Local Talkers

Still Seeking, Not So Desperately

LocalTalkersGoingHome

I’ve had a fine old time connecting with 19 out of 53 (36% so far!) folks from the “Local Talkers 2009” series of mini face jugs that I made back then and am now giving away to the folks who unwittingly posed for them. IF I can find them!

The whole idea is described in my last post, if you’d like to delve further. That post also contains the list of all 53 names AND who’s been located so far. I keep updating it and I will also include the shortened list at the end of this entry as well.Read More >

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Desperately Seeking These 53 People!

 

Local Talkers 2009
Local Talkers 2009

I am parting out and giving away this group of 53 miniature face jugs from 2009. They come with the caveat that I am hoping to give each one to the person who, unbeknownst to them, was the inspiration for it. After six years, that is still possible – a few have already been delivered! –  but it will take some time and help getting the word out. Desperately seeking these folks – and the folks who know these folks – to put us in touch and complete a circle I never knew I was making.

The Backstory, The Epiphany, Spreading the Word and the List of Names follows.

Read More >

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Claiming A Character in a Plain Clay Cylinder

Each face is unique; it has to be

A new series of face jugs has begun! Similar to the Local Talkers 2009 in that they are based on the faces appearing in the 2011 Local Talk column of the Santa Cruz Good Times, but different because each one is full-sized and meant to be a stand alone work.

I’ve lifted some of the limits I placed on myself in 2009, in that I can choose one or more faces/respondents a week, or none. And I can base my choice on expression and/or on what the person says.

Each jug is stamped with that person’s first name, last initial and one word of their reply to the question of the week. In the top photo are, left to right, Cecil U. Stopped, Kate K. Y and what eventually became Nicole B. Amphitheatre.

Here she is at leatherhard before being cleaned up and getting the base coat of underglazing.

Love the headband and the earrings!

And just for fun, here’s a close up of the source face.

Facing the camera and smiling slightly

For me it’s not about creating a photographic likeness, but an energetic and gestural one. The clay jug form has its own demands that must be served. The cylinder needs to balance in all ways. It can only stretch so far. It can’t get too heavy with add-ons. (Hair!!!!) It needs to function as a vessel, although I’m finding I care less and less about that as I go deeper into sculptural expression. I just might be getting to the same place as sculptural teapots which are generally full of narrative and SO not meant to be used for serving tea!

I am keeping better studio records this time too. Here’s the page so far for Cecil U. Stopped.

SO much better than binder paper!

So, that’s my Studio Report at the outset of one thematic series I will be exploring this year. The face jugs provide a looser more organic foil to the other works I’ve got going and I like that I get to find my way from the plain cylinder to the character waiting to take form.

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If You Were a Vessel…

Good Times Local Talk September 28, 2000

…What Would Your Purpose Be? Here’s the header of the Santa Cruz Good Times Local Talk column that caught my eye ten years ago, tickled my imagination and never really left.

It is the direct inspirational source for my work of art, “Local Talkers 2009: One Face Jug a Week….” that I have blogged about a lot over the past year, including showing you all the finished version in last week’s post. (Since then I learned that the piece has been accepted into the Cabrillo Gallery Exhibition entitled CAL IF OR NIA, an all media juried exhibition open to all California artists and curated by the Owner and the Director of San Francisco’s venerable Braunstein/Quay Gallery, Ruth Braunstein and Shannon Trimble, respectively. It opens August 30 and runs through September 24, with the Opening Reception September 12 from 3-5PM on the campus of Cabrillo College in Aptos, CA. I am SO proud, please come see!)

But that’s not what I came to talk about today. It was more about that question about being a vessel: a containing conveyance, carrier or conduit. That’s what never left my mind and why I saved this column. I was astonished at the responses’ variety: a ship, a blood vessel, a food bowl for the hungry, even a metaphoric container for religious views.

It never occurred to me to be anything BUT a ceramic vessel, probably a pitcher! It is just my ceramic artist’s personal frame of reference to the word “vessel” which completely illustrates “the law of the instrument”, that we tend to overuse the familiar tool, as in “If all you have is a hammer, everything looks like a nail.” (An old saying attributed to Mark Twain and Abraham Maslow, and many others.) I like, too, the French concept of deformation professionelle which really nails it (pun intended…) “looking at things from the point of view of one’s profession.” C’est moi!

So this column expanded my thinking both by jolting me in the first moment I read it and then by seeping in deeply over the years as it has hung in my studio. It has become a vessel of its own, conveying me to expanded art horizons, both conceptually and actually, and I am forever a pitcher of sweetened gratitude because of it.

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2009 Local Talkers Fourth Quarter Group!

Oh my, the final fourteen weeks of the 2009 Local Talkers project were wild! There was the woman half hiding behind a wall and the guy with the sunglasses and face mask. Unbelievable!!! If I were making up a face a week, I would never have gotten as out there as these real life respondents to the Good Times Local Talk column did.

And that is the nutshell reason I even attempted this: Truth adds more unanticipated detail and surprise augmentation than Fiction. One almost just needs to provide a well-orchestrated capturing mechanism, whether it is the photograph, videocamera, written word, painted impression, or in my case, the small handformed face jug.

Almost. I know my Genius walks the streets, though.

