Thursday, 27 February 2014

Mythology Meets Archetype @ The Northern Clay Center

Mar 14 to Apr 27
Mythology Meets Archetype is curated by Heather Nameth Bren, NCC exhibition committee member, professor, and ceramic artist. It will feature the artworks of Christie Brown (London, UK), Philip Eglin (London, UK), Michelle Erickson (Yorktown, VA), Bonnie Marie Smith (Kingston, NY), and Vipoo Srivilasa (Melbourne, AU). The works in the exhibition will respond to personal, cultural, and religious myths that have grown out of the desire to know (or the posture to know) the unknowable. Symbols of the god figure, the mother figure, the self, and the demon have been used to describe ancient and contemporary narratives. This archetypal cast of characters is employed as agents of one’s personal or cultural identity, spiritual devotion, and even power to control the masses.

Vipoo Srivilasa will be in residence at Northern Clay Center prior to the exhibition working with community members on a collaborative project. Stay tuned for more information!
2424 Franklin Avenue East, Minneapolis, MN, 55406

call for entry: The 4th International Triennial of Silicate Arts

Born from an idea by János Probstner, founder and former director of the International Ceramics Studio, the 1st International Triennial of Silicate Arts was held in 2005 in Kecskemét, Hungary – expanding the tradition of the National Silicate Industrial Triennials of the 1980's into an truly global event.

Organised by the Foundation for Contemporary Ceramic Arts, the 4th International Triennial will again include an international competition, an exhibition and an international ceramics symposium.
The venues for the Triennial are based in Kecskemét, a large market town 80 kilometres south of the Hungarian capital, Budapest. Kecskemét has long been renowned for its support of cultural events and has a long tradition of artistic endeavour. The Triennial exhibition will take place in the Kecskemét Cultural and Conference Centre. 

The theme for the 2014 Triennial is "NEW ENERGY". 

The organisers expect artists to use the given theme with complete freedom and innovation.
The works must be in clay, concrete, porcelain or glass and artists are free to choose the technical methods and approach to the given theme. The objects must be original works and not previously prizewinning works in any international competition. 

The aims of the triennial are to stimulate both fine and applied artists to create works which give scope to the industrial and artistic application of new materials and technologies, encouraging the widening of directions in 21st century silicate arts. 

Application deadline: 30 April 2014 

The exhibiton of the 4th International Triennial of Silicate Arts will be held from 3 August to 7 September 2014 in the Kecskemét Cultural and Conference Centre.
The official languages of the Triennial are English and Hungarian.

Tuesday, 25 February 2014

call for entry: El Concurso Internacional de Cerámica de l’Alcora

Deadline for submitting applications: March 9th

Find all the details here:

