Seaweed is a beautiful green glaze from AMACO’s popular Potter’s Choice Series. Like several of the glazes from this series, Seaweed needs a certain thickness to float materials to the top surface of the glaze. 
This creates interest where the glaze pools in texture or drips. (If the glaze is applied too thinly, the glaze will not be able to float. The end result will be flat and probably an incorrect color.) The tile to the right show the float developing as the glaze is applied more heavily. Float makes these glazes perfect for layering. Below are several samples showing a variety of layering options.
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Seaweed inside with Ancient jasper drizzle, ancient jasper outside FH white stoneware
Seaweed inside with Ancient jasper drizzle, ancient jasper outside FH white stoneware
Seaweed inside with Ancient jasper drizzle, ancient jasper outside FH white stoneware
Inside Turkish Amber, Outside Seaweed over Textured Amber FH cone 6 porc.
Inside Turkish Amber, Outside Seaweed over Textured Amber FH cone 6 porc.
Everglade inside, JB’s brown out, Seaweed on lip
Everglade inside, JB’s brown out, Seaweed on lip
Seaweed on outside, Ancient jasper inside FH white stoneware
Opulence egg shell, Outside Seaweed over Temmoku FH cone 6 porc
3 heavy coats of seaweed on the outside. Albany Slip inside and around lip Bmix
3 heavy coats of seaweed on the outside. Albany Slip inside and around lip Bmix
3 heavy coats of seaweed on the outside. Albany Slip inside and around lip Bmix
![Jim McDowell learned to make pots when the Army stationed him at a craft shop in Germany during the Vietnam war. He discovered a pottery wheel that no one in the craft shop knew how to use but curious enough to take a short train ride to learn from Nuremberg potters. Back stateside, he enrolled in a workshop with David Robinson in Weare, NH that changed the whole path of his life as an artist. Around 35 years ago, he made his first face jug and his style evolved as he learned about the literate enslaved potter, Dave Drake (David Sturm wrote about him in a June 15th post). Jim began to inscribe his beliefs on the jugs to pay tribute to the way Dave Drake would write on his own work. Face jugs are often referred to as “ugly jugs” - and I can definitely see the ugliness of slavery reflected in Jim’s work. I learned that slaves weren’t permitted to smoke, which is why some jugs feature cigars in the mouths of some jugs. In Jim’s words, “When a white boy smoked he was considered a man. An enslaved man could be 90 and still called ‘boy.’ The cigar gives him a form of dignity, but also sticks it to the man.” I honestly would have never made the connection between smoking a cigar and dignity. Some of his jugs also feature wings to honor the lore that “Jesus gave them wings to fly away” when a slave went missing from the plantation (this folklore existed throughout South Carolina, Georgia and the American Gullah). Jim will be featured in a book to be released later this year or early 2021 with the working title, "Black Hands in Clay” so keep your eyes out for this book by Schiffer Publishing. My post today will end with Jim’s own words: “I’m not one to march in the streets with a placard. But my whole life is a resistance. When I carry on the traditions of my ancestors, that’s a resistance. When I make the food of my people—rice and beans, collards, fried okra—that’s resistance. When I sing the old gospel songs that originated from field songs, that’s resistance. When I create face jugs, that’s the ultimate resistance.” [by Anne]](https://www.brackers.com/wp-content/plugins/instagram-feed/img/placeholder.png)
