Monday, July 14, 2014

Text heavy

     I have this problem with writing on the internet. It's a complete distraction. It requires being on a computer which puts me in contact with social media. I'm not the only one who has these issues of productivity vs. non-productivity in the environment of social media. The experience can certainly be addicting. Lately I've become increasingly aware of the sequence and range of feelings associated with the act of engaging on the internet and it's put me on this path of dissecting (or "overthinking" as some people I know refer to it) what's actually happening in my tiny brain and how I come to fall into a funk about myself as a result. It's all about the patterns. Get an idea to write about or an image to put up, a topic to discuss or throw out there, and in my head I can grab parts of sentences and paragraphs to flesh out later. Go to the iPad or desktop computer to get ready to write and just check email or the deadly Facebook account. And that's where it all goes south, the motivation dissapates like the engery of a wave on a beach after it's crashed. Instead, I find myself scrolling through picture after picture, only 1/10th of which interests me. I jump in with a smart-ass comment or two. I find articles that seem interesting but can only read a small portion before I feel like I'm wasting time. And I am. One, two, three hours later and I've accomplished nothing I set out to do, writing-wise. And physically, I'm at complete odds with my studio work.
     I wondered, why do I socialize on FB? In regular life, reality life, I never socialized that often with that many people at once anyway so doesn't it stand to reason that the constant contact and access to information would create an overload? No wonder my meditation sessions are heavily punctuatued with monkey brain moments. Too much information packed too densely to process. It cramps my concentration, focus and creativity. Nothing gets to gel and reassemble into epiphanies, conclusions and insights. I find myself pondering wistfully over memories of the days when I had pen-pals using actual pens and sheets of paper. Time moved more deliberately. Nowadays, it seems life must mimic high-speed computer trading on Wall Street and why? What is gained from it except more, more, more and then the cicuits overload. 
     One of my FB people on my list recently announced a "sabbatical" as it were, from FB and the computer in general. I love when peope announce shit like that. I find the motivation to announce, "I'M LEAVING NOW. DON'T PANIC, I'M NOT DEAD, IT'S JUST TEMPORARY," amusing. I think we become so enamored of the illusion of the specific kind of reality that digital communication can provide that we fall into thinking if we don't see someone on the internet ALL THE TIME, they might be dead. Closure is a funny thing. Those of us on the internet using various means of social media and digital communication (and there are plenty of human bengs who do not!) have become nothing more than monkeys pressing the stainless steel bar over and over again for stimulation and reward. Not that this method of communication doesn't have its benefits and advantages. Afterall... she said typing on the iPad to later publish to her blog... So what does this address? A need for me to communicate? A need to be heard? Who is listening anyway? Does it matter to me?
     I've made a couple of changes in my life routine recently. One is that I'm reading more paper books. I find that I miss the way I glean information from real books reflected off a page rather than illuminated on screen. Defintiely easier on my eyes. I also comprehend and retain the information on a deeper level in my brain. The information I get off the internet seems to be scattered and as if I read only the headline. Frankly, that's probabaly all I really do. The other thing I'be been doing is more writing in my journals. I have several. I keep them all going concurrently. Some are nonsense words and phrases, phonetic spellings of sounds in my head, others are more like traditional journals, some are strictly art related, general ideas and specific projects. Maybe it's a fetish of mine but it helps me dump what's in my head. It also makes me want to write again from time to time. Perhaps by the time I'm in my seventies, I'll get on that book I've been encouraged to write. 
     Lastly, though, this blog thing is an unsmooth process. If I type on the iPad, I can't upload pictures because the app I use won't resize the images and doesn't access the controls to do so unless I'm using the desktop computer so I often put off blog posts about things that require pictures. Stupid but there it is. Something seeemingly simple becaines a pain in the ass because I have to jump back and forth from room to room or between keyborads just to make a post. Instead, I do nothing. Or get on FB again.

Maybe I'll do text for a while.

Studio time.

