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“” Another poem written while in China during a down pour that, I was sure, would wash away the mountain where the residencies were situated. “”

I sit at my window so large and bright, looking out at the night.
I see the stars.
I see the moon.
Its glow is giving a soft warm light.
Then…I see dark clouds moving north, across the sky.
They block the starlight from my eye.
I fear the rain is coming.
I fear a storm is brewing.
I see lightning flashes and hear thunder crash.
It’s sound is loud.
It’s rumble strong.
A storm is brewing.
It will not be long.
I sit at my window so large and bright, looking out at the night.
I no longer see the stars.
I no longer see the moon.
It’s glow no longer gives a soft warm light.
Now… I see dark clouds moving north across the sky.
They block the starlight from my eye.
Time passes.
The wind no longer whispers a soft song.
It has changed to a mournful cry.
The trees shimmer and shake.
The branches bend and break.
The leaves hold tight, tremble, quiver and quake.
The calm of the night is gone.
I look again at the clouds so dark, stirring from the south.
My heart beats fast.
I begin to fear.
Will the night be long?
Is daylight near?
Just then the wind became quiet, returns to sleep.
The rain begins to fall.
It’s sound is a murmur, soft and light.
Yes I think it will rain all night

“” While in China I stayed at an artist colony as a Fellow. It was a great experience and I met many great people. I was asked at one time if I was the artist fellow? She was a beautiful girl. “”
Are you the artist?
She asked of me.
An artist who paints pictures for all to see.

An artist who can draw the shades of grey, the insipid clay,
who can draw the mountains high and children at play?
Who can paint wise old men and fields of rice,
babes in arms of women so nice?

Are you the artist?
She asked of me.
An artist who paints pictures for all to see.

An artist who can see the life in my eyes,
who can see all the blues in the sky?
Who can draw the line so straight and fine,
who can show the heat of red and the cool of blue,
Who can paint the love, I feel for you?

Are you my artist she asked of me

Dear Colleagues, Students, and Ceramic Enthusiasts,

Come to China and Study Ceramics with West Virginia University at the World Famous Jingdezhen Pottery Workshop!!!

Through a unique linkage, West Virginia University has teamed to offer a comprehensive study opportunity for students and the serious advanced or professional ceramic artist/potter.  Join us for a once in a lifetime experience and join us in the Imperial Porcelain Capital of Jingdezhen.  For the last 18 years, we have teamed to offer a study and travel program in the Peoples Republic of China. Participants will have the opportunity to study with some of China’s most prominent teachers and ceramic artists.

Imperial Blue & White Porcelain Capital of Jingdezhen, Qin’s Terra Cotta Army, Ancient Capital of Xi’an, Great Wall of China, the Forbidden City in Beijing, the hustle and bustle of Shanghai. Join us for an experience of a lifetime!

China’s roots in ceramic art history are strong and deep. For thousands of years, Chinese artisans have developed and mastered techniques and artistry that has set the standard of excellence in ceramics throughout the world.  High fired porcelains, underglaze and overglaze techniques, celadons, copper reds, temmoku, yao ware carving, ash glazes and tri-colored lead glazes are just a few of the contributions made by Chinese artisans over the centuries.

Summer Semester 2014
May 24 – June 30
(Dates prices may vary slightly)
6 Credits
Cost: 6-Credits/Tuition and fees: $7300*

This fee covers International airfare, in-country travel, all lodging, food (an exception being during the Beijing travel portion of the program), materials, and 6 graduate or undergraduate transferable credits from West Virginia University.

Fall Semester 2014
September 7 – December 14
(Dates and prices may vary slightly)
12 Credit Hours: Graduate or Undergraduate
Cost: 12 Credits/Tuition and fees $10,900*
6-Credits Studio Ceramics
3-Credits Chinese Ceramic Art History
3-Credits Basic Language and Culture

Participants will be expected to pay for tools not supplied by the program, brushes, personal acquisitions, and local travel outside of the program.  Students may also be expected to purchase their own meals during the Xian and Beijing travel components.

This fee covers the entire cost of International airfare, in-country travel, all program fees, insurance, living accommodations and 12 transferable credits from West Virginia University.

If you or anyone you know may be interested in either of the 2 programs, more information and applications are available at:

or go to our Facebook Page:

If you have any questions feel free to contact us.  Hope to see all of you in Jingdezhen, China!

