Wiseman Ceramics

Jesse Wiseman Hull

8399 Roelke Rd. · Blue Mounds, WI 53517
Phone: 608.333.9840 · Email: latticestructures@gmail.com
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Ceramic Chemist/Artistic Craftsman:
Decorative porcelain art, fused with macro crystalline glazes, metallic luster, & glass enamel on wheel thrown, lathed, & hand altered clay.

Owner: LatticeStructures™ and Wiseman Ceramics
Co-Owner: Wiseman~Marie Studios

Education

2003 - 2005 University of Missouri - Kansas City, MO
Graduate Level Art History Studies

1997 - 2000 University of Wisconsin - Whitewater
Emphasis in Studio Art & Ceramic Chemistry
Bachelor of Arts : Ceramics

1993 - 1997 University of Wisconsin - Whitewater
Bachelor of Arts : Psychology
Minor : Metalsmithing, Jewelry, & Small Sculpture.

1991 - 1993 Brevard College, NC
Associate of Arts Degree

Exhibitions

September, 2008 (Scheduled)
Crystal on Porcelain Exhibition
Fürstenberg Porcelain Manufactory, Germany.

June, 2008 (Scheduled)
International Museum for Porcelain, Hohenberg, Bavaria.

March, 2008 (Current)
Abenteuer Kristallglasur Exhibit
Villeroy & Boch Museum of Ceramics, Mettlach, Germany.

September 2007
Krystallos Exhibit
Stonewall Gallery - Campbell Pottery, Pennsylvania.

May 2007
International Artists Exhibit
In conjunction with the 2007 Korean World Ceramics Biennale
Incheon City/ Seoul, South Korea
September 2005
LatticeStructures™ Exhibition
Curator/ Exhibitor
Red Star Studio Gallery Kansas City, MO

September 2004
Byron C. Cohen 10th Anniversary Exhibit
Gallery Artist
Byron C. Cohen Gallery for Contemporary Art Kansas City, MO

Summer 2004
Under A Blue Moon Exhibit & Benefit
Exhibitor
Powell Gardens Lee’s Summit, MO

Spring 2003
Karl Borgeson & Friends Exhibit
Exhibitor
Crossman Gallery University of Wisconsin - Whitewater

March - May 2002
Fired Up : NCECA ‘02
Exhibitor
Byron C. Cohen Gallery for Contemporary Art Kansas City, MO

December 2001
Carnegie Art Center Exhibit
Leavenworth, KS

December 2001
Red Star Studios Holiday Exhibit
Exhibitor
Red Star Studio Gallery Kansas City, MO

Spring 2001
Red Star Studios Spring Exhibit & Sale
Exhibitor
Red Star Studio Gallery Kansas City, MO

April 2000
University of Wisconsin-Whitewater Ceramics & Metals Exhibit
Exhibitor
University Center Gallery University of Wisconsin-Whitewater

April 1999
University of Wisconsin-Whitewater Ceramics & Metals Exhibit
Exhibitor
University Center Gallery University of Wisconsin-Whitewater

June 1999
Cambridge Pottery Festival
Exhibitor
Cambridge, WI

June 1998 - August 2001
Wells Clay Works Gallery
Commissioned Exhibitor
Wells Clay Works Gallery Cambridge, WI

April 1998
UW-Whitewater Ceramics & Metals Exhibit
Exhibitor
University Center Gallery University of Wisconsin-Whitewater

Awards & Grants

April 2000
Art Department Scholarship Award
Advanced Ceramics
University of Wisconsin - Whitewater

November 1999 - March 2000
National Conference of Undergraduate Research Grant
Anodized Titanium and Niobium
Exhibited Work and Research in: Missoula, MT; Madison, WI; Oshkosh, WI; and Whitewater, WI.
University of Wisconsin - Whitewater

November 1999 - March 2000
National Conference of Undergraduate Research Grant
Crystalline Glaze Chemistry
Exhibited Work and Research in: Missoula, MT; Madison, WI; Oshkosh, WI; and Whitewater, WI.