call for entry: Zanesville Prize for Contemporary Ceramics

Total Prizes: $30,000
Best of Show: $20,000
1st Place: $5,000
2nd Place: $3,000
3rd Place: $1,000
Honorable Mention: $500 (2)
The Muskingum County Community Foundation (MCCF) in cooperation with the Potters Council, Zanesville Ohio Ceramic Arts, and the Artist Colony of Zanesville is seeking entries in functional, sculptural, and tile ceramics.
Three jurors will jury the competition:
Sherman Hall (Editor of Ceramics Monthly) (Columbus)
Brad Schweiger (Professor of Art at Ohio University) (Athens)
Angelica Pozo (Ceramic Artist) (Cleveland)
Entrants: Open to all ceramic artists worldwide.
There will be up to 100 pieces chosen. The recommended size of work is a base of no more than 16’’ wide or deep and a height of not more than 31’’ tall. Works may be larger than the recommended size, but the artist must pay for return shipping if the larger piece does not sell. Shipping costs of international works to be returned to a destination other than an address in the United States must be paid by the artist.
No ceiling-suspended works will be accepted. Only very limited on-site assembly of multi-part works will be possible. Works must be made primarily of ceramic materials and be predominantly the work of the artist. The artwork must be no more than two years old on the date of entry.
     Opening date for submissions: January 15, 2014
     Deadline for receipt of entries: July 15, 2014
     Notification of acceptances: August 15, 2014
     Delivery of accepted works: September 15-22, 2014 (including hand delivery)
     Exhibition Dates: September 27 – October 12, 2014
A fee of $40 (check or money order USD) covers up to three (3) entries. Checks are to be made out to MCCF and must be drawn on a US bank payable in US funds. Artists of entries selected for the competition will be notified by e-mail, so be sure to include your e-mail address. If you wish to be notified by regular mail, please include a self-addressed stamped envelope. You may also submit your entries online at the MCCF website at
MCCF will insure all works for the duration of the exhibition. All entries will be for sale. MCCF will take a 30% commission on the price of each work sold.
The artist is responsible for all shipping costs and shipping insurance. There is no loading dock at the show location so if the works are shipped by truck, they will need to be shipped on a truck that has a lift gate. Please pack ceramic work accordingly. Unsold items will be returned in same shipping container and shipped to the address on the application. MCCF will pay the return shipping costs for all unsold items of the recommended size or smaller. The shipping costs of larger works and works shipped outside of the United States are the responsibility of the artist.
Accepted works must be delivered September 15 – 22, 2014


Format: high-resolution JPEG image, at least 300 ppi, on CD or flash drive (if submitted by mail) or uploaded through the online entry form. All submissions must be on CD or flash drive or uploaded through the online entry form; no slides, prints or submissions by email.
Begin each file name with the surname of the artist, followed by first name, and name of work (example: smith_john_bluevase.jpg).
Include the printed entry form with the CD or flash drive. Begin each file name with surname of the artist (example: smith_john_entry_form).
Limit of three entries per artist. Maximum of two views of each entry may be submitted.
For multiple views, please label them consistently. (example: smith_john_bluevase1.jpg and smith_john_bluevase2.jpg).
Include the statement on the CD or flash drive. Begin file name with surname of the artist (example: smith_john_statement).
Each entrant must additionally include a short description of the techniques used and what influenced the creation of this work on the CD or flash drive in .doc(x) or .pdf format.
If you do not follow submission requirements, your entry is subject to disqualification.
Download a PDF version of the Zanesville Prize Call for Entries that includes the Entry Form.
You may also submit your entries online at the MCCF website at

Craft Artists' Income via CERF

Read the whole article on the status of American Craft Artists' over at:

And make sure to add your voice to the conversation.

I thought this was interesting being that it's tax time and I have to go through my numbers from the last year. No comment as to where I would place....I personally would like to see a hands up as to who is that 3% in the emerging category that's bringing in 100k + : )

Now I'm off to see if I can find a Canadian comparison. Anyone know of one?

employment opportunities: Alfred University

Date Posted: 2/17/14
Position Title: Raw Materials Technician
and Grade:
Technical Specialsit

Location: Ceramics Grinding Room
and Duties:
Locate, order, and test raw materials, as well as keep up-to-date concerning new raw materials and products. This includes researching and proposing suitable alternatives to obsolete materials, providing information to faculty and students regarding materials properties, and advising as to which products may best suit their particular needs.

Store materials when received and perform semi-annual physical inventories. This involves lifting heavy bags of materials.

Keep proper records in connection with the undergraduate and graduate glaze labs and individual student purchases in the store. Manage accounts payable and accounts receivable activities for the Grinding Room.

Maintain and periodically update the Grinding Room website.

Research and implement a digital library with consistent photo images of glaze/clay/reduction results, images with formula/recipe accessible on web site.

Research disposal methodology for semi-solid non-hazardous waste.

Supervise and inform students regarding the use of equipment, mixing procedures, materials use, and substitution. Provide instruction and supervision to students in safe and competent use of raw materials, mixing equipment, and laboratories.

