Week 16: No Rest For the Wicked

This week's post is a little late because..... I'm on vacation.

"What?!?!?" my slavedriver-self demands.  "How can you take a break NOW when you have a whole new collection to put together?!  You should be working around the clock, not resting on your laurels!"

Well, trust me, I will be working around the clock.  I've never been someone who waits until the deadline crunch to produce work.  Neither my personality nor the nature of the medium will allow me to do that.  But one of the many, many gifts my family has given me is the gift of balance.  It is so easy for me to get so absorbed in my work that I lose perspective on the other aspects of my life.  My family reminds me to stop and take a look to appreciate what I have.

Unfortunately, my slavedriver-self will not take a break with me. Nag, nag, nag! As a compromise I have brought some things to work/play with.  Recently an artist friend and I lamented that we just don't allow ourselves time in the studio to just play without an end result in mind.  So, I've packed up some antique doll bodies, buttons, thread, tags, metal and other ephemera to simply create.  Will these creations end up in a piece or simply decorate the studio I don't yet know.  But the more I work with these items, the more my imagination is stretched.  I'm enjoying the process, not the product.  But most of all, I'm having fun AND keeping the slavedriver-self still....at least for now!

Week 17: Below the Surface

Enhancing my finishes is one of the goals I set for myself this summer. While I'm not inherently unhappy with how my pieces are finished, I wanted to see if the direction of my new collection could be reflected visually as well as conceptually.

Before going forward I think I should provide an explanation of my current process. Bear with me, I'll keep it quick. All my finishes are ceramic, which means that I do not use paint, pencil, or any other substance after the clay has been fired to decorate the surface.  Rather, I apply multiple layers of slips (liquid clay), stains, and underglazes to the texturized surface of the clay to build up a depth of color.  Usually the average piece will have 10-20 layers of color before I am done. Then the piece is fired in the kiln and all the finishes are fired on the piece.

The only exception to this process is the skin of the figure. I have always preferred to keep the skin of the figure the raw, smooth finish of the naked clay. Whether I worked in terra cotta, porcelain, or black clay the skin is always left alone. To me raw clay symbolizes the idea that as humans we are clay to be molded to our fullest potential.

However, as I have begun to work on the contrasting shadows and light in life's journey these finishes have begun to change.  I doubt I will ever be able to change the manner in which I sculpt--my figures are tight and articulated because there is a side of me that is controlling and wants to express the emotional story of the piece.

But this "tightness" as I call it is starting to be contrasted with a looser application of color and mark making.  I am starting to bleed the areas where the skin and costume meet.  How much of what we cover ourselves is an expression of who we truly are or want to be?  Don't we all carry the scars and marks of our experiences, even if they can't be seen?  And, the unblemished skin of my figures are becoming tarnished with stains and washes dripped and splashed on the surface.

As I write this, these changes seem trivial or inevitable, but the to achieve them has been a battle of wills in my studio.  My desire for control has been waging war with my ambition to express the inner complications of each figure.  With each drip I release on the face I agonize about where it is falling and how it will change the piece. I keep telling myself "Let it go!" but that is not my strongest quality.

To declare a truce with myself, I am slightly covering up the drips with a light application of slip and underglaze--because I really can't just let it go. But it turns out that this finish might be just what I am searching for.  Since I have a theater background I like how it creates the impression of pancake makeup that doesn't cover the truth beneath. And, most importantly, it is this compromise of stains and camouflage that reflects the conceptual direction of my new work.  

Also this week:

• Skull cleaning and bleaching (horse, beaver, and ram)--not for the faint of heart.
• Starting shadow guardian series.
• Building, cutting, and reattaching big sitting figure to achieve the desired body position.
• Finishing 34 candles for The Slow Burn.

Week 18: The Slow Burn

Conjoined--being, coming or brought together so as to meet, touch, overlap, or unite. 

                           -Merriam-Webster

Of course the first piece I started working on for Shadow Circus is a project that I have had in the back of my mind for a long time.  I have been mesmerized by images of conjoined twins and thought they would be the perfect metaphor for exploring the light and shadow side of life's journey in this collection.  The good and evil; the light and dark; the creation and destruction.  So often that is how we want to classify the world and our choices in it.  

However, the more I worked on this piece the more the figures began to influence each other.  It became impossible to maintain a strict dichotomy.  The ecstasy of the "creation" figure began to take on tones of fear and uncertainty while the "destruction" figure softened to convey hope and playful potential.  Instead of becoming polar opposites they conjoined to form an infinite loop of creation and destruction and the endless possibilities in each. 

I had been playing with the idea of fire as a symbol, but was unsure of the role it would play.  As I continued the labor intensive process of building this large piece the fire transformed into candle flames.   We light a candle and say a prayer.  We light a candle and make a wish.  Prayers, wishes, hopes, fears, dreams, etc. are all tied to flames that we ignite and extinguish.  And our own mortal wax slowly melts away in our pursuit of life.  

This continuous cycle is such a slow burn and I usually don't recognize how beautifully intertwined these potentials are in my life.  I'm so thankful this process has reminded me of the complexity of light and shadow as I go forward with this collection.  "The Slow Burn" has yet to go into the kiln and transform through flames once again.  What will happen?  How will it change?  Will it survive?  I'll light a candle and say a prayer.



    

Shadow Circus: 18 Week Journey

I am horrible when it comes to keeping up with my blog posts.  At the end of the day, I hardly have the energy to put two words together for my husband, let alone write something coherent for the world to see.  However, this summer marks the beginning of a new chapter in my work culminating in a collection called Shadow Circus that I will be exhibiting in a museum with the very talented Lorraine Glessner at the Marietta/Cobb Museum of Art in Marietta, GA, and a gallery exhibition at River Gallery in Chattanooga, TN.  

For the next 18 weeks I have jumped into the unknown by leaving the show circuit to focus on pushing my work in terms of both technique and concept. Taking myself out of my usual source of income and validation is both frightening and liberating.  I don't have any tools for guidance to arrive at  my destination other than a voice inside that says, "BE BOLD!"  

I would like use my blog to document the process and share my journey with you.  It is not clear to me what I will be sharing at this point.  Perhaps a few conceptual snippets, studio images or angst-filled longings for guidance.  It is probably better not to think about it too much and embark before I lose my nerve.  

I hope you will join me during this process!  

Workshop Winter

I'm so excited to have the opportunity to teach at several different studios throughout the southeast this winter!  The first will be a one day workshop focusing on the head and hands at Atlanta Clay on January 26th.  Next, I will be in Palm Beach teaching about building a torso at the Craft Gallery.  Finally, to coordinate with the NCECA conference, I will be teaching a workshop on the full figure at MossRock Ceramic Gallery in Houston, TX.  I love teaching!  There is so much to share and learn! If you have the time and inclination I'd love to see you!

"Escape"

I am happy to announce that you can now find my work at the incredible Crimson Laurel Fine Craft Gallery in Bakersville, North Carolina.  Owned by David Trophia and John Lara, this gallery boasts some of the biggest names in the ceramic world!  I am so happy to be a part of the CLG family!

I love, love, love trolling around junk shops and antique stores looking for objects to inspire my next piece.  One of my favorite places is the neighborhood antique mall, Queen of Hearts, in Alpharetta, GA.  On May 17th from 6-8pm  I will be displaying some of my work using vintage objects from I acquired from the Queen.  There will also be baked goods provided by an amazing local bakery, Sweet Things.  It is a great opportunity to shop for treasures, snack, and support local female entrepreneurs.

I hope to see you there!!

The flyer for Thursday night can be found by clicking here.

Nourish