influence

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sweet dreams

 

~French Butter Dishes by Keith Phillips

 

In the Seinfeld episode, “The Heart Attack” (season 2, episode 8), Jerry goes to bed after watching a science fiction B-movie, only to wake up in the middle of the night laughing.  He then writes down the joke for his stand-up routine.  The next day, he can’t read what he wrote down.*

This episode reminds me of when I was first learning to throw and work with clay.  I would practice; struggling for hours in the studio to learn the skills I needed to be proficient with the tools and materials.  Our professor, John Arnold, would watch us work and then ask, “Are you dreaming about clay, yet?”  His proceeding comments suggested that once the ceramic process invaded our dreams, we’d find our inspiration; follow through with our creative ideas; progress.

I’m not sure how much follow-through I was willing to apply back then, but lately I’ve been dreaming about clay.  However, I feel the need to qualify my subconscious efforts in part because I’ve been away from the studio and perhaps a little drug induced.

My absence wasn’t completely unplanned…well, it was hoped for.  But, not for this long.  Short.  Minimal time away was the thought.  Nothing is as we wish it would be.

A few days after final grades were posted, I was scheduled to have minor surgery on my arm.  Emphasis on the minor.  It was outpatient.  The doctor said no lifting for a week.  I can do that.

By the evening of my surgical encounter, my body began to betray me with a reaction to the anesthesia.  Nothing serious – though increasingly uncomfortable as I approached my follow-up appointment four days away.  After seeing the doc, with a prescription in hand, I felt like everything was under control.  We were headed to see family for a few days.  I’ll be good to go as soon as we return.  Ah…”the best laid plans of mice and men often go awry.”**

By Christmas Eve (with one day left on my Rx) the annoying reaction had become more than exasperating.  Harassing me day and night. (ugh!)

Four days later, I found myself in the doctor’s office with the telling signs of an oncoming cold and the ever growing Andromeda Strain that occupied my every thought. (please, just make it go away!)  Two weeks since surgery…another round of meds…AND my head is now heavy with snot.  I guess I won’t be hitting the ground running.

Nonetheless, my fitful sleep brought on dreams of clay.  Butter dishes to be exact. (very odd)  There are a number of potters who make butter dishes.  But, since most people buy a butter-like substitute that comes in a handy plastic tub; butter dishes seem part of a bygone era when folks actually used a table clothe, place settings consisted of more than a plate with a matching mug, and napkins were placed on one’s lap when dining.

There are numerous creative designs for the forgotten butter dish.  We have the French butter dish (see examples at the beginning of this post).
How it works: (just a bit high maintenance…it’s French)

~French Butter Dish

 

~Butter Dish by Cindy Gilliland

The thrown circular butter dish.  Hmmm…often these pieces are also referred to as a butter dish/garlic roaster.  (perhaps, because butter is generally of a different geometric form)

~Butter Dish by Liz Zlot Summerfield

The more practical brick shaped butter dish takes a bit more creative energy.  This is where my dreams took me…though, I’m not sure how much follow-through I’m willing to apply.

 

 

Go here to see Keith Phillips create the Classic American Butter Dish!

 

 

 

 

*The episode ends when Jerry remembers what he wrote down – a line from the movie he had been watching.  It’s then he realizes it isn’t funny.
**To a Mouse, on Turning Her Up in the Nest with the Plough, Robert Burns, 1785.

 

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the ways and means

As I write, I’m sitting in my very warm studio firing a bisque.  The AC is set at 90°.  An occillating fan is moving the air about a little (it helps).  My kiln is old (read: not computerized), so I’ve got a few more hours in the studio while I turn up switches.  Once I get them alll on ‘high’, I’ll head home – only to return at the approximate time and temperature the witness cone should drop.

My faith in the kiln sitter has been shaken since I had a pyrometric bar fuse to the sensing rod on the sitter.  Overfired the load and warped shelves.  Created several redundant shelf sculpures that took endless hours to chisel apart (no fun).  So then, I make every attempt to be back when the witness cone goes down.

This firing is the first I’ve done since May.  Feeling a bit unproductive during these sizzling summer months.  Nevertheless, I have lived vicariously through a few ceramic artists’ blogs – people that seem to have more creative energy than I ever will.  They are not just productive, but prolific.  (Wow, feeling tinges of guilt…call me a slacker)  I guess I should be doing much more.