Maintain a clean and safe working environment, including the basic upkeep of equipment and facilities. Manage and conduct safety training and ensure compliance with safety rules, regulations, and protocols.

Participate in University safety training and comply with safety rules,
regulations and protocols.

Participate in material tracking from procurement to disposal regarding hazardous material handling techniques.

Develop a digital library of glaze samples and formulas.

Assist the Kiln Specialists in the kiln room as needed.

Supervise student assistants.

Perform additional duties and assist with special projects as assigned.

Requirements: Formal Education: MFA in Ceramic Art preferred; or BFA with related experience in the field (ceramic supply store experience or equivalent). Other undergraduate or graduate degrees will be considered with related experience in ceramic art materials.

Experience: Working knowledge of materials and applications for all ceramic art applications; experience in making ceramic art, preferably a practicing artist.

Additional Knowledge/Skills: Must be able to lift approximately 50 lbs.

Must be able to operate heavy equipment, including forklifts and dump trucks.

Knowledge of kilns and clay mixers’ operation and maintenance.

Send cover letter, resume, and list of three references, one of which is previous supervisor, to Raw Materials Technician Search C/O Anne Currier, Ceramics Chair, Harder Hall, One Saxon Drive, Alfred NY 14802. Review of candidates will continue until position is filled.

Alfred University actively subscribes to a policy of equal employment opportunity, and will not discriminate against any employee, student or applicant because of race, age, sex, color, sexual orientation, physical or mental disability, religion, ancestry or national origin, marital status, genetic information, or political affiliation; minorities and women are encouraged to apply.

technical tuesday: Red Lodge Clay Center - Loading the Train Kiln

Red Lodge Clay Center - Train Kiln from Perry Haas on Vimeo.

Sunday, 23 February 2014

emerging artist: Mayumi Yamashita

Artist Statement:
People make us happy but also angry and disappointed. People are curious but also foolish. We never seem to learn, despite knowing deep down that we’ve taken others for granted and knowing that we shouldn’t have. ​

​Mayumi’s work deals with our emotions, relationships and everyday-life and incidents with a twist and a hint of humour. Why doesn’t humanity learn from mistakes of the past? Why is it that we create things of beauty but we also destroy them? Why is humanity so “wonderful”? She plays with these questions and creates ceramic sculpture inspired by what we do, what we are and how we live. ​

​She aims to create a fusion between man-made and natural forms and objects in her interpretation of humanity. By adding tiny human figures to these forms, Mayumi’s work offers a unique perspective on humanity:​

​​‘Without the small figures, my work might be just an object but as soon as I put teeny tiny people onto the piece, it starts to tell a story itself. I enjoy playing with it and have been fascinated with how the tiny thing affects whole piece.’ ​

​Mayumi’s work is narrative but doesn’t always tell the whole story allowing the audience to project their emotions and ideas into the work and to interpret them in their own way.​

​‘I’m not trying to shake people’s shoulders and tell them that we should appreciate each other more. My work is nothing like as “noble” as that. I just want to see how the audience interacts with my pieces and how they make up their own stories and how they often seem to giggle. That’s all I want.’​

Saturday, 22 February 2014

emerging artist: Caleb Zouhary

"The inspiration for my work comes from food presentation.  People go to great lengths to present their meals in an eloquent manner, and my work serves to aid in their presentation through the form, function, and surface treatment of my wares. I reference specific foods when creating my functional vessels, and I work to create a form that will compliment that meal to its fullest potential.  My ceramic vessels are based on traditional forms, but as the designer, I am able to alter them in ways I think will enhance their functionality.  I further the idea of presentation in my work by finishing the pieces with colors and patterns that will compliment the food being served with them."

Thursday, 20 February 2014

residency opportunity: Caldera Arts Center

Every winter we invite artists from all over the world to our Caldera Arts Center near Sisters, Oregon

Artists are provided private A-frame cabins and share access to wet and dry studios, a darkroom, a kiln, editing facilities and rehearsal and performance space.

