Thursday, 30 April 2009
LAST MOUNTAIN LAKE CULTURAL CENTRE,
REGINA BEACH, SASKATCHEWAN, CANADA
AUGUST 23 - 30, 2009
REGISTRATION DEADLINE JUNE 1st, 2009
details , symposium application and scholarship application click here
-12 cubic feet of stacking space (stacking area is 36" high x 24" x 24")
-Fiber lined – very economical to fire because of low thermal mass – uses 17 cubic feet of natural gas to fire to cone 10 (about $20 at current rates)
-Will run on propane or natural gas
-Has pressure regulator to adjust gas pressure throughout firing for fine control
-Very compact (kiln is 43" wide by 50" deep) – burners are underneath kiln and the integral chimney is at the back of the kiln
-Permanent door mounted on hinges – no need to brick up a door each firing
-Thermocouple and pyrometer
-Collection hood and chimney included – the integral chimney ends at the top of the kiln and vents into the collection hood, then through the hood chimney to exit the building
-18 kiln shelves and many kiln posts included, all in good shape
- Kiln is in Saskatoon, SK
Asking price is $4,000
For more information:
Zane Wilcox (306)653-2656
I really want to take a minute to thank each and every artist that participated and shared their amazing talents and work with us. I feel like it's been a month full of insight into so many unique approaches to subject matter, process and perspectives on contemporary craft theory and production. I think this is definitely something I'm going to have to bring back in the future...
So last but not least I leave you will today's artist of the day: Paula Cooley, who is a fantastic artist I've had the pleasure of collaborating with recently for our Subverted Utility exhibition in Red Deer. I think i'm often drawn to her work because it incorporates so much aesthetically and formally that my work doesn't. Not that one aesthetic is better than the other, i'm just really compelled by a visual language or vocabulary that is distant from my own. It sparks my curiousity and wonder. There is alot of play and personality in Paula's work, I do hope you enjoy it as much as I do.
In Paula's words: "Initially I was interested in functional pottery but over time I have become increasingly intrigued by sculptural vessels. For me, the way a vessel shapes space now takes precedence over its function. The suggestion of movement and growth is key to my current ceramic work: I want my pieces to look as if they might dance or grow.
Some of my vessels are built as mated or interdependent pieces, and placed to create negative spaces as evocative as their positive forms. Like the space inside a vessel, the surrounding “empty”space can be manipulated to become a dynamic, and necessary part of the work, a means of transforming two or more separate objects into a single work of art.
I work with many types of clay (earthenware, porcelain, stoneware), matching the clay to the surface I wish to achieve. Through their long history the ceramic arts have evolved a tremendous range of decoration and firing techniques, each geared to achieve a specific result. Some pieces I choose to fire in a low temperature raku kiln while others are fired in high temperature atmospheric kilns (salt and/or wood.)Some of my pieces have no glaze: their surface decoration is a result of smoke and burning combustibles. Other works have both glaze and paint on their surfaces.My vessels are wheel thrown or hand built, and many are altered by removing or adding clay. These alterations help me to capture the fluidity of life--a sprouting plant, a moving body. My pieces are organic in appearance, reflecting the natural world that is the ultimate maker of vessels: seeds, bulbs, shells, bodies. "
Thanks again everyone for making April so beautiful to look at here at musing!
Wednesday, 29 April 2009
Deadline May 8, 2009. Early submittals are encouraged!!!
TOPICS FOR PROPOSALS
For the 44th annual meeting of NCECA in Philadelphia, we call for proposals of lectures and panel discussions relating to issues of exploration, discovery, and the relevance of site, location and environment. As always, we also welcome proposals on all subjects relevant to our field. Submissions will be evaluated in regard to merit, the presenters' expertise in the area, and a general interest in providing a balanced and inclusive program for the members. The general categories for proposals are as follows:
Aesthetics and Critical Theory
2010 NCECA INVITATIONAL
DEADLINE JUNE 1, 2009
The 44th Annual NCECA Conference, “Independence” will be held in Philadelphia, Pennsylvania at the Philadelphia Convention Center, March 31 – April 3, 2010. In conjunction with the conference, The Galleries at Moore College of Art and Design will host the 2010 NCECA Invitational “Earth Matters” from March 13 to April 15, 2010.
The NCECA Invitational is a themed, curated exhibition that features leading edge, large scale and often challenging ceramic art. A foundation group of works are selected by invitation; then artists are invited to submit additional images that support the theme for consideration. This format brings established reputations and emerging talent to bear on the selected theme and adds vitality and fresh perspectives to an ongoing dialogue. The submission process is open to all artists working in ceramics.
