Sunday, November 30, 2014

You Got Hmmmm

I've been thinking a lot about how the idea of function influences how I view what's sitting in front of me.
I know for a fact, that if a work is seen as "craft" or "functional", it's no longer eligible to be judged as a medium of Art.
I totally get it...
There's a whole lot of functional crap out there made by all of us.
To be clear though...
there is also a whole lot of crap paintings, sculpture, jewelery, glass and "what not" out there at any given time.
To dismiss functional ceramics out of hand just seems like somebody is just clearing the field.

So if a canister essentally becomes a "Doorstop" by giving up it's function,
does it become a candidate to be seen as Art?

I've started firing the lids onto a handful of what I consider Top Notch works that are coming out of the studio.
I think it's valid, but honestly, it really hurts.
Pots are pots.
But after talking about it with my kids, it's quickly coming down to presentation.
This means basing works and formally presenting them as formalistic sculptures.
The up-side is that by adopting this perspective, 
Now all bets are off.
Go Operatic.
Go Big.

Playing the Angle

Yeah, yeah, yeah...
I know.

I have to play with this cliche of form. 
There's just so much possibility.
Cliche or not, this is just round one.
It's been pointed out that the surface and form working together just makes everything "Busy".

 I think I agree...
I think.
Maybe it's just a matter of content.
When I stop and think about it,
  the aggressiveness of the surface might nicely support the "Cock Fight" motif that I've been wanting to play with.

Kick'n the Corpse

 I want to say "Thank You" to everyone who chimed in to help solve my body bloating problem firing this cone 6 Cassius Clay body off.
Simply slow firing to cone 5 worked very well.
My white liner didn't mature at 5 so I refired to 6. I was wondering how this would work out, but the body did just fine in the refire. 
Unfortunately, the liner glaze went south.

This was supposed to be a toasted marshmellow glaze.
Strike two...
I'll post the Marshmallow glaze once I figure out WTFH happened.

I actually kind of like the effect of the messed up liner.
Personally, I enjoy something joltingly different, and because the claybody is perfectly fine. I'll just grind and sand the interrior and lip to see how this changes the works' grace.

Friday, November 28, 2014


Been revisiting the sketchbooks, entertaining myself by seeing if I have gotten to a place where I can actually make what's been designed.
When I'm in my Happy Place, I draw without thinking whether I could, (or better yet whether I should), make what's running through my head.

Lord knows how much is self-censored in the name of marketability in our studio.
Hell, just getting a photograph of bare clay black on black work is daunting. That alone is usually enough of a reason not to contine making a series of work.  
Issues of shippability due to scale and proportion really don't help at all either.

But I like 'em.
I like this path.
I like seeing these ideas move through from rough sketch to finished work.
I like feeling the surface. feeling it's weight and balance.
How they play with space and profile.
Figure and balance.
I like exploring each piece and enjoying playing with skills that I've incrementally built up. Playing without a thought given to accountability to a mythic market..

Tuesday, October 14, 2014

Cup: The Intimate Object X

Since grade school, I've vigorously held to the idea that, "just getting chosen to remove my butt from the bench and get a chance to participate in the game at hand is my personal victory." I quickly got used to being on the loosing end as well as the winning end pretty early on. I did quickly figure out that I didn't like being part of the middle of the pack, and because of that point, I tend to romanticize preforming at a level that lets me find myself among the varsity team.  

 And what an amazing team it is this time.
So much talent,
so many diverse visions,
so many passions.
It's a wonderful cross section of contemporary studio ceramics.

I can't help but be honored to just be part of the choir.
The Charlie Cummings Gallery really raised the bar!

I really enjoy just getting to share my work.
I need it to be seen, but if I could ask for anything, I would ask for anyone that enjoys seeing my work, invest in a purchase...
I promise, you won't be disappointed.
Money really does help validate the work in the eyes of the galleries, These are the Gatekeepers that I'm hoping that will ultimately help let me inside the gate.
For me, this isn't about money or prestige.
The activity of my studio is about creating a conversations and connections, and without realizing either of these two activities, the function of my studio stumbles.