Melvyn Malkin
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| 3.9.3.06 | | Raku plate on black mdf | | 21 x 21 Inches | | $ 350 |
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| 1.9.4.06 | | Raku plate on black mdf | | 21 x 21 Inches | | $ 350 |
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| 2.9.3.06 | | Raku plate on black mdf | | 21 x 21 Inches | | SOLD |
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| 1.9.3.06 | | Raku plate on black mdf | | 21 x 21 Inches | | SOLD |
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| 5.13.2.06 | | Raku plate on black mdf | | 21 x 21 Inches | | $ 350 |
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| 14. 12. 04 | | Pastel on paper | | 16 x 16 Inches | $ 1000
(includes frame) |
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| 6. 1. 05 | | Pastel on paper | | 16 x 16 Inches | $ 1000
(includes frame) |
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| 13. 12. 04 | | Pastel on paper | | 16 x 16 Inches | $ 1000
(includes frame) |
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| 7. 12. 04 | | Pastel on paper | | 9 x 9 Inches | $ 630
(includes frame) |
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| 11. 12. 04 | | Pastel on paper | | 9 x 9 Inches | $ 630
(includes frame) |
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| 9. 12. 04 | | Pastel on paper | | 9 x 9 Inches | $ 630
(includes frame) |
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| 13. 01. 05 | | Pastel on paper | | 8 x 8 Inches | $ 475
(includes frame) |
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| 15. 12. 04 | | Pastel on paper | | 8 x 8 Inches | $ 630
(includes frame) |
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(Please email the gallery to be notified when new work by Melvyn Malkin arrives.)
Melvyn Malkin worked professionally as an architect and also showed drawings and prints for many years before turning his attention to clay in 1989. His extensive experience in raku firing and long involvement in art and design is reflected in these
unique raku fired ceramic wall plates. Mel became involved in raku firing early in his clay career and has specialized in this procedure. All of his work is raku fired.
Raku is a firing technique for ceramic objects. First developed in Japan in
the 1500's, a post firing reduction procedure was added to the process by American artists in the 1950-60's.
The clay plates are air dried in canvas slings, giving them a slight curvature. After drying they are bisque fired . Special raku glazes
are used to develop the imagery and applied to the bisqued clay. All of the glazes (separate for each color) are applied at one time and the work is raku fired only once. For the raku firing an already hot (electric) kiln is used. The work is in the kiln
a short time and removed when the glaze surface has melted. The work is removed while hot (1800-1900 degrees F) and placed in combustible material (shavings and shredded paper). This material bursts into flame and is quickly covered with a metal lid. The
fire tries to keep burning and pulls the oxygen from the glaze, lifting the metallic elements in the glaze to the surface. It is this 'reduction (oxygen deprived) process that gives the wonderful metallic lustres and the inky black quality to the
unglazed areas.
Mel has developed glazes for this technique that produce a full color range not normally seen in raku work. The combination of full color with the metallic lustres, and the explicit control of the surface make Mel's work
distintive and remarkable.