The 2010 theme is “Earth Matters” focusing on environmental appreciation, concerns and solutions related to human health. Works exploring the following themes will be considered.
• Appreciation of the beauty and fragility of our environment encouraging stewardship
• Warnings of environmental hazards and their possible consequences
• Solutions and positive approaches to managing the health of our planet and ourselves
2010 NATIONAL STUDENT JURIED EXHIBITION
DEADLINE OCTOBER 1, 2009
ONLINE FORM AVAILABLE MID-SUMMER
In conjunction with the 44th conference, the University of the Arts' Rosenwald Wolf Gallery will host the NCECA 2010 National Student Juried Exhibition, March 25-April 14, 2010.
The NCECA 2010 NSJE is open to all matriculating fulltime undergraduate and graduate students in the United States of America, except for those enrolled at the institutions of the jurors; Erin Furimsky and Matt Long.
Jurying will be conducted from images of actual works available for the exhibition. No substitutions will be allowed. Each student may submit up to two works, with up to two images per entry.
Now is the time to document the work you have created so far this year.
For more info on all of these opportunities please visit NCECA website.
I've known Avi's work for a few years now and even have a couple beautiful little pieces in my collection. Avi is one of those amazing artists who works in arts administration, behind the scenes, doing lots of advocacy work for craft, all the while maintaining an ever evolving, thought provoking and downright beautiful object based studio practice.
This image is of the work that will be in the White Heat exhibition, which is part of the Australian National conference in Sydney this July. Will definitely be a show not to be missed, the line up is fantastic!
Here's a bit from Avi about the project:
For more than 69 years expeditions to collect and record Australian insects have been in place. In 1926, as a result of the federal government’s /The Science and Industry Research Act, /the Commonwealth Council for Scientific and Industrial Research (CSIR) was formed. As a result the number of specimens collected by entomologists and those donated from private collections grew by the thousands. Insect collecting trips continued well into the 1990s and the number of specimens being housed in the Australian National Insect Collection (ANIC) grew by the millions.
This current body of work, /Collections /2009, is drawn from photographs taken from visits to the insect collection at the CSIRO, in Canberra and those generously supplied by Dr Steve Shattuck. The series responds to the notion of collections for research."
Tuesday, 28 April 2009
With today's artist I'm going to start right away with his statement about the project because...well.. I couldn't explain it any better:
"Service: Dinner for Strangers is my latest research into the crossing of contemporary visual art, craft culture, the handmade object, and art as a type of service. At the heart of the exhibition I am exploring the sharing of community, ideas and space through the sharing of meals.
Over the course of the exhibition, I will host 3 potlucks for 7 strangers from Red Deer and will serve each on a different set of dishes I have had especially commissioned for Service. On display in this gallery are the 3 complete sets of ceramic dishes made by 3 different artists:
The potlucks happen each Thursday night over the duration of the show - January 15, 22 and 29. Following each dinner, images of the participates will be added to the gallery display.
Eating together and sharing food can be an intimate experience through which people learn about each other, new ideas, and, in this case, about art, craft and the community in which we live.
This exhibition focuses on the direct interaction between the audience and artist, the gallery and it’s community and attempts to transform the space into a place for exploration, sharing and meeting your neighbours."
I've been really interested in Robin's approach to craft production and theory in the last few years since meeting him over some great chinese food in Canberra. His focus on relational aesthetics, how we interact with handmade objects, how objects impact us in return, the role of art in the service of community building and interpersonal relationships, all infuse his work and ideas with a contemporary relevance that is both poetic and beautiful. I particularly love this last image, it sums up the relevance and the impact of his project perfectly. Strangers really are just people/friends you haven't had the pleasure of meeting yet.
Please take a bit of time to check out some of his other projects on his website which also includes more about Dinner for Strangers
Monday, 27 April 2009
Here's her bio:
"For the last several years the focus of my ceramics practice has been the research of print onto the surface of clay. I have a BFA from the Alberta College of Art and Design. Since graduating in 2004 I have been working primarily as a studio artist (hornofplenty.ca) I have also been teaching workshops and operating a gallery featuring Canadian craft and design. (veryhushhushgallery.com)"
You can find her beautiful pieces here and there at shops, galleries and markets, feel free to contact her through her website to find out if there's a location near you. Or check out one of Canada's newest online art and design shops, Box Social for more of her work. (trust me, it's worth it...I have one of her bird mugs and it quickly became one of my faves!)
Sunday, 26 April 2009
"One of my main motivations is the desire to understand and document rural society and its position in present-day culture. I draw extensively upon images from my own garden and the rural area in which I live (southwestern Newfoundland). My intention is to create contemporary works of art that speak to our common human experience, but via stories that are informed by a rural perspective.
