It’s Complicated: Distilling 30,000 Years of Ceramic Art into a Six-Week Beginning Handbuilding Workshop

OK yes, that title is a tad dramatic. But it’s not a needy and exaggerated untruth: I’m actively sorting and defining what I know and enjoy about the entirety of ceramic arts in order to hone in on the heart and soul of this Beginning Handbuilding class, taught by me,  starting at the end of this month.

And this week that honing process hit critical mass. It felt a little like peeking into a ramping raku kiln and watching for the powdery glaze on the pieces to liquify, come to a bubbling boil and then to smooth out again as both it and the ware it is coating becomes blastingly red-hot. And THEN comes the moment to shut off the gas and pull the pieces with tongs into their garbage can reduction chambers. Most of you ceramicists out there will understand this reference, but if you need a visual, here’s a good one.

All this week I gathered and listed and piled and flagged.  I re-piled and sorted and started a board of sticky notes detailing each project’s intended trajectory through the weeks. I assembled the needed demos, quotes, glossary, Important Things to Know and on and on. I culled (which was clearer and easier now) and kept the best.  A Beautiful Mind got nuthin’ on me!

Last post I talked about how this class-formulating process amasses information. I think I mentioned something about comparing the ceramic teaching process  to cooking show demos, but I’m reporting in tonight that I’m not quite ready for that one. Maybe next week. I HAVE made one sample of a Press Mold Wad Pot, which you can see below,  but now I realize it’s the first of several needed to provide tangible illustrations of the important stages of just one of three comprehensive methods and techniques I will be teaching.

Press Molded Wad Pot at leatherhard

And that serves my personal understanding of Full-Service Ceramics. Sometimes students can connect the dots, but I find in ceramics it’s not all that easy. The whole process is un-obvious, far-ranging,  deceptively sidetracking and negotiable.

But that’s also the most important clue for me as as Interpreter and Guide: first and foremost, I need to have a profound and undistracted personal sense whereof I speak. If I gloss over, give the short shrift, make assumptions, it does not do the job in that satisfying way. I think I am connecting my own dots, retrospectively. As a matter of fact, I could re-title this post Things I Wish Someone Told Me Right Away.

And even then, the only way out is by doing it. So while I prepare and attempt to perfect my offerings for my new class and students, ceramics has also taught me to be more comfortable with imperfect and unexpected outcomes. With learners of all ages, that’s nearly a given. Years of helping clay handbuilding students has told me this amount of preparation is no less than the right amount, as cloggy and complicated as it can be. I’m glad it’s ONLY 30,000 years I need to review and condense and, like I said, I’m enriched and privileged to do it.

Class Nuts and Bolts: 6 Thursdays, 2-5pm, Session I: Feb 23 to March 29, Session II(with different techniques, projects and subject matter I still have to formulate): April 12 – May 17 held at the Santa Cruz Mountains Art Center, 9341 Mill Street, Ben Lomond, CA,  831-3364ART.

If you’re so inclined, you can call or register online at www.MountainArtCenter.org. Class is $180 for Members/$200 Non-Members.

Next time: Those visual aids!

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Crouching Teacher, Hidden Student: Crafting an Excellent Clay Handbuilding Class

Step right up and lookee here: I said YES when the enthusiastic folks at the Santa Cruz Mountains Art Center asked me if I would  be so kind –  and organized! –  as to offer a structured series of Beginning Handbuilding classes. That was a few months ago and now, here they come in just a few weeks. I better get this figured out.

I got thrown into the briarpatch at the outset, because in order to write not one course description but three of them  – Short, Long and For the Press – I needed to have my raw concepts of what these classes would be about aligned with my personal take on the ginormous field of ceramics. Nothing like starting right in.

Just what do Adult Beginners or Re-Newers want? Or need? What do I have to offer them? Could I parse this out and still keep it meaningful, soulful and artistic, for us both?

How much does my editing, formatting and delivery of this wide-ranging subject affect outcomes? I concluded it was puh-lenty and I would do well to start back at my own beginning, boil it down to the bare-boned basics and embellish prettily from there.

So what you see to the left is my long-time method of distilling knowledge: get a side table, dedicate it to the topic at hand, and proceed over the ensuing unfocused weeks to pile it high with everything which might be valuable to that cause. (It’s also how I wrote my college term papers, so I guess there’s a workable precedent in force.)

