Ingegerd SCA A&S

08/06/2026

08/06/2026

Art and Science ties to Pennsic LIII 2026.
This war has been mostly,
Food, ceramic, glass related.
Spent most mornings having coffee with a NASA Scientist/Glass Laurel from the West geeking out on all the things and collaborating our various culinary components we crafted ourselves. Pancakes with her own maple
Syrup, and my eggs and cooking.
We have a near identical philosophy that art and science are intertwined entirely.

There is the SCA and then there are things we want to continue to discuss related to our work professionally. The neurospicy must flow.

I had tears of joy of watching my friend’s elevation to the Laurel, multiple Knights recognized as such, and finally spontaneously knocked out my bucket list task of throwing a vessel from raw wild clay on site, which will fire today, courtesy of the generosity of Master Simon who builds a wood fired kiln every year at Pennsic.

I hit a flow state and synchronicity working the very irregular clay body not refined.

The risk of loss is high, but I’m process focused more than process and as in all art I go forth not fearing what might crack, break or fail in this firing. My love is the experience through time itself.

12/09/2024

It’s been a hot minute since I posted anything here and I have been very busy.

Please expect to see an array of various media and areas of art and research.

For this morning. I will share the books I am currently digging through the last few days on jewelry and metal smithing from my library.

This doesn’t include my library on glass beads enamel or other adjacent sources I like to pour through.

While earning my bachelor’s in Art Education and taking many field science courses I had to write highly detailed research papers cited entirely through tediously and exacting.

As a full time art educator I had to cite sources at the end of lesson plans, as well as educational standards, studies to support the methodology I used to facilitate and support my students.

In museums as a docent and educator the understanding of lense and perspective of approach, sources, what aspects, cultural, chemical, social, in preservation and reproduction versus inspiration or context was so key.

So in the SCA all those academic and in depth museum and educator research aspects influence what I do in the way that professional cooking experience has empowered my ability to simply throw something together in a kitchen on a whim. The decades of informed applied practice come from a variety of sources that to document every step of the way would be exhausting.

Sometimes a pet just needs to emote onto the paper and not analyze their choice of how that happens.

There needs to be balance and for decades the SCA has been a place I can rest my uptight side. So is there an informed place of research or exemplar or hypothesis behind projects or pursuits of what I do? Always. I just don’t always stop to write it down when I look at it and it’s obvious to me where it came from.

Maybe this is my college academic background side on what “documentation” is. Artistically I can say professional artists tend to focus more on process and recipe and being able to recreate desired results and understand the why of when problems arise.

I have kept drawings from as far back as high school at the insistence of many art teachers to document growth and progress.

I have almost zero photos of scrolls I made from my youth in Æthelmearc.

But at the least I can share one place I pour through in pursuit of balancing the historic with accessible and feasible for today.

09/30/2024

Doing this guarantees strangers will begin asking your neighbors if you are in fact making drugs in your front yard.

What is mixing ceramic test glaze batches?

Correct. No authorities yet, but it took 1 hr and ten minutes before I saw the look and my neighbor waved to a truck asking questions.

Bags O white poudre to be sure.

I still need to work them through sieves, before test firing, and do some colorant cross swatching. Sooooo many notes and grids and OCD levels of rechecking my math, and ratios.

09/30/2024

I’ve been remiss in documenting some things this past month due to illness and horrible events.

But today the burds are singing, I’m waiting on some projects to dry and right now I’m making/mixing paint.

Various pigments, and similar to cooking adjusting ratios to get desired effect checking for consistency, how it flows, dries, etc.

I was going to avoid adding honey, but here I am. Adding honey and tea tree oil to compare with straight distilled water dissolved gum Arabic.

The top is just gum Arabic mix, the bottom I did mix thicker has honey and a few drops of tea tree.

It’s hot enough here to let mixtures evaporate quickly.

Also the bisque fired clay palettes I made inspired by Egyptian Ivory palettes wick some moisture away as well.

Much of this knowledge comes from scribal mentors decades ago, and college courses at the Art Academy of Cincy in the 90’s as well as trial and error and various readings, and experience using period pigment scribal paints others have made.

09/29/2024

Worked on Gum Arabic Distilled Water solution pigment paint yesterday. I had to make adjustments to ratios of water to pigment to GA solution. I dissolved the GA the day prior. Sticky and binder are an understatement. This stuff will seal a jar. Some pigment needed more grinding than others, and much like other media I work I’m not surprised at the variety of how material behaves.

It reminds me of mixing ceramic glazes and in some cases my ceramic chemistry colorants can also work as historical pigment for paint.

I’m need to mix some more test glazes today along with Majolica/maiolica colorant blends from scratch to test on them.

I studied with the late Italian Maestro Romano Ranieri in Deruta, Region of Umbria, a good while ago at the Deruta Studio, where he would complete work for the Vatican.

It wasn’t too far from Assisi, and I saw the Giotto Frescos after conservationists puzzle pieces them back together when an earthquake had split the church practically in half.

When others ask me how to make their scrolls look more historic, I think many would suggest they start looking at historic examples, but after this, I like to encourage people to play with more historic tools, and pigments that will create a pallet that reads more correctly to the past.

Many struggle to mess up that brand new pristine sketch book, or “waste” an expensive sheet of water color paper. But it is only truly wasted if it sits being nothing waiting for perfect.

If you have the hang up I will gently and gladly add a flaw to your surface or sketchbook consensually so that you don’t have to fear being the one to lessen its worth. I will take on that “sin” for you.

Make stuff, don’t be afraid to mess up or struggle, learn from it, enjoy your successes and keep going! Perfect doesn’t exist. Life is short enjoy doing something messy. Write it down and do it again, change one variable at a time. You got this.

08/03/2024

It’s going to take time, but to make finding and viewing examples of my SCA related art, work, research, processes, projects, trials, errors, breadth and depth, sources, judgement calls, substitutions, philosophy, variables, and controls easy to find, examine, etc…

I set this FB page up and I’m slowly adding multiple photo albums categorized by media. I’ll add comments to each photo noting important information as well.

Thank you for viewing and your patience as this will be a lengthy endeavor for me.

I have thousands of photos to go through I’ve kept over decades of my journey as an artist. I will also upload an SCA resume, as well as artist statement and teaching philosophy as a licensed K-12, former college adjunct studio glass professor, and overall creative collaborator.

Thanks, Ingegerd

08/02/2024

Hand built, Coil pot which ended up being close to 30 inches high. Utilizing a Japanese technique to force dry the walls to continue building higher so the vessel wouldn’t slump under the weight of the piece. This is an in process photo of burning crumpled balls of paper inside a wet to leather hard unfinished bottom of a piece, which helped maintain the integrity of interior moisture progression over the weeks it took to construct.
Slip, score, smoosh, smooth, and pinch and beating each layer compressing for uniformity before carving, and wrapping in a contemporary poem, which was lined by hand progressively spacing the lines and learning to encourage the eye to travel as it read up the finished piece.
Final glazed work in this same photo album with notes on sheep-to-shawl glaze made with raw volcanic material I collected with geologists in Costa Rica, and experimented when I returned to Pennsylvania.

08/02/2024

Mix of SCA related works, including some more contemporary work that drew on SCA art technical experience using scribal calligraphy techniques.

08/02/2024