Monday, June 9, 2014

Process

Multi-chamber
2012
Stoneware, cone 6 oxidation, glaze, underglaze, slip, beads
11.5"w x 9.25"h x 7.25"d
I don't make my work with a goal in mind. I don't pick an emotion or a point of view or any kind of message. I start with a feeling in my hands. A feeling of volume. I try to encompass that invisible volume. Maybe it's with coils, so that's a slow process and the shape in my mind, under my fingers, the volume shifts and changes and I imperceptibly change the direction of the coils. Or perhaps I close up a slab over a form and seal it. Or I throw an open volume and then collar in and seal up the void. Once I enclose the volume, I step back and start pushing it around until the foundation of the shape stops me and I start to see concrete shapes and textures.
Multi-chamber
2012
As I add details, the form takes on personality and purpose. Working more closely, additional shapes, textures and dimensions beg to be added, subtracted, carved and smoothed out. I go meta. I back up and look again. What did I just make? How did this happen? Where did this come from?
Multi-chamber
2012
I don't plan on creating shapes reminiscent of body parts; it's really what others bring to my work when they look at it. It's not what goes through my head until I get to near the end of the piece and I re-examine what my hands have produced. The pieces tell me multiple stories about my inner self and my observations of the world around me. It's what keeps things exciting for me.
Mother as Host
2012
Stoneware, cone 6 oxidation, glaze, underglaze, slip, wool
8"w x 14.5"h x 7.5"d
Mother as Host
2012
Mother as Host
2012
Mother as Host
2012

Sunday, May 11, 2014

Yay!

Great turnout for our first Red Lick Artisans open studio and even with several downpours, thunder and lightning! What a success! I guess we'll have to do it again...
The parking area was full nearly all day long, with Bruce Hoefer, his brother, Bob and Eddie Shupe directing traffic on Liza Allen Road and parking cars on the side of the road for overflow.
Jason Meeks was hammering all day and entertaining everyone who came out to tour the studios. He and Bruce Hoefer collaborate on a new creation.
My set-up for the day. I met some really wonderful people and made some great sales, including some pieces for a wedding gift! Come Monday, some of these items will head to Damselfly Gallery in Midway, KY, some will stay here at Turning Wheel with all of their lovely pots and the rest I will be listing on Etsy in the coming weeks.
...a write-up in the Richmond Register...

Open Studio at my place resumes Wednesdays through Saturdays 10am-3pm until the end of September. Exceptions right now are the week of July 6-12, when I will be closed. I'll also make announcements for the next RLA tour...

And now...
Happy Mother's Day, Ma!