Because we believe a range of backgrounds enhances the communal experience, residencies are open to artists from any field, as well as scientists, engineers and environmentalists.

Caldera’s Artists in Residence program offers the gift of time and space. Residents are given a cabin, 24-hour access to studios and the time and space to create.Residents are responsible for food, travel, materials and other expenses.By design, the residents form a small community of 5–12 artists, depending on the group. A weekly meal is shared and collaboration is encouraged.
Artists aren’t required to finish a project during their residency, but share their work with the local area community in Open Studios events at the end of each month. Artists are also encouraged to do outreach projects with Caldera youth and in neighboring schools in the Sisters area.
Occasionally, calls for applications for teaching residencies are announced at Caldera. If you would like to be notified of these opportunities, please email AiR Manager, Elizabeth Quinn.

Residencies last one month, and take place in January, February 
and March. 
The due date for applications is June 15. 
Panels meet in late summer to review the applications, and 
invitations are made in early September.

Full details here:

Emerged: After the Residency @ Lillstreet Gallery

Emerged: After the Residency
March 14 – April 20, 2014
Reception: Friday, March 14, 6-8pm
Curated by Bill Griffith, this exhibition features new work by eleven exciting artists who have who’ve recently completed ceramic residency programs.
H.P. Bloomer (Carbondale Clay Center)
Chandra DeBuse (Arrowmont)
Matthew Dercole (Lillstreet Art Center)
Virginia Jenkins (Pottery Northwest)
Peter Christian Johnson (Archie Bray)
Megan Mitchell (Red Lodge Clay Center)
Lindsay Pichaske + Jess Riva Cooper (Archie Bray and Lillstreet Art Center)
Kate Roberts (Anderson Ranch)
Kensuke Yamada (The Clay Studio)
Lilly Zuckerman (Clay Studio of Missoula)

From the Curator:
“Residency programs provide a unique transformative experience, usually outside of an academic setting, often at pivotal times in an artist’s career. At their best, these programs support artists with the gift of time and an atmosphere that encourages experimentation, professional and personal growth, and lots of questions and sometimes only a few answers.  Residencies also play an important role in providing a community of peers for a period of time while continuing to expand the circle of artists, educators, mentors, and collectors outside of that community.  In the end, residencies are as much about discovering who we are as artists and people as they are about what we make.
Emerged: After the Residency is especially personal and important to me having experienced the “emergence” of over 100 early career artists through my work as residency program director at Arrowmont School of Arts and Crafts since 1992.  In order to be considered for this exhibition, ceramic artists must have completed a residency program within the past 3 years.  I reviewed the artwork of many artists, some of the work I saw in person and some of the work through only images in websites or publications.  In making my final selections for Emerged, I chose artists whose work engaged me aesthetically, awed me technically and maintained my curiosity without having to read the titles or artist’s statements.”

About Bill Griffith
Bill Griffith is a ceramic artist and the program director of Arrowmont School of Arts and Crafts in Gatlinburg, Tennessee. He received a B.S. degree in Art Education from Indiana State University and an MA in Ceramics/Art Education from Miami University, Ohio. During Bill’s tenure as Assistant Director and Director of Programs at Arrowmont he has initiated and managed a long legacy of new art education programming and created the Artists-in-Residence program which is now in its 20th year providing opportunities for early career, emerging artists.

Monday, 17 February 2014

residency opportunity: Medalta 3 different residency options

The application deadline for all residencies is April 15th, 2014.
Download the AIR Application Form 2014.
For more information, flip through our online Blurb Book.

At its core, Medalta’s residency program is about bringing artists together in an environment that promotes creativity through community. The residency concept creates an opportunity for ceramists – who, for the most part, work individually – to re-enter a community atmosphere and take part in a rejuvenating dialogue, while working with like-minded artists. Our program seeks to benefit artists at all stages of their career, from students, to established artists. Each resident brings a wide variety of technical and aesthetic skills to the experience.