Shoji Satake
Associate Professor of Art
West Virginia University
College of Creative Arts
School of Art and Design
Creative Arts Center
PO Box 6111
Morgantown, WV 26506

Robert “Boomer” Moore
Assistant Professor of Art
West Virginia University

Jennifer Allen
West Virginia University

Our deadline to receive applications for our summer and long-term residencies is April 15th.
We are expecting a lot of applications this year, and word is they are coming from several different continents, but the good news is that there are now more opportunities as well. We are offering three one-month residencies this summer, in JuneJuly and August.
One month may not seem like much time to get stuff done, but the energy level in the studio is extremely high and resident artists balance all of their hard work with potlucks, field trips, impromptu collaborations, and maybe even a cold beverage on occasion. Our eight year-long artists will show you the ropes as they prepare for their final exhibitions this summer.
In addition to our short-term residencies we are also taking applications for 6 full-year residents. Imagine, a full year in our studios to pursue your studio practice!
All of this takes place among the beehive kilns, a restored 1912 stoneware factory, a museum, decommissioned factories, and a brand new 12,000 sq. ft. ceramic studio.
And all this takes place in Canada!
Sounds good Eh?!
Here’s all our Application Info. See you soon!



F4 Soda Spar
44 units
EPK Kaolin
22  units
Ball Clay
11 units
Frit 3124
22 units

I usually mix about two Kilos of this mix and place it in a large plastic pickle jar. I place the lid on the jar and then roll it about the studio for a while to mix the ingredients well.
Whenever I need a color under-glaze I use 5 parts of dry mix to one part stain. I add water and mix well and let decant overnight.  The next morning I pour off the excess water and the slip is ready to use.  I might add a few drops of water as the slip thickens during my painting session.
I cannot remember where I got this recipe.  I think it was from one of my Ceramic Monthly editions years ago.  The artist who gave the recipe use the dry mix with a liquid mix consisting of 30 Grams of Gum to 128 oz of water  to be use in the liquit part of the mix.
Then One would mix 1000 cc of antifreeze (non toxic) with 1000 cc of water and to this one would add 500cc ot the gum mix.
I tried this but found the smell during firing to be too strong even with my ventilation.


Frit 3134  (F-12 frit)
40 units
Diamond Kaolin
20   units
30 units
Nepheline Syenite
10 units

  • I mix with water to gravity of 1440 grams per 1000ml of the slrry.
  • I se EPK vice Diamond Kaolin.
  •  I Seive throgh 120 gird.
  • A slight shadow of any nderglaze decoration shold be visible  when the pot is removed from the glaze.  If not the glaze is too thick.
  • Works well on thin walled pots.
  • This glaze likes a fast firing.  I se a 2hor ramp from 2 to 4 to 6 to high on the switches.

Bonsecor Bronze is a glaze recipe that is se by the Centre de Céramiqe Bonsecor, in Montreal, Qébec.


Copper Oxide
16 units
Frit 3134
8   units
EPK Kaolin
12 units
Manganese Dioxide
64 units

  • I add these ingredients to approximately 400ml water.
  • I also ensure that I stir the mix well before applying with a brush.
  •  I use a stiff brush and sort of stipple the glaze on bisque ware.
  • The glaze is a strong contaminant, so, be sure to clean your glazing area well after use.
  • This glaze works best on iron based clay.  However, I also use it on porcelain, but it must be applied well.
  • I also apply the glaze to green ware.
  • The original recipe was for cone two.  I fire to cone 6.   Better results are at cone two.


The small van carrying me from the airport arrived at Sanbao, just before the evening meal. Stepping out of the vehicle and looking around, my inner thoughts told me that I was about to experience an adventure unlike any other that I had known. This would have a profound effect upon my life and art, as well as my interpretation of Chinese ceramics, the Chinese people and their culture.

The walled residency compound, rich with the rust colored adobe surfaced walls welcomed me. Red banners hung vertically on each side of the entrance, displaying large calligraphic characters, wishing prosperity and long life to all who entered. Paper lanterns suspended like giant crimson cherries, swayed lightly in the breeze. We crossed the threshold and entered an inner courtyard that was a beautiful garden of subtropical fauna and delicate flowers. A gaggle of ceramic, Chinese mythological characters and heroes, partially hidden amongst the thick foliage stared at us as we passed by. A narrow wooden footbridge carried us across a small tributary to the entrance of the inner court. After climbing a few steps of hewn stone, past numerous clay pots, bowls and piles of fused Ming and Qing shards. The cackle of a few chickens as they went running by, greeted us. There was a small band of puppies, a delicious smell of food cooking and the soft banter of other artists partaking of their evening meal. We had arrived, and my education was about to begin.