Saturday, May 10, 2014

Red Lick Valley Artisans Open Studio Tour 2014


Participating artist's in the rain or shine one day 2014 Spring Studio Tour. Mark your calendars May 10 from 9a.m. till 6p.m. 
Click on the poster for a larger view
1. Happiness Hills (Jennifer Rose/Alfredo Escobar), located at 8682 Battlefield Memorial Hwy (end of Big Hill Rd), Berea; 859-582-7014; happiness@jenniferrose.com; Meet painter and illustrator, Alfredo Escobar, and participate in an ongoing mural project that will be installed onsite later in the summer. Jennifer Rose and her daughters, will be welcoming guests to a sing-along, an Appalachian dulcimer lesson, and perhaps dance an Appalachian dance or two!
2. Bill Lennox Pottery, 245 Red Lick Rd, Berea, KY 40403; billlennox61@gmail.com; Bill Lennox makes stoneware pottery in a variety of finishing techniques.
3. Red Lick Furniture (Jerry and Gwen Jones), 496 Red Lick Rd, Berea, KY 40403; 859-985-9666; New solid wood furniture and local hand-crafted baskets.
4. Alley Cat Pottery, 174 Mallory Springs Rd, Berea, Ky 40403; 859-985-5686; alleycatpottery@yahoo.com; With a spectacular view overlooking Red Lick Valley, Kristal and her husband, Rob Gilkey of Alley Cat Pottery make functional stoneware pottery for kitchen and household use. Each piece is hand-crafted and glazed in holding with traditional American pottery and reflects the rich beauty and history of Red Lick Valley.
5. Turning Wheel Pottery, 191 Liza Allen Rd, Berea, Ky 40403; 859-986-5464; info@turningwheelpottery.net;www.turningwheelppottery.net; Turning Wheel Pottery is a working pottery and gallery, open to the public, 10am to 5pm, every day (most of the year). They offer classes and short workshops in wheel throwing and handbuilding with clay.
6. Tea Horse Studio (Cynthia Cusick), Guest Artist at Turning Wheel Pottery, 191 Liza Allen Rd.; 859-582-6570. Home studio 873 Sand Hill Rd., Irvine, KY 40336 open seasonally, April -Sept. Email for details. teahorsestudio.etsy.com; teahorsestudio@yahoo.com; Clay, Mixed Media. Cynthia Cusick makes wheel-thrown and hand-built mid-range stoneware pottery with carved motifs informed by geometric shapes and cave drawings as well as creating ceramic jewelry.
7. Fast Eddie’s Woodworking (Eddie and Mary Ann Shupe), Guest artists at Turning Wheel Pottery, 191 Liza Allen Rd,; 859.986.9839; emshupe@windstream.net; Eddie Shupe (wood) and Mary Ann (fiber) specialize in hand-crafted fabric items and hardwood kitchen and home products.
8. Tater Knob Pottery, 260 Wolf Gap Rd, Berea, Ky 40403 859-986-2167, sarah@taterknob.com;www.taterknob.com; Friends of Tater Knob will join Jeff, Sarah and David for this Spring open educational event. See potters throwing on the wheel! Try it yourself! See painters at work and jewelry being created... Guest artists: Buddy Dobbins (clay), Jonathan Clark (painting), Austin Evans (jewelry) and Albert Mooney (Kentucky Agate).
9. Buddy Dobbins Ceramics, Guest Artist at Tater Knob Pottery, 260 Wolf Gap Rd; 859-582-2061; buddydobbins@gmail.com; Buddy Dobbins works in medium and high-fire stoneware and porcelain.
10. John and Sue Martin, 393 Wolf Gap Rd, Berea, Ky 40403;859-986-9205; Sculptural and functional pottery and Hand-dyed linen weaving. Open May 10, 9-5pm or by appointment.
11. D James Fox, Furniture Maker, 444 Wolf Gap Rd, Berea, Ky 40403; 859-986-7401; djamesfox@yahoo.com Fine custom furniture and restoration.
12. Against the Grain/BeeDreamer Creations, (Fred/Xyara Asplen), 554 Wolf Gap Rd, Berea, KY 40403; 859-986-7841; beedreamercreations@gmail.com, fredasplen@gmail.com, Fred Asplen creates fine custom woodwork and meditation bells crafted from upcycled fire extinguishers. Xyara Asplen works in leatherwork, jewelry, and repurposed textiles, with an emphasis on botanical themes.
13. Wolf Gap Mountain Forge, 1229 Red Lick Rd, Berea, Ky 40403; wolfgapmtforge@windstream.net;www.facebook.com/WolfGapMountainForgeBobMontgomery is a blacksmith and teaching artist who works almost exclusively in mild steel. His work is both forged and fabricated, and employs all of the traditional elements of blacksmithing.
14. Snug Hollow Farm B&B, 790 McSwain Branch, Irvine, Ky 40336; 606-723-4786; info@snughollow.com,www.snughollow.com A 300 acre mountain retreat nestled in the Red Lick Valley is the inspiration for author Barbara Napier’s award winning cookbook, Hot Food & Warm Memories.Visit Snug Hollow on the Artisan tour, reserve a lunch, meet the author, walk the Snug Hollow trails and perhaps take home a cook book. Voted one of the five most romantic getaways in the South by Southern Living magazine.

Friday, April 4, 2014

Go! See! Dogwood Regional Fine Art Exhibition!

 Dogwood Regional Fine Art Exhibition
April 4-26
Dogwood Regional Fine Art Exhibition. Opening Friday, April 4, 2014. Runs until the 26th. Knoxville, TN. Go if you get a chance.

Includes this:
The Idle Isthmus, 2013,
Stoneware/porcelain, cone 6 oxidation, underglaze, acrylic, wax
3"w x 3"h x 4.25"d


