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  • Years Later, A Juicy Nomination Oils the Works

    On: August 24, 2017
    In: Art Biz, Community, Creativity, Studio Journal
    Views: 167
     1
    Ceramic Industrial Pitcher with Faux Repairs

    Banged-Up 305S Pitcher, 2012, Ceramic

     

    Here’s the first post in a new “”sometime series” I think I’ll call Loose Ends, with the idea being to look around my creative life and see what needs tidying up. Today’s missive is a belated virtual thank you card written due to a new understanding about a gift I received which I frankly did not understand very well at the time.

     

    Earlier this summer my friend Patrick S. mentioned that he thought 2010 was his peak year as an artist. He had scads of examples of why that was true for him, but one especially pricked up my ears: he was nominated for a local Rydell Fellowship administered by the Community Foundation of Santa Cruz County.

    Not too shabby, Patrick! The nomination process alone is pretty exclusive. The field of nominee/applicants is bursting with superb talent. The three awards given every two years are both prestigious and lucrative. When does any artist receive wide acclaim, a museum exhibition and $20,000 with practically no strings attached?  It’s basically the Art Oscars for Santa Cruz County. Even if one doesn’t win, – and only roughly one in twenty do – one can forever append “Rydell-Nominated Artist” to one’s pertinent professional descriptors.

    Thing is, up until Patrick mentioned his, I had not truly valued my own 2013 Rydell Fellowship nomination for what it IS and not for what it was not. I am certain I did my best with the only requirement: 12 images of my finest works (the piece up top is one.) I delivered my Image CD and Application in person, trailing clouds of glory, and then went off to Mono Hot Springs on a late September vacation you really need to read about.

    In December came the lovely rejection letter. Once I saw that it mentioned there were 62 nominees and named the 55 who actually applied as well as the three winners, I was at peace. That list was a Who’s Who of local creative glitterati, many I knew. To be included at all, was, as the letter read, to be a “part of a remarkably talented pool of artists whose work reflects this region’s artistic quality and diversity. The [national] panel expressed their regard for the breadth and vitality of the artists’ work they viewed.”

    Breadth and Vitality! Remarkably Talented! Quality and Diversity! Why did I miss theses accolades and only notice the Not Winning part? Why did I put away all my files and never mention the experience to anyone? Hrmmm…

    Answer: It’s only human! When the eyes are trained on the prize, a lot goes missing in the service of that focus. Unless…

    Unless and until one wakes up to the whole of it, maybe years later. Until now. Thank you Patrick, for opening my eyes to the monumental significance of being nominated at all. It was a high point in my own artistic career, too, and one I would love to repeat, now that I get it.

    Belated Deepest Thanks to the arts organization that nominated me: I treasure your support and confidence whoever you are and wish I could have done you proud.

    So I am slow on the uptake, but seeing this juicy nomination in a prouder light is oiling my newest studio endeavors. I’m feeling a tad more artsy, a smidge more deserving, a soupçon more saucy and will soon have a whole new range of work I adore to show for it.

    — Liz Crain, who has graciously taken her seat among the rare cadre of Rydell Fellowship Nominees and will be adding it to her resume in its next update.

     

     

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  • Rust as Teacher

    On: June 27, 2017
    In: Artmaking, Creativity, Studio Journal
    Views: 1209
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    ceramic shot-up rusty conetop beer cans

     

    In our Summer Studio Journal Re-Runs, let’s revisit this post from September 1, 2011 which is essentially a paean to the well-examined rusty surface. It seems the more one looks at rust, the more one sees and the deeper the story it tells. Even now, as my work is moving in other directions, the things I have learned from trying to recreate the tastiest rusty surfaces stay with me and continue to whisper. I still relish rust! Let’s see how it began.

    (more…)

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  • “Hey, This Handle’s Stuck!” or A Pictorial Diary of a Ceramic Repair

    On: June 14, 2016
    In: Artmaking, How To's, Studio Journal
    Views: 1316
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    UPDATE: This sad tale of ceramic breakage with a happily-repaired ending was first published January 21, 2012. I DID make the hangtags I refer to within, but I wound up keeping this sentimental piece. It deserved a good home: mine! 

    (more…)

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  • Takin’ It Outside and On the Road

    On: May 5, 2011
    In: Art Biz, Community, Studio Journal
    Views: 765
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    In terms of ceramic art, mine and others, I did it up royally last weekend. That means I went for maximum effort and uber-luxe spectacle by attending and participating in both the California Conference for the Advancement of Ceramic Art AND the Santa Cruz Clay Show and Sale at Bargetto Winery.

    Friday: To Davis, CA and back (2.5 hours each way) in 12 hours. The other 7 hours we were NOT in the car, we toured 45 exhibits and demos at the 22nd annual CCACA. What a whirlwind of wonderful work! I’m always dumbfounded by a few pieces and suitably inspired by a great many more. For the first time, I was kinda sad not to have the whole weekend there.

    Biggest showstopper of course: Cabrillo College’s outdoor exhibit titled “Hard Times.” Described as “a social comment on the economic down-turn and a trompe l’oeil ceramic art installation.” My all-ceramic aquarium piece, which I have previously spoken of, was made for this. Here are a few shots, a street view and one from the uphill side of things.

    It was almost TOO realistic!

    Anything not white is ceramic!

    All the “pedestals” are pieces of furniture. Everything else is a ceramic treasure. (Well, you already know the aquarium is glass…) It’s daring to take an outdoor space and fill it with such a large concept. And when the sprinklers went on Sunday morning, the aquarium even held some water.

    Saturday and Sunday: My first away from my studio outdoor ceramic booth set-up and sale. I called it a Pop-uP Pottery Village. It contained a population of around 25 local ceramic artists. We were all lined up in row and around a courtyard, representing an impressive range of pottery and sculpture, featuring artists old and new to both the craft and the sale. (Me? Definitely a Newbie on all counts, really.)

    I found an authentically playful way to engage my visitors and my colleagues, felt surprisingly comfortable and pleased with how it turned out. At the end of Sunday, all my business cards were gone, I added a dozen new fans to my mailing list, made respectable sales, got a couple of leads to galleries (!) and found out I must have a bigger vehicle in order to safely hold the booth, furniture, display shelves and all the carefully packed boxes of breakable work.

    Here are two views of my booth set-up, front view and from behind the “counter.”

    Yeah yeah, I really need some signs!

    I asked my visitors if I was the appetizer or the dessert.

    It was probably a good thing to be so incredibly busy because my game got really tight. Not only did I survive some completely new ventures, I was energized and encouraged by them. A few things still need to be put away, the studio needs a good clean-out, but I am happily aware of how getting out there completes the creative cycle for me. Each time round is less scary and confusing and I savor the recharged impetus to make more work. And, best of all, thankfully these two events will NOT be on the same weekend in 2012. Yes!

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  • How to Make Your Own Ceramic Aquarium Gravel

    On: February 25, 2011
    In: Artmaking, Community, How To's, Studio Journal
    Views: 1596
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    Bone Dry Chunks with Bowl and Sieve Labscape

    Notice I only said How and not Why.

     

    If you’re thinking of real gravel for your real aquarium, the Why becomes problematic. Why do that when it will take a full workday plus overtime to grind enough gravel to fill a ten gallon tank to two inches? Why ever do that when there are unknown toxicity issues with underglaze and oxide colorants that your prize fish may demonstrate by dying on you?

    No, this gravel-making is a completely sculptural endeavor of my own device. It’s one item of many spurred by the Cabrillo College Ceramics Department’s proposed installation at the annual California Conference for the Advancement of Ceramic Art held in Davis, CA at the end of April.

    A Magic Realist Ceramic Rock Portal

    We’re following up our fantabulous 2010 Cabrillo Rocks Portal installation -pictured above – with a life-sized out-on-the-lawn trompe l’oeil ceramic Yard Sale! Folks are right this minute working on fishing gear, globes, games, toys, linens, shoes, hats, bags, skateboards, dolls, a bake sale and then whatever else we can concoct between now and then.

    I’m offering a used aquarium set-up: a real aquarium with clear glass, but with the frame painted white (like all our tables, shelves and props will be) and everything else in it ceramic. I plan delicious tongue-in-cheesy mermaids, sunken ships, broken Greek columns…along with faux warped and stained cardboard boxes containing the pump, heater, filter, and canisters of fish food, medicines and a net. A complete mock set-up! Just needs fish and water. $30 OBO.

    Hence the gravel. It’s important to the faux-y integrity of the piece for me to make my own. But HOW???? My first approach was to bust up bisqueware with a hammer. Too hard. Too sharp. Too uncontrollably uneven. It’s much easier to chunk up potato-chip brittle bone dry clay – which is essentially “dust held together by memory” according to one wise kiln tech I have known.

    I used a mortar/pestle in the clay lab, but started with the densely heavy 10kg weight as shown below.

    Bonedry wares returning to Dust

    Then came the pestle which got the pieces to a mix range of pure dust to pea gravel sized.

    Crush Just Fine Enough, No Finer

    Next, a trip through a series of fine to coarse strainers and meshes straight out of my kitchen. Put the gross chunks through a fine sieve to get rid of the dust and too-teensy bits, pour what’s left onto a pizza screen and shake. The perfect size falls through!

    Fine mesh behind; Pizza screen mesh in front

    Continue to crunch up the leftover big pieces, then sieve, screen and shake a few more times. Sieve the inevitable dust out of the desired gravelly size and collect in buckets until there is enough volume to acceptably fill the tank. Plan on around ten hours of this in order to have enough volume, factoring in the clay body shrinkage.

    Also factor in sore shoulders, upper back and arms, temporarily-impaired hearing from hours spent in the drone of the glaze room’s exhaust fan, and the gag factor from wearing a particulate mask until the creases in your face are nearly time-worn. All pretty unavoidable.

    I’m pleasantly aware that making gravel this year is an act of “decomposition” regarding last year’s rocks and am lovin’ the strange parallel.

    In the next-related post on this topic: garishly coloring this gravel and making tired boxes and whatever else has come up.

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