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Coaching/One on One Lessons

Book from 30 minutes to a full day (with a few breaks) for coaching/critiques and advice, or 1:1 or small group lessons on a wide range of topics & skills. I can teach how to start or to make the most of paperclay, large scale sculpting & large scale pot making, alternative firing, soluble metallic salts use in alternative firing but also at c6 and c10 on porcelain in both oxidation and reduction, slip casting and mold making, silicone master molds and multi part molds, glazes & claybody development & troubleshooting, how to fire reduction in an electric kiln, luster glazes (Islamic reduction luster, in-glaze luster, and resin luster, fuming/raku luster- gotta collect them all!). Colored clay, Nerikomi, clay Mokume Gane, and all the special techniques that come with it. Water erosion, often in combination with other decorating techniques. Tile making including using molds and Cuerda Seca (the right way!). Various kinds of handbuilding & sculpture techniques- if I haven’t listed it ask me as I probably just ran out of room on here! I teach glass casting (open faced, lost wax, pâte de verre) including investment mold making and working with wax as well as glass fusing & cold working. I do a lot of mixed media & can teach you how to best incorporate metal and encaustics and fiber/textiles and adobe into projects with ceramics & glass. I’m particularly excited to begin teaching encaustic painting and 3D encaustic sculpting (using molds and/or additive/subtractive methods) as well as encaustic monoprinting. I can also help you with your hand made paper making including using handmade paper for sculpture & installations as well as European marbling & Sumanagashi (these papers go great with encaustic too!). Want to make big sculptures (or even medium or small ones) but don’t have access to a kiln? Did you know both paperclay & adobe can be made into permanent sculpture without being fired? It requires thinking a little outside the box but it’s completely doable! I also am experienced with wild materials and how to best go about finding them, testing them, processing them, and using them. There are plenty of ways to incorporate wild materials into your work without needing to commit to using only wild clay as your claybody, as you can certainly get a real sense of place using wild clay for slips, terra sig, glazes etc and rocks and ash for glazes or added to your commercial claybody.

@aubreytauer

Wildlife veterinary epidemiologist & professor turned full time sculptor.

Dr. Aubrey Tauer, DVM MPH DACVPM

Sculptor & Pottery Essentials

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