April 1999
University of Wisconsin-Whitewater Juried Art Show
Crossman Gallery University of Wisconsin - Whitewater

April 1998
University of Wisconsin-Whitewater Juried Art Show
Crossman Gallery University of Wisconsin - Whitewater

Curating/Organizing

September 2007
Krystallos: Assistant to Bill Campbell
Campbell Pottery, Cambridge Springs, Penn

May 2006
Peter Ilsley Crystalline Workshop
Assistant to Kris Friedrich
Palm Springs, CA

February 2006
Kris Friedrich/ Paul Geil Crystalline Workshop
Guest Assistant
Huntington Beach, CA

September 2005
LatticeStructures™ Kansas City, MO
Curator and Organizer
Two-day International Crystalline Ceramics Exhibit & Symposium involving Industrial Specialists & Artists from Australia, Canada, S. Korea, The United Kingdom, and the U.S. *14 Presenters, 22 Exhibitors, 100+ Audience.
Red Star Studios Ceramics Center & Screenland Special Event Facility.

Fall 2002
Lotus Series Exhibit
Assistant to Artist: Monika JM. Lin
Lightbox Gallery Kansas City, MO

April 2000
University of Wisconsin-Whitewater Ceramics & Metals Exhibit and Sale
Organizer and Exhibitor
University Center Gallery University of Wisconsin-Whitewater

April 1999
University of Wisconsin-Whitewater Ceramics & Metals Exhibit
Organizer
University Center Gallery University of Wisconsin-Whitewater

1999 - 2000
Multiple Exhibit Display Coordinator
University of Wisconsin-Whitewater Center of the Arts Atrium
Atrium Art Display Coordinator - Assistant to Crossman Gallery Director Michael Flanagan
Center of the Arts Atrium University of Wisconsin-Whitewater

June 1996-1998
Cambridge Pottery Festival
Event Assistant

Publications

Art to Art Palette (US) January 23-February 5, 2008. Ralph Stuckman.

Revista Internacional Ceramica (Spain), “Cristalizaciones” By Diane Creber. Issue 106, 2007. J. Hull: Featured artist and recipe contributor.

The Craft Report: (US), July 2007. p.14. Featured and Quoted Artist.

Ceramic Arts Daily (US), April 11, 2007. “Crystalline Glazes: Lattice Structures” by Jesse Hull.

Ceramics Monthly: Online Exclusive (US), March 2007. J. Hull: Featured artist & recipe contributor.

Clay Times (US), November/December 2006, p.20 . “Crystalline Workshops 2005-2006”. by Diane Creber. J. Hull: Featured artist & recipe contributor.

Ceramic Review (UK), September/ October, 2006. “Crystalline Glaze Workshops -Kansas City & Palm Springs”. by Diane Creber. J. Hull: Featured artist & recipe contributor.

Ceramics Monthly (US), June/July 2006, p.30. “LatticeStructures” by Jesse W Hull. Author of article and curator/organizer of event.

Art Review, Kansas City (US), September, 2005.

Kansas City Star (US), August-September, 2005.

Ceramics Monthly (US), June-August 2005.
Full Page Announcement: LatticeStructures™, Graphics: Leah Shea.

Ceramics Art and Perception (AU), June 2005, p. 119.
Half-Page announcement: LatticeStructures™, Graphics: Leah Shea.

Demonstrations & Lectures

May 2006
Geil JH-10 computer controlled auto-damper gas kiln prototype preview
Friedrich Pottery Palm Springs, CA

November 2005
Slide Lecture
Nelson-Atkins Museum of Art Kansas City, MO

September 2005
LatticeStructures™ Kansas City, MO
Screenland Special Event Facility: Stage MC/ Organizer

March 2001
Slide Lecture
Understanding Ceramic Chemistry with Crystalline Glazes
Red Star Studios Ceramics Center Kansas City, MO

December 2000
Guest Artist
Demonstration: Throwing Techniques & Slide Lecture: Glaze Chemistry
Lincoln Middle School Janesville, WI

November 2000
Slide Lecture: Wood-Fired and Raku Ceramics
Washington High School Milton, WI

Of all that ceramic art encompasses, it is the chemistry of the glaze that calls to me the most. The practice of cataloging, grinding, and measuring components of the earth, combining these in the right quantities, then heating them to a predetermined glass structure certainly treads the lines of alchemy.