The Sanbao Ceramic Art Institute, founded by the international ceramic artist Jackson Li, is quietly nestled on the banks of a small river that meanders down through a lush green valley, surrounded by steep, densely treed mountains and rolling foothills. The valley is a quilt of waving rice fields and vegetable gardens. Jackson Li founded the institute about five years ago. It has since grown to international stature, promoting a clay art exchange throughout the world. The residency program offers visiting artists and residents full clay studio facilities, sumptuous meals and most comfortable accommodations. Sanbao is truly a “Club Med” for ceramists and potters.
Sanbao was also to become my gateway to the city of Jingdezhen, noted for the famous blue and white porcelain ware that was a key trade item on the Silk Road and during the time of the wind filled sails with foreign clipper ships. The staff of Sanbao was to become my mentors. They encouraged me to discover the local and distant landmarks. They invited me to delve into the mysterious Chinese cultural activities, to appreciate their music, and experience the generous hospitality of the local residents.
I established myself quickly and soon followed the small road to Jingdezhen. Although some of the resident artists preferred to purchase bikes or use foot power to travel back and forth to Jingdezhen, I found the best way to travel about was by taxi. This mode of transportation was an experience in itself.
Jingdezhen is a small city. The guidebook Lonely Planet lists the population at about a million, four hundred thousand strong. The city lies on the banks of the Chang Yang River near Gaoling; a small village that was rich in supplies of the kaolin clay which is a crucial ingredient of porcelain. The Chang Yang River was the conduit to the sea that allowed the blue and white porcelain to reach all parts of the world.

I found Jingdezhen to be a bustling center of activity, dominated by the ceramic industry. Some inhabitants say that one third of the city of Jingdezhen creates porcelain objects. One third supplies the logistics and the remaining third provide the support infrastructure, such as families, schools, government agencies, local merchants and professional services.

The city was at one time listed as the most polluted city in the world. That was because it used coal and wood as its primary energy source to fire the hundreds of kilns required to convert the clay to the “white jade” porcelain. Today the story is different. Nearly all of the coal-fired kilns have closed down leaving only tall chimneys as monuments of the past. More efficient, natural gas kilns have since replaced them. The strong smell of sulfur, in the air, has all but disappeared.
I found that I could stand on any street corner in Jingdezhen, and I would see something connected with the ceramic industry. The Jingdezhen Ceramic Institute points out that there are seventy-two steps required to make a porcelain product. One person will be responsible for one task. They are highly focused, expertly trained and extremely dedicated to producing a quality product. They become masters at their chosen activity.
The city was like a large factory without a roof. It was not uncommon to see ceramic ware, at all stages of completion, being transported throughout the streets and alleys of the town. Ceramic objects would move from studio to studio, factory to factory. Each move was to complete the next step in the process. There were the throwers, trimmers, glazers, decorators, kiln masters, transportation jobbers, wrappers and shippers. The ceramic object would be sold and delivered to the customer thus ending the process.

I walked about Jingdezhen amazed at what I saw. There were factories making large-scale vases, some fourteen feet high. I saw teams of young artists moving about forests of pots, some composing landscapes, others drawing dragons. I saw a man walking down the street, carrying a large pug of clay on his shoulders. He turned up a narrow alley, and I followed. He led me through a narrow walkway, between two buildings, into the small courtyard of a clay studio. There a group of artists were creating large ceramic tiles, four foot by four foot, sculpted, in bas-relief.

Another day would find me wandering through the antique market looking for treasure. The antiques on sale, however, were probably made the day before. Nevertheless, they are at times considered being of superior quality than the originals. Another day found me exploring the back alleys of the city and finding an abundance of slip-ware studios. Thousands of green-ware forms, both contemporary and traditional, were basking in the sun, waiting for a customer. Hardly a day passed without a discovery.

Yes, Jingdezhen is a Mecca for ceramic artists, ceramic lovers and anyone interested in visiting China. Did I have time to create a body of work during my two-month stay at Sanbao? Yes, I did some artwork, but not as much as I would have wished. There was so much to see, so much to learn and so much to experience. My adventures became the start of an education that will continue for the rest of my life.