“Blind Love” is from a series of stoneware sculptures which can be viewed simply for what they are - a girl and a bear - or as metaphors, with the girl representing humankind and the bear the natural environment. The complicated relationship between the two species is reflected in our reverence, love and fear of the bear, and in the rich cultural imagery provoked by our relationship with it. In “Blind love” the human is arrested in a pose of innocence at the precise moment before awareness of her beloved’s pending demise.
Grass Widow: Pale Blue Resignation is from a series based on the woman in my community who maintain their homes and family while the men are away working. Each widow sculpture (of 10 created) has a different attitude or is in a different stage of the wait. An integral part of the sculpture is the pedestal on which the figure sits, denoting the woman’s important role as pillars of their society. The open space in the pillar suggests the presence the absence of their partners has in their lives.
The actual process of sculpting is another source of inspiration for me as my method from concept to completion is done with clay. The material and process often direct the development of subsequent pieces."
Check out more of Reed's work at the Craft Council of NL website, the Christina Parker Gallery, and at Jonathon Bancroft-Snell Gallery. Reed will also be one of the artists in residence at Medalta this summer.
Saturday, 25 April 2009
I love that most of you have sent in some little written bit about your work and process. I find it not only interesting to see the work, but also to read how each artist expresses themselves verbally about their work. It's an art form unto itself I reckon. So on that note here's Mickey's words:
Up until recently I kept saying that one day when I grow up I will be a Professional Potter.
Not to say I have grown up but I am a Professional Potter now. There is nothing much better than a bottle of cider the right music and freshly wedged clay on the wheel head ready to go. I become base, instinctual, feral, free.
I am in love with my craft.
My art loves me back just as hard.
I am self taught and have fit my Art Life in and amongst my other Lives.
Sewing-Writing-Inventing-Wife-Reading-Baking-Painting-Gardening-Homeschooling-Mama is the name of my other Life.
Oh most of you reading this know all about that kind of thing don't you?
I have been Potting for twenty two years now.
Teaching art classes on and off for seventeen years.
I love that I can bring my babies with me to teach classes.
I love that I can host classes in my space with my family helping out sometimes.
I love that I can fill a big basket up with " my fresh hot pottery", walk it to a nearby business and sell most of it right on the spot.
Life that mingles the day to day family kind of stuff with the passion and obsession of being a an Artist.
It can be asking a lot of a person sometimes this Artist-Mama-thing.
I know no other way. Intense is good.
I am a Ceramicist Doing the abcedarian work of connecting my Soul's Sight to a process.
For me the Process is Clay work. Now if I could just sell for what "Soul Speak" is actually worth worth! ha-hah !
That is the trick with any of our Art Work isn't it?
I have one Gallery representing my work at the moment.
Cedar Corners in Tofino on Vancouver Island. Otherwise I sell out of my Studio.
So, if you feel the need to buy some Fresh Hot Pottery lets talk...
Meanwhile, be well my Artist Friends!
Thursday, 23 April 2009
"I explore traditional and popular concepts of wheel thrown pottery while challenging works that are typically representative of the pottery wheel.. Some of my more recent works are an exploration of movement, both in the sense of movement involved in the creation of the vessel forms and, more metaphorically, as a social concept within artistic and craft practices."
Wednesday, 22 April 2009
I know it looks like knitting, and it is...but it's also fired ceramics! No April fool's I promise. This gorgeous work is by Helen Martin who I was lucky enough to study with when I was over in Australia a few years back. This body of work she's been producing is so interesting in how it combines the time consuming processes of both knitting and ceramic work. Knitted objects are so enticingly tactile to me, as are ceramics I guess, but I love the trick these pieces play with the expectations of the viewer.
Here's her artist statement about the work:
"Does your mother knit? Did your granny crochet?
My work celebrates the making process. The act of making takes me out of the present, into a gentle space where I can daydream to my heart’s content. This love of making is the common thread that ties me to other women and other generations in my family.
The need to make is closely connected to the needs of the domestic environment and nurturing a family, but it serves also to nurture and satisfy the self. Essentially, we, as makers of objects, are also making time – time for ourselves.
I make textile-like ceramic objects, bowl and plate forms, that are, in fact, twice made. Firstly, in relaxation mode, I knit and crochet simple forms from pure wool – square, rectangular, round. I then soak these in glaze, dry them, and fire them in the kiln. The wool burns out leaving the detail captured in glaze. It is this transformation, accompanied by its inherent technical challenges that drives me and excites me."