Friday, March 21, 2014

Thought and action

Bowl sketching yesterday.
     The first day of Spring arrived and a burst of energy appeared. It's been a long, cold winter. Not just in temperature but in my mind. Things have been stuck. Or ruminating. And now that the sun's most direct rays have passed the equator, their energy is coming my way to help me get unstuck. At least that's the way I wish to see it. Not that I haven't had real stressors lately to contribute to my back-and-forth depressive state for the last 6-9 months but warm makes molecules move faster so I feel like a pebble got kicked out from under the boulders and things are becoming unstuck.
A jar, trimmed and some pinch pot forms that I am revisiting. In process.
     There was a post on my Facebook feed today from a fellow artist, a challenge of sorts to get off the digital train for a while and create something, a painting, a sketch a thought, and come back at noon today, to forget the Art Business and get on with making some art. Much of the discussion among the artist FB friends I interact with, at some point, comes around to dissecting, analyzing and being disgusted with the current state of Art Money and super-high auction prices, how it distorts the gallery business, how that affects those of us artists that aren't in that sector of the Art Business. So the challenge... take a break and come back tomorrow.
     Most of the art Facebook people I interact with are painters. I function mostly in clay both functional pottery and sculptural art which travels in different space-time that drawing and painting so greenware is the new sketch. Enjoy the subtle tones of grays, from pinks to greens to yellows to blues to neutral nothingness. Enjoy the duality of function and practicality, simple form, non-function and convoluted textures. I swing like a pendulum and do both to massage the halves of my brain. One supports the other, and back again. One provides the nest egg for the thoughts of the other to emerge.
More larges pod forms.
The Things My Mother Made Me Think Were Dirty.
     I put down two sculptures last year and wrapped them in a semi-started state for later carving. They sat, and sat. The longer they sat, the more discouraged I became. I opened and touched them again for the first time last week. I buried myself in the scratching and the smoothing, the cutting and carving, the manipulating and waviness of motion, frozen. This winter, I have just begun to intensely confront internal femininity and identity. I revisit the foundations of my being. The core. The seed. How I have become who I am. How I decide what to keep, what to discard, what I wish to form out of my internal ingredients and what I wish to cut loose from my baggage. This is only the beginning.
Group of pottery for production. Bud vases, condiment baskets. All with the ever present spiral, circles and touch points. And the equine imagery because I do live in Kentucky and horse are kewl.
     The pottery takes on a different route. It examines stillness and practicality. It pays the bills but it also has room to experiment and explore if I give it respect. I'm looking for a balance of personal aesthetic, meaning upon making and connection with the user.
Some mold shapes. Trying out some techniques for closed and open forms.
    To be clear, I didn't whip up all of these since yesterday but this has happened within the last week or so. The zen-like beneficial thing about working in clay, particularly the pottery aspect, is the demand on time. Even if you have a rush of ideas and inspiration, the physical properties of clay, drying time, firing time, firing process, glazing if needed and so on, stretch out that enthusiasm. You have a choice. You can either succumb to your frenetic energy, become frustrated at the time it takes to create and execute those thoughts and give up or you can breathe, pause, contemplate and use the stretched process to teach yourself to be in the moment, give up a certain amount of control, trust your intuition, learn from your mistakes, contemplate other solutions. Staying with pottery means picking the second choice. I think it's why I find the duality of art/sculpture which even though I work mostly in clay, I do venture into small water color sketches, paintings, drawings and so on (I'll publish those at some point), and then the energy shift to pottery to be helpful. For me, the mind-space I give to either is mutually beneficial.
Slab construction bottle with engobe pattern stamping in raw clay at the moment.
    So, there is a rampant discussion and examination of the money frenzy of the Art Business, the auction houses, the ridiculous prices paid for some work from those who are essentially emerging artists. Here's a thought. Fuck them. This has nothing to do with artists. This is all about a small percentage of people who have become so corrupt with their greed that they need another way to measure their dick size so they throw around piles of cash but need something to justify their public ability to purchase things. So they pick art. Or what they think is art. Because someone else said so and told them they must have it, the mega-gallery, Christie's or Sotheby's, their insecure ego. The art is really irrelevant. It's also houses and antique cars, private planes, etc. And what does that do to the regular artist that is not already dead and worth millions, that is not already an old, white guy in the beginning part of the 20th century, that is not the current darling of the money-pile measuring crowd?
Horse.
It frees us. 

     Ignore them completely. Go for the jugular. Go for your gut. As a wise person once said, "Release your inner vision." While that small group of people is running around with tax-shelter measuring cups and metric rulers, we are free to make work. What governs their tastes is a whim and unknowable so let go and let loose. We are already creating the next movement but maybe, just maybe, we're right in the middle of it and we can't see the forest for the trees. The change, the shift is happening now. We are it. On Facebook, on blogs, on Tumblr, Pinterest and a shitload of any other social media you can come up with. Find the new audience. Fuck the tippy-top, they'll topple with the weight of their own money and ego. Excite the forgotten appreciators of art. Unlock the gravitational pull of Things That Move You on to the masses that think it's not meant for them. Quit trying to win approval from a tiny group. There are hungry minds out there. Touch them. The Art Biz people, the money, investors, they've already missed the boat. Embrace the energy of being the ultimate outsider. Get back to work.

Tuesday, March 18, 2014