Supposedly Right-Brained Creatives respond better to horizontal, visual, tactile piled-up available information – as opposed to vertical files behind cabinet drawer-fronts –  and I agree: when I have a thought, a pertinent quote, a book, an article, a snippet of anything I suspect might be useful, I just throw it here, feeling rich and capable.

In good time, I will comb through the cornucopia and discover the inherent order there. Yes, I have a goal in mind, but the only way I realize it is to plow through and let it grab me. Inevitably the outcome is so much richer and denser than what I thought I was creating.

These stacks are certain to contain my decade-plus collection of notes and handouts from my stable of teachers too. Some of them have had genius ways of simplifying and Explaining It All….or genius techniques, genius timetables, and genius projects which I can freely channel, if not outright copy. I bow to those who gave this kind of effort before me, and I reap the harvest of their cultivation. Nobody comes out of nowhere.

And that’s really all there is to it. I’m no expert. I’m just someone who’s studied how to share and how to be a guide and to deliver substance. I’ve got some ideas on what sorts of things are good to know in the beginning and what sorts of things might logically follow.  I have theories on how to engage learners and how to aid them in discovering their own realizations and about how to foster the creative process as it relates to clay. Beyond that, what happens is what happens and I mean to stay awake to it. I’m a Hidden Student inside a Crouching Teacher.

Class Nuts and Bolts: It meets 6 Thursdays, 2-5pm, Session I: Feb 23 to March 29, Session II: April 12 – May 17 held at the Santa Cruz Mountains Art Center, 9341 Mill Street, Ben Lomond, CA,  831-3364ART.

If you’re so inclined, you can call or register online at www.MountainArtCenter.org. Class is $180 for Members/$200 Non-Members.

Next Time: A discussion of the super slo mo similarities between an illustrated ceramic process and cooking shows.

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To All the Blog Titles I’ve Loved Before

Is there a name for the Muse of Blogging?

 

At a workshop early last fall, I asked the presenter, ceramic artist Wesley Anderegg, how his ideas for new work came to him. Did he have a backlog waiting to draw from? Was it a sudden inspiration? A visual image? A concept? After all, his work uses Concept as a long suit, often leaning on a quirky visual pun in support of it. To my surprise, he laconically replied that in truth the title of the piece came to him first, and the rest of the work followed along in embodiment of it.

Now that’s an odd bit of insight, which I recognized instantly as a ratification of own my creative Step One,  not so much of my visual art process – that’s as visual as visual can be – but rather, that’s exactly my blog writing process.

The Title presents itself as a fulmination of Something I Have to Say.  Those slippery snippets of insight, the wry and dulcet posits and synchronous happenstances that make up my world?  They unite,  distill themselves and wander into my frontal lobe in the form of words.

The Title must also be delicious and tantalizing enough to impel me away from whatever else I am taken up with. Ideally, it should plant me at the keyboard and keep me there to slog through the typing, the inserting, the looking up,  the linking, the editing, the tagging, and the publishing. And the re-editing and re-publishing. Folks, it just doesn’t write itself.

If I miss getting to the writing apace, I capture the Title Headline Idea and the motley insights for it on whatever writable surface I’m near. For months now, that’s been the case, as I was way too busy cranking in the studio. The result of which – besides a ton of new work –  is I have a sizable clutch of suggestive blog titles I know I’m not likely to turn into full blown posts. They were written on the ice and the ice melted.

You know where I’m headed with this, right?  In order to release their energy and un-snag mine so as to be able to write afresh, I want to share them here.  This amounts to a cyber-version of  letting go of clutter, a la my new found holiday, Discardia. (Which you, too, should seriously go investigate and celebrate.)

So, let’s pull them out one by one and see what might have been some incalculably awesome reading. Yes, yes,  I could have just recycled it all, but this will be more fun.

1. Under the Hood with String Theory and The Swerve;  This comes from the book I was reading (The Swerve: How the World Became Modern by Stephen Greenblatt) and an email conversation with a friend. My cryptic subnotation reads, “proposing unifications and reasons, strings swerve.” On the same note: “Tuvan Throat Singing.” “Feynman.” Click on the links for a glimmer, cuz that’s all I have now.

