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Lindsay Oesterritter Biography
Currently, I am the assistant professor of ceramics at Western Kentucky University. I earned my MFA from Utah State University in Logan Utah, MA from the University of Louisville in Louisville Kentucky, and my BA at Transylvania University in Lexington Kentucky. I have had the fortune to be a resident artist at Arrowmont School of Arts and Crafts in Gatlinburg and in Australia at Strathnairn Arts Association. I have lectured and exhibited nationally and internationally and am continually inspired by the craft community.
Lindsay Oesterritter Description
- What cone do you fire to?
I fire to roughly cone 9-11. Wood fire and reduction cooled
- What type of clay body do you use?
Iron rich Stoneware
- What types of glazes do you use - if any? (soda, natural ash, underglaze, salt, celedon, ...)
I use very little glaze, however, when I do it is a shino. I use more slips or bare clay than anything.
- Is your work functional and safe to use with food / dishwasher / microwave...?
Yes, however I do find that the dishwasher can be harsh and sometimes make the surface of the pots look a little dry or dull if routinely washed in the dishwasher. For pure aesthetic reasons, if you choose to dishwash, it is not a bad idea to occasionally rub a little bit of mineral oil on the pot to liven it back up. Not that different than how you might treat a nice cutting board.
- What techniques do you use when constructing your work? (handbuilding, throwing, slip casting, altering,...)
The only technique that I don't use is slip casting. I work in many processes, it just depends on what I am making.
- What techniques do you use when decorating your work? (mishima, slip trailing, sgraffito, flashing slips, ...)
The wood kiln is the final decorating of the surface. I tend to think of my building process and the first step in decorating, and the wood kiln as the final step in decorating. Currently I am using a lot of hard woods in the firing process, oak and hickory.
Lindsay Oesterritter Statement
I am intrigued by the slow and natural changes that are constantly yet imperceptibly altering our daily environments; how the seemingly permanent is being perpetually altered through weathering. I find inspiration in commonplace items within my surroundings. My current work is punctuated by the concept of the inseparable relationship form and surface develops though subtle and progressive erosion of time.
It is my intention to utilize a reduction cooled wood fueled kiln to highlight form and surface variations, and reference slow and continuous change.