If you're in Melbourne make sure you take the time to see her work in person at her exhibition at NORTHCOTE POTTERY SUPPLIES Pan Gallery, which runs from May 1 to 27, opening reception on April 30th. Check out their website or blog for more info. Guest speaker is Kevin Murray, well worth the trip out.
Images are by Stuart Hayes, ANU Photography
Tuesday, 21 April 2009
I first came across Jeff's work on one of my many procrastinating days in front of the computer (often spend browsing through etsy, i'll admit it!) I was really drawn to the minimalism and repetition in the pattern of his forms and how they still evoke movement. I love how they play with light and shadow. Thus I was happy to get the opportunity to share it with you during Artist of the Day Month (which is already more than half over...so sad!)
So here's a bit about the work from Jeff himself:
Please make sure to check out more of Jeff's work at his etsy shop www.jefflongtin.etsy.com
Monday, 20 April 2009
There are also images of an exhibition of his work at Prime from January of this year.
Photographs of Matthias Ostermann and his work are available at his web site as well at www.matthiasostermann.com
calling for images for an upcoming new reference book, Ceramics Today. We are looking for
beautiful, professional quality photography of your current artwork in ceramics. All materials
submitted will be reviewed and either a letter of acceptance will be sent or, if the material isn’t
suitable for this project, the return of the materials sent will be forthcoming.
Contributors are also credited on the page with the photo caption information, the introductory
information about themselves, as well as in listings providing each artist’s contact information.
For each artist participating, we need:
1. A brief description of your work and the techniques employed for use in the text of the book for each item submitted.
2. Examples of the various forms of ceramic art you create, captured in any of the following formats: slides; digital imagery, requiring an image with 400 dpi JPG in Adobe RGB color mode at a 4” x 6” size in the raw or fine data format; transparencies; or glossy 4” x 6” or larger photographs. All materials need to be properly identified for return once the project is complete. These need to be high quality images you would be proud to enter into any juried art show ... considering they will be in print for some time to come throughout the United States, as well as in England, Italy, and Japan. Materials accepted for the book remain safely with the publishing house until the book is finished and are then returned to the contributors, after approximately 6 months after receipt of the final contribution.
3. Caption: Artist’s name, title of art, identification of object form, media, technique, measurement, date, courtesy line as needed (i.e. both contributor’s and photographer’s credit).
4. Please provide a return address so your materials may be returned when this project is complete and identify each image with your name.
For more information, please contact:
Jeffrey B. Snyder
4880 Lower Valley Road
Atglen, PA 19310 USA
Ph: 610-593-1777 / Fax: 610-593-2002
I was instantly taken by Anna Freeman's work when it turned up in my mailbox. Not only are her works terribly evocative of the beauty of the clay material, but her subject matter is moving and puts the viewer in a place where they can't hide or avoid the issues she presents.
Here's a bit from her artist statement:
"My work draws attention to a range of issues, including food-borne pathogens, monoculture, irrigation and water shortage, the use of corn for fuel production, and colony collapse disorder in honeybees: a syndrome that has caused massive die-offs of these vital pollinators. Through my work, I hope to generate a deeper contemplation about the sources of our food, its processing, and its impact on the environment and our bodies."
Take the time to have a look through the work on her website. She's created an interesting dynamic between presenting the charged subject matter in a material that is a part of the debate - the land - and serves up her subject matter relating to food on the objects themselves upon which we eat. There is also some great tile work and make sure you find the delicate slipcast "waste" pieces, they're some of my favorites.
Sunday, 19 April 2009
"This vase has an iron oxide slip on it's rim. As it melts, the weight of the oxide is dragged down by gravity (Newton was right) hence the effect. I live less than 2km. from an Iron bark forest. The colours on this rim are similar to the colours found in this forest and the Australian bush, of which I never cease to be inspired by."
Also make sure to follow Andrew's blog for more about his work, his thoughts, you know the usual good blog stuff.
Saturday, 18 April 2009
I love the how she mixes contemporary design, graffiti and ink art aesthetics with ceramics making her visual style very unique.
Julie's currently a grad student am I'm looking forward to seeing how her work evolves during that intensely focused time. Here's a peek at some of her new work in progress. You'll have to go and have a look at her website to see the finished results and the rest of her fantastic portfolio.
Friday, 17 April 2009
Today's artist is another Sask resident. I've got a lovely leaf plate of Teresa's that my little guy loves (and hopefully won't break anytime soon!) Teresa's a member of Saskatoon's potters guild so if you're in the province you can catch her at their twice yearly sales or at other provincial markets and shops. Make sure to check out more of her gorgeous work on her blog.