2014 Long-Term Residency @Medalta

Here’s a chance to really engage in your studio practice.
Un-interrupted time, access to amazing resources, a creative atmosphere, fully appointed studio, a museum, a decommissioned brick yard and a decommissioned china factory. All located in the 150 acre Historic Clay District in Medicine Hat.
Seriously, a whole part of town dedicated to both, ceramics (the materials) and ceramics (the practice).
$345/month (CAD)
Apply now

Fee includes:
  • 24 hour studio access
  • Full access to the entire Historic Clay District site
  • All firings included
  • Glaze materials in test quantities
  • Use of shop glazes
  • Teaching and employment opportunities
  • Exhibition opportunities in our on site contemporary art galleries
Artist responsible for:
  • Materials and clay
  • Accommodations
6 spaces
Application deadline April 15, 2014

2014 FLEX @ Medalta

No, this isn’t some kind of Atlas Gym-sponsored weightlifting competition …
If you aren’t able to take a year for a residency and our summer residencies don’t fit your schedule or you have a special project you want to focus son, our Flex Residencies are probably what you’re looking for.
The idea is pretty simple – if you have an idea and simply need the space to create (whether it’s for two months or eleven), apply for a Flex Residency and come create at Medalta.
$475/month (CAD)
Apply now
Application deadline April 15, 2014

Summer 2014 @ Medalta

What are you doing this July and August? Another great short-term opportunity for someone who has the drive to create amongst the rattlesnakes, tumble weeds and amazing industrial heritage in Medicine Hat.
Whether you’re a student, professional or anyone who wants to further explore your ceramic art practice, this two-month residency is a great opportunity to fully immerse yourself in ideas and process.
As always, you will be joining our  full-year resident artists so the creative buzz is in the studio and you can actualize your ideas the minute you arrive.
$975 for two months (CAD)
Apply now
Fee includes:
  • 24 hour studio access
  • Full access to the entire Historic Clay District site
  • All firings included
  • Glaze materials in test quantities
  • Use of shop glazes
  • Exhibition opportunities in our on site contemporary art galleries
Artist responsible for:
  • Materials and clay
  • Accommodations
7 spaces
Application deadline April 15, 2014

Still have questions? We’d love to answer them for you. Contact us.

All material must be submitted in hard copy and arrive by mail, courier, or submitted in person to:

Medalta International Artists in Residence
713 Medalta Ave SE
Medicine Hat, Alberta, Canada
T1A 3K9
NOTE: All application materials need to arrive on or before the application due date. Late applications will not be processed.

Your application package must include each of the following items. Incomplete packages will not be considered.

1. Completed application form.
2. $25 non-refundable application fee.
3. Ten images of recent work in jpeg format on a CD. (images must be high-resolution (300 dpi). Do not submit images embedded in a program such as PowerPoint or Microsoft Word.
4. Image List stating Title, Medium and Size.
5. Bio (100 words max.)
6. Artist Statement (100 words max.)
7. Curriculum Vitae
8. Two references with name and contact information.
9. Residency proposal letter stating your intended course of exploration during your residency.
NOTE: Please include a hard copy as well as a digital file of all documents on a CD.
If accepted, you will be notified within two weeks of the application closing date.

Find out more about Medalta here

monday morning eye candy: Sun Ae Kim

Sunday, 16 February 2014

emerging artist: Marah Gaiti


artist statement:
 As human beings we are innately social and communal. We seek each other out, interact with one another, and respond to both our environment and each other.  Our relatives, friends and the people we interact with on a daily basis are all part of the social unit that shapes our environment. 
I was born and raised in Venezuela and from a very young age my family often traveled within and outside of our home country. At the age of nine my family members began moving to the United States a few at a time, where we were completely submerged into a different culture. During the move, some family members moved back and forth between Venezuela and the US , creating a flux of family members in our household. My exposure from a young age to change in my surroundings, family and home  arouse my interest in the ideals of family and community.
In my ceramic work, each piece  is a community. The high relief areas represent the environment, the driving force in the community. Each carved line is an individual within the community,  interacting with one another, responding to both the environment and each other. Together the lines create units. Units coming together to create a whole.


