Hola Eduardo,
A smell like that of a hundred candles burning fills the air, so I opened the windows to let a fresh wind blow through the room. I have been working with melted wax this afternoon. With a thin paint-brush applying the hot wax on the skulls where I don’t want the white slip and glaze to catch on the dark clay. It works the same way batik does, the wax-resist dyeing technique used for cloth. Where the wax has penetrated the fabric the water based colour won’t catch when the cloth is dipped into the dye. Afterwards the wax is removed.
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The mouths, eye-sockets and the holes I will thread the skulls through have been covered in wax, so the white slip and the glaze won’t run into these places when dipping the skulls. I want those characteristics to stay clearly visible. And the irregularity in painting the wax will make the ‘facial features’ of each head a bit more individual as well. When I fire the glazes in the kiln the wax will burn away very quickly. Have a good week and till soon again, Peter