But, the day only has so many hours.  And, frankly, there is a correlation between the dry summer heat and clay work.  That delicate balance to successfully deal with handles without them cracking (tea bowls vs. coffee mugs)…or the precise hour available to trim when the clay is still cooperative (light, well designed work vs. paperweight).  If you do any decorative surface work early in the process, your window is shorter still.

Excuses? eh….

What I’ve taken away from those prolific producers of ceramic wares is that I’m not them.  Ceramics.  Clay.  Art…is what I do.  I love what I do.  Create.  On many levels it’s how I communicate – through process, image, surface and occupied space.

However, it is not who I am.  If I were to make a list of roles I fill, ceramic artist would be but one.  Those roles will change over time.  But, who I am will remain constant.  I am a child of God, a follower of Christ.  That doesn’t change.  Yet, it drives the ways and means of the things I do.

Fabens

What I do is secondary and clay would follow things like wife, mom, friend, chief cook and bottle washer, preferred human obsession to our quirky dog (seperation issues), et. al….

I suppose until clay makes it’s way closer to the top of the list, I will never be as productive as some artists.  I think it important to keep perspective.  What I do is not necessarily who I am but an avenue to be myself.

(Man, it’s getting hot in here!)

 

Mark Your Calendars!  Plan to Attend!

Cap, Cup and Mug Sale, Show and Trade

October 7-8, 2011
Friday, 6-9pm
Saturday, 9am-4pm

dessadog studio
1410 W. Guadalupe Rd, bldg. 1 ste. 103
Gilbert, AZ 85233

~a sale of handmade cups and mugs by more than 30 local artists.
~bring in a new knit cap or socks for Set Free Ministries and receive a 10% discount on one cup or mug.

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Easter, 1970. Ft. Bliss, Texas. (l-r) Tammy, Don, me.

There are few pluses growing up in a military family.  But, for what we went without, we didn’t miss.  So, I guess the pluses outweighed the minuses.  The balance was really closer to a cause and effect relationship.  For example, our medical and dental needs were taken care of.  That’s a plus.  However, stitches and novacain were administered sparingly.  As a result, minor injuries were never motivation to visit the ER and you took care of your teeth.

Also, military families have more opportunity than most to see the world (you moved a lot).  Even on the heels of my dad’s retirement, I ended up in three different high schools.  Being the new kid can be tough – more difficult in adolescence.  Seems making friends is easier when you’re hanging off the monkey bars, turning cartwheels on the black-top and still have cooties.

The new kid learns to survive.  I’ve been known to comment that I’m not overly impressed or easily intimidated by people.

The lesson begins early.  The thing is, if I’m unduly impressed by someone, I run the risk of compromising my beliefs.  In the military community, you are instilled with the ideal that you stand for something bigger than yourself.  The kid easily impressed by the playground hot shot ends up sacrificing his Friday milk money on an ice cream sandwich for the big guy on campus.  It’s a virtual dairy fast for the intimidated kid; that nickel amounts to collateral for the priviledge of being ignored.

Still, though people don’t intimidate me, situations can.  There’s this…I can’t necessarily control the situation or environment around me.  Hard to figure.  So, yeah…Dr. PhD Harvard or Rock Star Joe…pish!  But, an exhibition opening or dinner party (is there broccoli in my teeth?), they make me nervous.  Clearly out of my comfort zone.

To help stay my fears, I prioritize.  First on my list, find an enabler – someone who will help me through the event while dismissing my nervous tics as excitement.

With my list in hand, I’m planning something bigger than me.  An event.  The project is in the “throw the idea out to a few people” stage to see if there is any interest.  So far, the comments have been encouraging.  There will be much to undertake (intimidating).  I’ll not let you into the loop yet – still have a few cats to corral.

~The 10th Annual Self-Guided Ceramics Studio Tour
We had a great tour.  The weather was near perfect – less a little drizzle on Sunday.  I took the opportunity to chat with old friends, former students and meet several new-to-me clay enthusiasts…oh, and sold a bit of work too.  Good times!  Thanks for coming out!

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going incognito

The studio is open Monday through Friday by appointment as stated on the door front.  I need that flexibility to be able to attend to life.  Besides, the nature of the job requires that my hands be in things that most people wouldn’t care to touch…it’s dusty, messy and a little smelly.  If you breathe deep, you can catch that damp earthy aroma…mmm, clay.  If you slip your hand too far into a slop bucket – disturbing the organic material settled on the bottom – you’ll note a shift from wet dirt to “something died in there”.  It can bring tears to your eyes!  Mmmm, the smell of plastic clay.

wedged clay

~wedged clay

So then, the studio is open by appointment.  Nonetheless, I get a few persistant sales representatives knocking at the door.  Just what I need, 1500 magnets with my name on them.  They take a try at the locked door; not noticing me through the tinted windows, I continue working.