Thursday, 13 February 2014

Common/Opposites and Trial by Fire Opens Tomorrow!

The Kootenay Gallery will be opening their new season with an exhibit of work by the internationally renowned ceramic artist Les Manning.  The pieces found in Common/Opposites are a bold departure from his past collections which, while sculptural in spirit, were typically traditional, utilitarian vessels: pots, plates and bowls. The 19 sculptures that make up this exhibition, have been described as playful, using contrasting forms, textures and colours to reflect Manning’s personal experiences and knowledge of Canada’s landscape. His knowledge of his medium is obvious. He uses the qualities of ceramics to “describe” this landscape combining the rough, dark stoneware with smooth porcelain using intense glazes of pink, yellow, blue, green and orange. The result is an unexpected, yet delightful surprise.

Les Manning’s artistic career spans over 40 years, from studio potter to senior arts administrator. He is one of the founders of the Alberta Craft Council; he ran the prestigious Banff Centre ceramics program and was an active member of the International Academy of Ceramics. His work has been shown around the world, and is held in private, corporate and public collections, including the Canadian Museum of Civilization. Les Manning received the Order of Canada in 2012.
The exhibition Common/Opposites was curated by Joanne Marion and its tour organized by the Esplanade Art Gallery, Medicine Hat, Alberta.

Also showing in the adjoining gallery space is the work of two West Kootenay ceramic artists, Robin Dupont and Pamela Nagely Stevenson. The title of their exhibition, Trial by Fire, reflects the specific technique used by these artists, ancient in its origins yet complex in its process. While time consuming, and labour intensive those who choose this method do so for the effects achieved. Years of commitment and dedication to perfecting their craft are reflected in the rich, colours and textures found in their work. This exhibition is curated by Helen Sebelius.

The opening reception to be held on Friday, February 14th at 7:00 will include a dialogue between the artists and the curator in which they will discuss their choice of technique and how it informs their work.  For more information call (250) 365-3337.

Wednesday, 12 February 2014

call for entry: Sydney Teapot Show 2014

Claire Locker - overall winner 2013 
Tanya Bechara

"The Inner City Clayworkers Gallery in Glebe are currently looking for fresh new entrants for the Sydney Teapot Show 2014. If you have not entered before (are not already on their mail-out list), and you have at least a Diploma in Ceramics, why not take part this August? Have a look at our website to see winners from 2013.

To be considered, just send your CV and photos of examples of your ceramic work to our email:
If we like what we see, we will include you in our mail-out of entry forms which will include details of the 2014 categories and prize values.

Denise McDonald


movie day: Forms In Succession #5

Porcelain sculpture by Shigekazu Nagae, 'Forms in Succession #5', 2011, Powerhouse Museum Collection.

This beautiful porcelain sculpture, Forms in Succession #5 created by Japanese potter Shigekazu Nagae dances beautifully in this video. The paper look-alike form somehow evokes the aesthetics of origami, Japanese paper folding. Made by using slip-cast techniques, the porcelain speaks of its origin yet shyly introduces itself to international audiences.

This piece was recently acquired by the Powerhouse Museum, supported by The Ceramic Collectors Society in Australia. It was made in the pottery town of Seto, known for centuries as the cradle of Japanese utilitarian ceramics. The family of the artist Shigekazu Nagae (born in 1953) produced thousands of cheap slip-cast porcelain bowls and plates. As a youth, this made the artist feel inferior to individual potters who hand-crafted their ceramics. After graduating from the Seto Ceramics Training Institute, Nagae saw unique artistic possibilities in slip-casting, which he thought other techniques such as wheel turning or hand-coiling could not achieve. He thus created his distinctive sculptural series 'Forms of Succession' of which this work is an excellent example. The Museum acquired the object as a good example of how an innovative idea enables an artist to adapt conventional production techniques, in this case slip-casting, to create new art forms. In addition, the beauty of the piece would no doubt be highly admired and enjoyed by Museum visitors.