Everything has a structure that is and will be… even the universe stretches outward from it’s center, repeating itself within a certain framework.
Glass is categorized by the existence or absence of an intricate array known as a lattice structure. When melted and cooled rapidly, glass has little chance to revert to a crystalline state, thereby appearing clear or translucent. If cooled slowly, crystalline structures can fill the entire matrix.  Understanding this, macro-crystalline glazed ceramic art is a conscious directing of a natural tendency, with a focus on the balance available in designing and sustaining the right environment.

Although the glaze can result in a dynamic visual, I do not believe that the potential (or the loss rate) should allow for undemanding palettes. The ceramic vessel is more than a representation of functional pottery -it is an artistic celebration of over 10,000 years of shapes formed by the human hand. A balance must be reached wherein the form reflects the skill and confidence of it’s maker, while still existing as an effective liaison toward the overall presentation.

Titles become subjective as I struggle for my own.
As the term perfectionist carries with it a degree of negativity, I do like -precisionist.
As “artist” may qualify prestige, higher prices, and access to grants, it’s modern role too often eludes me. The more I learn about art, it’s history, and the current semantic state, the more I welcome the designation of “Craftsman”.  Acknowledging arguments concerning it’s divergence from art, craftsmanship is both genuinely spiritual and corporeal in its nature.
As my own art-felt expressions lie in a simple search for balance, beauty, and grace… I do hold that we could all benefit from a little more.  So here continues the exploration of these traits in my own life, holding a steady focus on crystal lattice, thoughtfully structured around select measures of earth.

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For a detailed account of how I make my work, click the Process page.

Using chrome to color a crystalline glaze isn’t a popular choice. The high zinc content necessary to get zinc-silicates almost assures the user of gaining variations of brown.

In moderate to high quantities, the glaze looks muddy and dark. In very small quantities, chrome can be used with other colorants to produce a more pleasant hue.

The bottle shown below from 2002, included small amounts of CrO + FeTiO2:

Additive A is a Lignosulphate, mainly used to produce plasticizers for the concrete, cement, and brick industry. I experimented with Additive A/ Type 2 in my porcelain for several months… I was able to acquire a 40 lb minimum at one point; however in the U.S., you may have to purchase hundreds or even thousands of lbs at a time from Borregaard LignoTech.

I was attempting to use Additive A -Type II to enhance my clay’s green strength, but found only marginal strength increases until the ware dried completely.
On that note, if you add more than just 1-2% and let it go to bone dry, it will dull even the best steel trimming blades within minutes. There is also a thin, but even harder, transpiration produced outer crust that is nearly impossible to cut through (imagine trimming dense plastic or wood).

As I said above, it is used as a plasticizer. But there are certainly better options when aiming for increased plasticity in clay (V-gum, CMC, MgSO4, Ball Clay…), so if this is the goal, Additive A wouldn’t be my first recommendation. It’s also important to note that lignosulphates are used as a deflocculant, which under normal conditions is the last thing you’d want to add to a throwing body.
The plasticity that it yielded was an odd one. It felt more like throwing a slime infused low-fire Redart body (sorry, best description I can give). It was neither naturally plastic or “rubbery”, but had a feel all it’s own.

I have heard of pottery studios and classrooms using small amounts (around 0.5%) of lignosulphate products to keep greenware from chipping –especially in terms of a public or commercial environment where pieces are handled often. However, the trade off can be difficult to get used to.
Right away, the resulting Additive A clay I mixed up smelled like dog food –and shortly thereafter, like dog “dood“!
I found the clay to work best after about 1-2 weeks of aging, but the smell permeated my skin and lingered on my hands for hours… sometimes even days. After pugging and aging for just a little over a month, the resulting clay had developed a non-plastic “black rot core” that was difficult to wedge back into a throwable condition.

Additive A will destroy the water absorption benefits of plaster, wood/Masonite, or bisqued tile throwing bats. In terms of casting slips, it will have the same result on plaster molds. A container with a 1/4 pound of liquefied Additive A once spilled onto my concrete studio floor… the resulting sticky mess took about an hour to clean up, & the stain is still visible (hey, I was gonna seal the floor anyway…).

I was also able to acquire some small samples of Lignotech’s Goulac and Ultrazine NA products. Although I experimented less with these, my limited experience with them did not make me want to continue.

Further Info:

DigitalFire Article: Additive A

“What Every Pottery Should Know” By Jeff Zamek