2. The Mess-up; “1.One supervised experience with a hot stove. 2. How it goes terribly wrong. 3. The itch you can’t scratch. 4. What happens when it goes wrong and our reaction to what happens. What happens after that.” OK, I know this had to do with making mistakes as a learner and, as an instructor, guiding students through mistakes, or even letting them happen. And I recall I wanted to talk about expectations and perfectionism.

3. In Which I Attempt to Explain Myself; No further explanations available.

4. Flaccid Visors, Dead Elements and Other Tolerations; Meant to be a discussion of the needless annoyances we put up with, even adapt around, but how they still negatively invade our psyches. Yet, just like the Circus Trees, it can also become its own artform.

5. Singing Wrong Right; My notes say: “Brush abuser” (clearly a self-reference) “Skate Stupid” and “practice, practice, practice.” Not sure how all that quite fit together, but I think it was about bending the rules with confidence.

So, that’s five Phantom Blog Titles with Notes, gone, but now never to be forgotten. I kiss them fondly and wish them well,  like old boyfriends, knowing they gave as good as they could at the time, and so did I. Yet, it’s now Now and new titles keep arriving in my mind. Think I will grab one of those and sit down at the keyboard soon.

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My Art Buddy Karen: An Illustrated Panegyric

Love Karen Hansen's playful WallHeart

I could have said paean or laudation or even, dare I, encomium, but panegyric was the big ass word I needed for this public praise piece about my Art Buddy Karen Hansen.

So, without tons of backstory, and letting the photos describe her ceramic art, what’s good about Karen as an Art Buddy?

What's she DOING in there? (Karen Hansen, greenware)

She’s Magnetic. It’s got to be about Frequency (or is it pheromones? I forget.) No matter, when I’m in classes with her, I want to know what she’s doing, thinking, making. It matters to me a whole bunch. Even though our styles are divergent, they’re sourced from similar resonances and I simply need to be around that to channel the muse and protect me from the detrimental energies in the room.

You know, deep down inside, TV is good for you! (TV Wall Plaque - Karen Hansen)

She’s Associative. That means that she collects her fascinations from nearly any quadrant and synthesizes them into enjoyable quirky meanings. A quick study of human foibles, she makes good fun of nearly every thing and every body. She’s facile with words and slippery thoughts. As a matter of fact, that might be her true medium. But it comes out in the clay too.

Half Empty? Half Full? Nope, just 1/2. Deal. (1/2 Lidded Jar - Karen Hansen)

She’s Versatile and Steady. Adaptive and Constant. Ever-changing and Predictable. Do I speak in parables and opposites? Yes. Because it’s true. I’ve probably quoted it before, but it was Steve Allen (or maybe Marshall McLuhan) who said, “The funny man (sic) is a man (sic) with a grievance.” If we go beyond the oppositions, we find the unifying core of humanity in both tragedy and comedy and I enjoy that skill in Karen.

Karen's Playland (or one of them...) Hey, I see that oil can back there!

She Brings It Basically it’s a Full Catastrophe Package with Karen. Equally capable of shop talk, philosophy, baudiness, pop culture or fine art references, and animal humor, she most humbly reveals her passions. She can simultaneously complain and assess, with chuckles. She buys my art, too, astounding me.

Skullheart, Pitfired babydoll head, Pillsbury Doughboy, Candies and dial tile...the beginning of my Karen Hansen art collection

Well, I mean to say I’m pretty fond of her. Art Buddies cannot be conjured. They ARE. I have a modest shelf of Karen’s treasures, pictured above. Some I traded with her, some I just purloined from her “extras.” Karen would modestly say these pieces reflect more about the eye of the beholder (me) than the maker (her), but I like them because they hold her special juju. Back to that vibe thing. And I want MORE stuff in this collection, especially of her newer work.

Polka Dots and Spirals for Everybody (Lidded Jar - Karen Hansen)

Fortunately for all of us, she recently entered the art market, a move I applaud. There’s her Etsy Shop, Polka Dot Clay Studio where you can see and buy lots more of her fun style for yourself. And there’s the Santa Cruz Open Studios Art Tour 2011, which we’re both still waiting to hear about our acceptance.

One Word: Birds (Lidded Jar - Karen Hansen)

Conspirators. Birds of a feather. Com-madres. That’s how I feel about knowing Karen and her art. Did I heap enough public praise? Did I use enough illustrations? I hope so.

Corazon Espinado in the most exquisite way. (Wallheart - Karen Hansen)

Thanks, Karen!

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Takin’ It Outside and On the Road

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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“Apparently We’re Not Fish People” A Super Brief Photo Essay

This is the only kind of aquarium I really like ~Liz Crain

“Apparently We’re Not Fish People” is the title of my finished ceramic aquarium piece in the photo above. It’s all ceramic except the actual glass/plastic aquarium.

You may remember my earlier posts about making ceramic aquarium gravel. It was for this piece, and not a live aquarium!

Since those posts, I’ve made the super funky retro diver, the precious merbaby, and wrecked columns, the small Asian boat, rocks, shells and logs. Also the Japanese pump box, old school heater and cord, Tetra Min food cannister, Ph test strip bottle and Ick Rid sample envelope.

It’s all done in time to travel to the California Conference for the Advancement of Ceramic Art (CCACA, pronounced SEE-KA’-KA) in Davis, CA this weekend. It will be a small part of Cabrillo College’s outdoor installation entitled “Hard Times.” Photos of THAT coming soon.

I’m completely taken up with the rest of the preparations for not only the Davis conference, but for my first foray into selling my work at an outdoor ceramics show and sale with the Santa Cruz Clay folks at Bargetto Winery in Soquel. It’s packing and pre-packing all the time now…..Day trip to Davis Friday, then Saturday and Sunday in my booth in the Santa Cruz Spring sunshine.

So, off I scoot, leaving you with one more view of my latest narrative sculpture.

The title was taken from a Craigslist ad
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A Big Bowl of Overlapping Communities

How much can one bowl contain? (Joseph McBride)

Last week I bought this sweet bowl directly out of the hands of my friend, mentor and colleague, Kathryn McBride. It’s not her creation, it’s her young adult son Joseph’s.

Joseph’s work is generally not offered for sale. He was donating it to a fundraiser and this was a scarce moment of opportunity. It’s a generous receptacle; a patiently hand-stamped, piebald copper red-glazed, evenly thrown bowl with a well-crafted foot and a subtle hand-pinched rim. I short-stopped it on its way to the fundraiser and sent my check to them instead.

When I placed it in the center of my round oak dining table, it began whispering, then humming, then ringing as clear as a temple bell, inviting me to not just notice the energies it has as a work of art, but to delight in the connections one bowl can forge in personal, local, and international ways.

Preponderance of the Personal

As a form in space, this bowl is a concave mandala, a vortex of radial symmetry. It dances with the Japanese notan of light/dark and positive/negative. It can hold anything and nothing equally gracefully.

The bowl also contains a few metaphoric miles of my journey with Kathryn, as we parented our similarly-aged sons and shared our personal and creative challenges. That Joseph — despite his many other interests and talents and being “raised in clay” — found his own way in ceramics is delightful and unexpected. I’m among a pantheon of proud Aunties.

Local Hands

Joseph told me he originally didn’t intend to even bisque fire this bowl — since it apparently didn’t meet his sliced-thin standards –but a fellow potter friend disagreed and sent it to the kiln unbeknownst to him. He eventually glazed it differently than his other bowls. It’s a bit of a renegade, this piece, off on another path entirely. A Wilbur the runt piglet saved by Fern. I was pleased that he was pleased I bought it.

An Ocean of Ripples

When the giant earthquake wracked Japan last March, it shook the brick climbing kilns of the ancient pottery town of Mashiko, crashing them to the ground. Like the tsunami waves that were generated throughout the Pacific Ocean, the circles of ceramic concern radiated out, touching the pottery community here in Santa Cruz. Many I know have pilgrimmaged to Mashiko. Those waves continued to England, too, because of the profound 20th century association of Bernard Leach and Shoji Hamada, which changed the ceramic cultures of East and West everlastingly.

Global Hands

Quickly, quickly, quickly a heartbroken but energetic group of Santa Cruz potters sent out the call: Please donate whatever ceramic work you can to a fundraiser, all proceeds going to help Mashiko recover its livelihood. Leach Pottery in England is doing similarly and I’m sure there are more.

Joseph was donating to this event and I bought his bowl. A lot of dedicated ceramic work came into being for what I hear was a supremely successful effort. Joseph’s rogue bowl of loveliness will help more bowls to be made in Mashiko.

All because I listened to it, the patterns and colors of one engaging big red bowl revealed spirographic loops of personal beauty, of friendships, of compassionate local artists and of a globally overlapping web of potting communities.

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