Recently another office supply sales rep came by.  After the second knock, he rang the bell.  So, I thought I’d poke my head out the door, reveal the nature of my work and send him on his way.

“No, thank you.  Really, I don’t need wholesale value bulk pens in three colors with my name on them.”

I open the door to a Vin Diesel look alike.  Not the Pitch Black Vin Diesel, more like the Vin Diesel from The Pacifier except younger with an ill-fitting suit.  He gave his schpeel and I explained to him that I was an artist, not in need of office supplies.  At this revelation his demeanor changed.  He told me that he was a 1999 BFA graduate from a New York art school associated with Pratt Institute.  He asked to see my work.  He shared about his work in sculpture and neon.  I mentioned a couple of foundries in the area.  He told me about his stint with one foundry – loved the work except summers were brutal.

He had come to the conclusion that he should focus on making a living – putting money aside every month until he had enough to live on so he could later concentrate on making art.  Not a bad plan.  In fact, he had developed a time line.  After so many sales in an X number of years, he felt he could live modestly off the interest to do what he was passionate about.  To make art.  When he left, I apologized for the non-sale and encouraged him to keep working toward his goal.

I’ve often wondered how many artists are out there in the world working incognito; putting off their passion for another day.  The thought occurs to me, what would the world look like if everyone pursued the work they were passionate about, the thing(s) they were called to?  I believe we would find ourselves in a very different place.

~Make Plans~

studio tour 2010

9th Annual Ceramic Self-Guided Studio Tour

9th Annual Ceramic Self-Guided Studio Tour
February 27 and 28, 10am to 4pm.

  • 16 studios with more than 50 artists will be represented
  • in-studio demonstrations at each site, throughout the weekend.

~make a note on your calendar:
Ceram-a-Rama: A (really) Progressive Clay Affair.  Saturday, March 6th. Silent auction and gala. RSVP: March 1st.

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the real McCoy

The Rembrandt Research Project was established in 1968 to determine bona fide Rembrandt’s apart from those works of his students.  In Dutch tradition, students would closely emulate after the artist in the artist’s school.  Often the student and artist would collaborate – particularly on portraiture.

Imitation was a means to teach and develop young artists in the ways and processes of a master artist.  This traditional approach has led to much confusion as to who created what work.  Indeed, if the experts debate the authenticity of a piece, we might say that the Rembrandt school was quite successful.

Forward, encaustic on panel, 72"x60", 2006 ~ Mark Perlman

During my years in the classroom, it wasn’t uncommon to have the class work on a composition in the manner of a master.  Like the Dutch tradition, the objective was for the student to learn from replication.  My aim was for the student to glean from the artist and perhaps adapt a bit into their own work.  The intent was never for the student to become a studious imitator – creating copies of established master works.  Still, there is the risk that a student will become so comfortable with their copy work that they never take from the original process, but adopt it.

Several years ago I gave a day long workshop that focused on drawing processes on clay.  In my approach, the process can be complicated.  The workshop attendees took notes and photos, asking many questions. 

Man in the Red Trees, color pencil, graphite, collage and ink, 18"x14.5", 2008 ~ Kurt Kemp

A few months afterward, a student emailed an image of a small tile she had created after the process I had shown during the workshop.  I was quite impressed with the tile.  Her image – a portrait – was soft, ethereal.

Over the years we’ve spoken several times.  On one occasion she was excited to show me a platter she had waiting to be bisque fired.  The platter had a delicate image of a figure.  I asked her how she was creating some of the shadows and edges.  As she began to share, she punctuated her explanation with, “just like you.”  Well, no – I explained – not like me.  These images were very different.  Her response was that she was ‘doing it all wrong.”  Again, no.  She had taken my process and developed them to her work and it was beautiful.

Ephemeral Passage, white stoneware, 15 tiles each 18.25"x19"x1.5", 2003 ~ Jeanne Otis

Students need to find their own way with all the options before them.  The last thing you want is a student creating copy work – particularly if it’s inadequate.

‘That looks like Beth’s work…on a bad hair day!’

The scenario made me think back to my instructors.  Did I take from the process or adopt the process?  So, with some trepidation I did a little research.  What if I’m doing copy work…eek!  In the end, I can see the bits and pieces I took and made my own.  Assuredly, these talented artists will see no copy work from me.

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