“” This poem was written using the sound or Robert Service. It is a story, that I am sure has happened to many a young man. “”

What words did she say? On that cold lonely day,
When to her I came that year.
The skies were gray and the cold wind had its way.
She held me close to her heart, without fear.
She was deep in my arms; I was enjoying her charms.
I could not believe it was happening to me.
This moment was mine; I floated on cloud nine.
My heart was filled with glee.
I remember we were deep in the park, Warm in Dad’s Buick Skylark.
When she pledged her eternal love supreme.
Now this day was special, without demands of committal.
I was sure it was just a dream.
I opened her coat and felt just past her moat.
And reached the place where men wanted to play.
I waited for resistance but she let me go the distance.
She did nothing to keep me at bay.
I knew if I stopped now, She might disallow.
Leaving my desires to freeze in the wind.
So I kept to the plan, over her body I ran
I could tell she was going to give in.
The two of us that night were soon out of sight.
The windows were filled with steam.
To a slow rhythm song we moved quickly along.
This was better than eating ice cream.
Buttons were ripped and soon I was stripped.
And committed to following through.
But my conscience awoke and the rhythm broke.
I paused, and thought of the Dad that I knew.
His advice in my mind, spoke to remind.
His voice deep in my brain did sound.
Be sure of your life with her as your wife.
Before you lay her down.
Now I thought of these words though the timing absurd.
I couldn’t get them out of my mind.
I looked at her longing face, her hand firmly in a place.
I thought she would never find.
My future loomed in my eyes; her body was so beautiful in size.
I gave in easily to accept my plight.
I move in close to her breast and gave it my best.
But somehow it never felt quite right
Our heavy breathing slowed and the good feelings flowed.
Amazed at how we had gone with such speed.
I was surprised at her agility and marveled at her ability.
In awe with the speed of her willingness and need.
I started slowly to dress and began to think in regrets
That I had deflowered an innocent girl.
But she grabbed my arm and turned on her charm.
And as she smiled her lips formed a curl.
She looked me firmly in the eye I was sure I would cry
When she smiled and asked with grin.
Will you still want me by you side? Now that I have nothing to hide.
And a part of you I now carry within?
Or will you turn your head and then treat me as dead.
Now that I have given all I had to thee?
I took time to contemplate, time to savor the bait
My answer was positive indeed.
We clung to each other closer than sister and brother.
Ensuring enough time had passed to confirm. 
I thought the love part was easy and for sure was not sleazy.
I knew I had lots of life yet to learn.
She offered me her flower filled with all of its power
Without hesitation or fear.
I wanted the moment to remember, this cold month of November
As I would forever call her, “My dear.”
We dressed in no hurry, but soon I started to worry
As she cast me once again in her spell.
She whispered words to me that night that really gave me a fright.
That’s when I knew I was going to hell.
She then leaned back on the door looking much like a whore
Using the voice from hell.
As her wings, she did spread, she looked at me and said,
“Come my dove, visit, one more time at the well.”
I still hear the words she did say on that cold lonely day.
When I came to her that year.
When the skies were gray and the cold wind had its way.
And she held me close to her heart without fear

“” I awoke one morning feeling down. This thought came to my mind and I wrote it down as soon as I could. I am sure I speak for many of the seniors out there “”

Time is my enemy.
I cannot fight its polemy.
It weighs heavy on my shoulder.
And it will not accept any form of barter.
It does not let me put any of it in the bank for a rainy day.
Yet I do everything in my power to keep time at bay.
Time is expensive and surely it is not free.
It is a final, it comes and goes, of which there is no degree.
I cannot assign it to another occasion.
When the clock stops for me there will be no evasion.
It will take me where I do not want to go.
I will receive no reprieve, no stay, and no quarter from this formidable foe.

I cannot stop it and I cannot escape it.
I will be thrown into the timeless pit.
From the beginning, I run to the end, when.
To another world unknown, I will transcend.
I ask for more free time, let’s start at my birth.
I am at the end of my stretch and must now pass from this earth.
And be placed where men upon me will tread.
Where seed for green is spread.
Oh how I wish time would slow.
My life will surely end when there is no more time to flow.
I will be placed somewhere that I dread.
I will have no say in the matter for I will be dead.