Thursday, 16 April 2009
The above tumblers are Zack's and below is a tea set by Adrienne.
In their words: "We make tableware and other functional pots from porcelain and stoneware. Adrienne focuses on traditional forms, and Zach focuses on contemporary forms. The clay we use comes from the Cypress Hills, which is about a two hour drive from the town of Maple Creek. Some of this we process ourselves, and the rest is processed by Plainsman Clay in Medicine Hat."
I think there is a really interesting dynamic between their styles, they work really well together but are nicely unique to each maker. Check out their blog and website for more info, oh and don't forget their shop too!
Wednesday, 15 April 2009
"Andrew Walford lives in Kwazulu Natal with his wife Leanda and four children in the rolling peace of the Shongweni hills, halfway between Durban and Pietermaritzburg.
Indigenous bush surrounds his mountain studio and working alongside Gumede, his Zulu handyman, Andrew draws much inspiration for his decoration from the many trees and birds there.
Andrew Walford is one of the few potters who digs his own stoneware clay and meticulously prepares it to his own high standard. Working in the Japanese tradition with thick chun glazes sifted by hand from wood ash, colours of rich resonant tenmokus, fatty whites and shades of celadon, he then decorates the pots with specially imported Japanese brushes.
The kiln which he designed and built himself is fired about eight times a year with paraffin oil to a temperature of 1380 degrees Celsius. It takes 18 hours to fire and 3 days to cool."I'm not sure which I'm more jealous of - Andrew's beautiful spirited brushwork or the exquisite landscape that is the backdrop to his life. Thanks for sharing!
Tuesday, 14 April 2009
I promised you more about Steve Grimmer and his work when I posted about the "Steve Show" a few weeks back, and i'm sure you all went and saw it, right? I wish I could have.
Steve's been teaching and making pots at University of Manitoba since 2005. As he says: "It's a great job in a nice, if under-appreciated, part of Canada. Lately, my work has focused on one particular form, that of a dome on a square or octagonal base, and one or two glazes. I'm inspired by the sacred architecture of the Middle East, and by the exchange the ceramic artists there had with their counterparts in China."
Definitely find the time to check out his blog. The medium bowl with the rosetta on the base and on the interior is the stuff dreams are made of, well mine at least... absolutely gorgeous, trust me...go have a look. And while you're there have a peek at the link to the U of M clay club blog "Quartz Inverters" for some great technical info.
Monday, 13 April 2009
Friday, April 17, 2009 ****Please note corrected time!
12:00pm - 1:00pm
Location: Tiffany Room of the Park Avenue Armory
Street: Intersection of Park Avenue & 67th Street
Editor Mary Barringer and artists Jeff Shapiro and John Glick will discuss The Studio Potter Jounal's role in influencing and reflecting the evolution of contemporary studio practice. Mary will give a brief overview of the history and mission of SP, and then open the discussion up to talk about the relationship for artists between studio practice and writing; how words and the journal function for us - to reach an audience, to advance an argument, to clarify our own work, to teach, to foster a more nuanced understanding of what contemporary ceramics is about. Questions and comments from the audience will be taken and encouraged.
Drink It In
Exhibition dates: June 5–July 3
Open to functional and sculptural interpretations of drinking vessels.
Juried from digital.
Fee: $20 for three entires.
Contact Jennifer Barbe,
The Gallery at The Potter’s Shop and School,
31 Thorpe Rd.,
Needham, MA 02194
P: (781) 449-7687
Dates: August 27–31
Contact: Guangzhen Po Zhou,
Chinese Ceramic Art Council,
1155 S. De Anza Blvd.,
San Jose, CA 95129
Todays pics are from artist Amy Hankins who spends half of her year in up in Alaska and half on the Oregon coast. A beautiful mix if you ask me.
In her words: I've just finished participating in my first wood firing at the Astoria Dragon Kiln, a traditional Anagama built in 1983 in Astoria, Oregon. I am very much drawn to the wood fire aesthetic, the look, the feel, the community to fire. During this process I've realized that I have been on the wrong path! So, I guess when this happens you just change your shoes for the new path and see what lies ahead!
(we've all been there Amy!)
I do mostly live in Alaska but spend the winters here on the Oregon coast for the Dungeness crab fishery that our boat participates in. The great thing about coming here for the winter is that yes, I eat a lot of crab but I have to opportunity to continue my ceramics education at the local Community College, something we don't have nearby in Alaska.
The pictures above are a cup from this last firing with a shino glaze on the inside and a ground local clay ongobe on the outside, I'm showing three pictures of the same cup. The second is a lidded jar, shino glaze, thrown as one piece and then split at leather hard stage. And these below are new additions: