With a little over a week till the start of the fall semester, a visual inventory of my summer accomplishments leaves me wondering what the heck happened?
Outside a busy summer exhibition season, a turn-around trip to catch up with family, and the chance to dip my toes in the Atlantic Ocean in celebration of a milestone birthday almost two years in arrears; I’ve not got much to show for the hours spent in the studio (except, um…the floor needs a good mopping)
Sometime in May, I became dissatisfied with the very controlled compositional elements of my functional work. It was a long time coming as I’d been tolerating bad behavior from previously obedient glazes. While looking for some resolve to the glaze situation, I became restless. Move on.
During my research and testing I was also creating several clay drawings for upcoming exhibitions. I remember thinking, “I’d really like the surfaces of my functional work to reflect the looseness of the drawn pieces.” (yeah…)
However, a change in surface – particularly one that moves to such an opposing process – generally demands a change in form (…and away we go!)
I’ve spent weeks throwing cylinder forms until I thought I found a beginning and ending (lip and foot) that I was interested in pursuing. Then, I’d move on to bowl forms only to discard the week’s worth of work. This cycle has played out on repeat all summer long.
Seizing every opportunity to learn from the process; I took risks with the pots destine for reclamation, discovered marks that I want to keep and many that I’ll avoid. I’ve eliminated several compositional possibilities, left room for a few more and worked through firing processes on paper. Once I commit to a form, I’ll send a few pieces through the fire to prove the glaze/surface chemistry.
Until then, my shelves will be empty while the reclaim bucket overflows.