy reduction over- glazes and glaze trailing. Margaret concentrates on individual porcelain with carved decoration or colored glazes as well as producing a comprehensive range of domestic ware and decorative stoneware. Their pottery is housed in an 18th. century woollen mill which was later used as a brewery hence the name The Malt House. The mill is situated on the banks of the river Ystrad, on the outskirts of the market town of Denbigh, in the beautiful Vale of Clwyd in North Wales, UK. Their website is: http://www.pottery.demon.co.uk/

They taught us all kinds of throwing techniques and personalized it for each attendee. They showed us their way of throwing and trimming pots and the next day talked about decoration. For me some things were very familiar and I learned some different techniques especially for throwing big pots. They have 48 years of experience in making pots! I will add some YOU TUBE videos I took at the end of this blog, but next time it will be one movie. I have to learn to edit movies and put them together as one.

Steve introducing Margaret and David.

Margaret throwing.

David pulling up the clay for throwing a big platter.

David throwing a big vase in two parts. The base he threw the day before and the top he threw first separately and then turned it around and put it on the base. He is finishes it directly.

Some YOU TUBE MOVIES:

1. David and Margaret both throwing a plate:

http://www.youtube.com/watch?v=F_QJUsxzu08

2. David pulling up clay: http://www.youtube.com/watch?v=td5GNJoX2P0

3. David throwing a big vase: http://www.youtube.com/watch?v=hzn4t5Gf-I8

4. Margaret explaining decoration: http://www.youtube.com/watch?v=bzEE0hR3qaE

It was a challenge, because to throw the vase in one time with the clay I use is very difficult. So, it threw it in two and three parts and then when the clay was firmed up, you put the parts together.






After that, I continued shaping the form. And then I made my alterations when the clay was still soft leather hard.



I trimmed the foot after having it dried to a hard leather hard stage. It was possible to dry the vases in the open air (with no draft), because the temperature in Japan at the moment is hot and humid. So, it dries slowly.




After a slow bisque firing, I sprayed the glaze on the pot and then glaze-fired to cone 06 (1770 F/995 C).



I put the pot on stilts with metal points. I don’t have other ones. All-ceramic stilts, including the “points,” are preferable to metal-point stilts for heavier forms, because the ceramic “points” will not bend under extra weight. And so, this is exactly what happened. The points bent and the bigger vase didn’t fall against the wall, but against the other big vase! So, both were stuck together!! This was very, very unfortunate, because the color was exactly right.
I put them back into the kiln in a way so the big vase could fall back on the stilt when the glaze was melted enough. This was at 1500 F. The big one cracked “pang” when I opened the kiln, because of the thermal shock effect. The cold air going over the bigger vase was too much when I steadied it.

I had them cool down, but then I got my old problem with this glaze: the formation of craters. Sometimes they may be used to achieve textural emphasis on ware. Such glazes are usually produced by glaze compositi ons which liberate a gas during firing. As the gas bubbles reach the surface of the glaze, they may either break through to leave craters in the surface coating, or they may be trapped in the form of blisters. I don’t want those craters. I want a smooth red surface and for me it is a defect. A horizontal form, like a plate, is correctable, but a vertical shape is almost impossible, because the glaze flows down. The second time the craters were less and I tried a third time, but by now the red color had almost burnt out and disappeared and I had more craters!
A real bummer. It was an expensive lesson to learn by not using the right stilts.

Quite a small effective kiln and hardly any smoke.

The fire box.












View of the glow of the fire through hole in the chimney.

A mixture of sawdust and salt is put on wood which is shoved as far back into the stoke hole for salt-ash glazing.

The opening of the kiln.

Kusakabe-san holding a beautiful bowl.

Our results from the kiln.











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It was held in the museum “Het Valkhof” in the city Nijmegen. This museum houses a major collection of Roman antiquities, old masters, and modern art. It is located at the edge of the historic Valkhof Park, which was once the site of a Roman encampment and, many centuries later the residence of Charlemagne. Today, you will find an excitingly modern structure for art and archeology. A long glass gallery with its undulating ceiling offers a panoramic —-My uncle busy in his workshop.—– view of the grand river landscape beyond.

My father was also born in the city Nijmegen and as young as 18 years old and later becoming a historian, he was already a tour guide for the “Valkhof Park”. And now I have some of my work in the museum!

For five generations we have artists in the family and it started with my great-grandfather Herman Arens, who was a photographer and art drawing teacher and his brother Arnold Arens, who moved to Antwerpen (Belgium). He invented and had a patent on a machine for a copperplate press for decorations.






The 3 sons of my great-grandfather worked together in a guild of the “Brothers Arens”. My grandfather, Rudolphus, was the oldest, Albert was the painter and drew a lot of the designs and Johan, also a goldsmith, was the youngest. They made a lot of art for churches of which you can see a photo in my blog of February 2, 2010.

A special necklace made for the mayor of the city Huissen in 1948 by the “Brothers Arens”.

My uncle and godfather, Rudie Arens, who is born in 1918, and the 5th child out of 6, first wanted to become a doctor, but then chose to follow in his dad’s footsteps. He went to the appropriate art schools and had practical experience with a lot of artists. He also became an art teacher and in his workshop he taught over 80 students for their practical year. Some of his work:

A silver seahorse on precious stone.

He crafted lots of sigilla/signs for university student organizations.

The design of a commemorative “Spoon” for the birth of “Prins Bernard”, one of the sons of Princess Margriet, sister of Queen Beatrix of The Netherlands.

Of course, I have to show you this swan, which he crafted beautifully on top of a leftover medieval staff.

This is another drawing of some fine jewelry, so beautiful that it almost looks real.

The granddaughter, Charlotte Rombouts Arens, the fifth generation, will continue the goldsmithing art.

My brother Ruud-Jan Kokke, who is a designer, my sister Alida Kokke, who is a floral artist and I are the fourth generation participating in this exhibition.

My sister Alida with “Primula” flower prints surrounded by “email” (color glaze) floral primula jewelry of uncle Rudie.

The cane and stool are designed by my brother Ruud-Jan and acquired, shown and sold in the Metropolitan Museum of Art in New York.
Then my work: the “Angle” Kamakura Red Teapot and cup, the “Toward the middle” plate and an engraved white slip plate.