This video suggests a new way of museum presentation that differs from conventional methods of display and interpretation. Museums research, collect, document, conserve and display objects. But in this contemporary society, we are not only able to display objects in glass showcases but also in the digital world in a creative manner. In order to enhance understanding of the piece, we decided to film the beauty of the object and to allow it to speak for itself. Thanks to the photographer, Geoff Friend and film producer Leonie Jones for sharing this small experiment!!

Min-Jung Kim, Curator, Asian Arts and Design, Powerhouse Museum, Sydney

Monday, 10 February 2014

Sunday, 9 February 2014

residency opportunity: Kansas State University

Residency Information

Residency Term:  August 15 – July 31
Resident Artists are granted a one-year residency, and may be invited to stay for a second year.
  • 200+ sq/ft Private studio w/sink in K-State ceramics area
  • Adjunct professor status: Adjunct appointments are made for the benefit of the university to allow people from outside the university to contribute to its academic program. In recognition of their contribution to the academic community, the university extends to adjunct appointees residing in Kansas the use of university libraries; employee rates for athletic, K-State Union, and cultural events; and parking privileges.
  • Teaching opportunities may become available but are not guaranteed – One to two sections of Intro to Ceramics for Non-Majors dependent upon enrollment.
  • Exhibition opportunities on and off campus
  • There is no monetary compensation for this position, other than potential adjunct teaching opportunities.
  • 5 hrs/week work exchange covers all clay and glaze materials/firings
  • Participation in graduate critiques 
  • Occasional demonstrations for under graduate ceramic courses
  • Artist in residence is responsible for all personal living expenses
  • Applicant must have a Master of Fine Art degree
Application Deadline: April 15th
All applications must be submitted by email to and include the following materials:
  • Current resume
  • Artist Statement
  • List of 2 references with phone numbers and email addresses
  • PDF portfolio of 10 images of recent work to include title, date, medium, and size for each image (under 20MB)

emerging artist: Rosalie Duligal

My work is from my imagination.
This work in called ''My Tiny Garden''
Each flower is a task to fire they have to be placed on pins just like a real garden it has it's problems to bloom.

Saturday, 8 February 2014

emerging artist: Tilly Troelstrup

Tilly Troelstrup- Artist Statement
What interrupts it? A line carries on its course until its environment jars its path, forcing the line to adjust if it wishes to continue. I layer line drawings on ceramic pots to represent the adjustments and changes we all experience in our relationships to people, places and things.
The ways that clay naturally responds to manipulations creates an environment for my line drawings to respond to. By embracing the handmade qualities of clay and its sensitivity at varying stages, an unintentional dent early on becomes a valley for a line to cross at a later stage. This open minded practice creates opportunities for my most present emotions during making to present new ideas, based on the freedom to express real time. 
A strong interest in writing has led to the discovery of wonderful correlations between the poetics of ceramics and the romance of verbal expression, both highly capable of creating a response unique to each user. Contemporary graffiti, spoken word, disintegrating architecture and fleeting emotions during high stress all influence a passionate affair with reflection, in order to best be present in the moment.
By reflecting on my life’s lessons in abstract patterns on pots, my forms have come to hold a geography of the heart on their surface. Each pot tells a story of an experience whose resulting lesson becomes the story. These experiences to be had are unique to each person, and highly personal, but the larger lessons we learn come to be much the same. It is my hope that viewers are drawn to the abstracted surface and as they follow it around the pot, they reflect and inherently agree to play. The quiet that consumes them as they follow the line is a rare serenity my pots offer viewers, for but a moment, in our constantly rushing society.