A commission of pink dessert plates with antique calligraphy running along the rim.
gleena’s spring dessert plates at gump’s in san francisco
a wedding gift serving bowl
The largest of the gourd bowl series, personalized for a couple with a quote from their invitation:
I love the idea of this bowl being used at family dinners, reminding the couple of their wedding day, and of their vows.
new studio
The best part about my new studio is that now everything is in its place. I have room to do all the different parts of the casting process. The process starts by making the original piece, either thrown on the wheel, or carved out of plaster or wood. Sometimes I will make molds from found objects, like the gourd bowls. I make the molds from plaster, two to three of each original shape. Each mold takes a few hours to set up, and a few days to dry.
Then I mix the slip, liquid porcelain, my own formula. I pour the slip into the molds. The pieces pop out, I finish each edge with a sponge by going around and around the rim. The pieces dry and go into the bisque firing. Then they get glazed. If the color is different from inside to out, the inside is glazed first, then dried, then glazed on the outside, and dried again. The glaze fire takes 36 hours, counting the cool-down time.
After the glaze firing, the image transfer is applied, and the piece is fired one more time. This firing takes about 30 hours.
My new studio allows me to move between all the different phases with ease, not having to pack one up to allow for the other. I breathe easier here.
lovely tarts
gleena dessert plate with calligraphy is used on the cover of this yummy book. Photography by Helene Dujardin.
oh moving
The hardest part about moving my studio was packing up all my molds. They are heavy, and fragile. Thankfully, my friend Alec is an expert packer, and created quite a sculpture with the molds he packed. This is just one of the shelving units loaded up. There were three total.
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