This was the last sub-group to be formed and successfully bisque-fired. It is delicious to have gotten to this point, so let’s take a moment to gaze at the first collective shot of them all.

I am wincingly aware that I am nowhere near being done. The real problem-solving starts with beginning to think of all 53 individuals as a unified group and of how to go about finishing them and displaying them to emphasize that. (And I am definitely NOT displaying them like these casual shots!)

I have taken a few stabs at this unifying need over the past year, but now I am calling in some experts. I have a set of fellow ceramic artists whose aesthetic senses I revere who I will consult. I will do a lot of testing. I will take it slow.

Maybe I first need to be clear on how I will display them before I know how to unify the decorating. One long shelf? Four shelves? Individual shadowbox cubbies? Risers? Wall? Table/pedestal? Frontal? 3D? Pyramid? Wood? Black velvet? Bamboo?

I am in another Gathering Phase of the Creative Process. I did not work this hard for more than a year to rush through, either. I am savoring this part: letting the right surface treatment present itself as I run my options. I know I will feel its goodness when it arrives, just like I let the right face come to me each week and I let my formal response to it come around as I worked the clay.

It’s that well-orchestrated capturing mechanism being developed, spliced, edited, restated and glazed in order to turn it into art and I am good for the breadth and the distance.

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A Year’s Journey, One Local Talker at a Time

I want to walk you through making one small face jug, which, times 53, comprises what I have been doing all of 2009 in my Local Talkers series. Each one is unique, but there is a unifying rhythm to making them and it goes like this.

Nearly every one starts out as a hand pinched and closed sphere about 2-3 inches across.

I can barely explain how I choose The Subject Face from the 4 or 5 in each week’s column, and I have been known to drift from one face to another mid-making. I look for some expression or attribute that intrigues or amuses me. I am not making a portrait so much as an echo or an interpretation. Sometimes I read the names, occupations and responses, mostly I do not until after I have chosen and started in.

Here’s the choice for Week 43:

One thing in David Baker’s favor was I had not had anyone in a headband all year and his face is elongated with that great center part in his hair. I started by paddling the sphere into a long capsule, then pinched it to form a base, neck, chin and that scalp part, as you can see.

To my artist’s brain, it’s exactly like a rough sketch in charcoal. Add in a tiny bit of pressure to work while the clay is at an ideal wetness at every stage — although even that can be controlled. (I could work for months and years on this if I needed to.) I want it done in a few days and will control the drying with brushed/sprayed on water and plastic.

Here are the basic Mount Roughmore features in a mix of a lively but stoic face:

I am pleased with this profile and demeanor. It has a classic feel: Egyptian? George Washington?

Next comes details and rough hair.

The clay’s perfectly malleable but too sticky to finalize things, so I am relaxed about burrs and fingerprints. All in good time. I have delineated the headband position before I commit to much more hair. Oh, and I have made peace with a certain androgynous quality I find in nearly every face.

Now the headband is on and I am starting to think about where I will add on a spout, perhaps a handle and other decoration and where exactly I will press on this week’s number.

All those additions need to be in place before final touches, otherwise I will be fighting with myself and my tools. I want something rather organic and abstract for a spout, suggestive of a feather or an antler, but not actually recognizable. Not sure about a handle…there’s plenty going on with the knot in the headband.

And here’s what arose in response: An open-ended spout-structure, surrounded by another supporting loop and a pressed-in 43 in the hair.

The newer additions glisten due to the clear water brushed on to both help attach them and to provide a unified smoother surface.

One more shot from the front. Is that a pipe? A blossom? I am glad it is not specific! And I like that it is subtly resting in back, not taking anything away from the face in shape, subject or placement.

And that’s that for now. It’s too wet to attempt much more today on it. It is good to wrap it up in plastic and let it sit at least overnight, exchanging moisture levels, drying slightly on the outside and letting me see it anew on the morrow.

If things go at all like they have with countless other small face jugs, when I work on this piece again I will need to restate hair and refine facial lines, “disappear” some seam lines and edges, clean up those burrs and fingerprints, and maybe even patch a crack or a thin spot. Once that is done, I will make sure the piece sits level, sign and date the bottom and begin drying it ever so slowly, gradually loosening and removing the plastic, for the next week or so, until it is bone dry and ready for the bisque firing.

I have said to countless people over the years that clay taught me patience and I can see once again how true that is in describing what I do without thinking for one small face jug. Times that by 53 and I see I am really working on Mount Rushless, and I guess I can claim some sort of bonafide Clay Abiding Award, knowing as I do, when to hold ’em and when to fold ’em.

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Catching Up with the Local Talkers of 2009

This time last year I embarked on a project I knew for certain would take a minimum of a year to complete, which was part of its appeal: to make one small jug a week inspired by the expressions of the respondents to the Local Talk column in the weekly entertainment tabloid called the Good Times.

I shared my quarterly progress with you and last wrote in October, noting the fact that, while I had faithfully gathered the weekly columns and made lots of other ceramic art, I was OK with the fact that I had finished only one of the 13 jugs in the Third Quarter…and the hands-on studio time for the project in the Fourth Quarter was not looking promising.

You can find the other posts in order here, here, here, here, here and here. I truly recommend reading the first and the last ones, for the original set up and the “we left off here” aspects.

But up top and just below are photos of the still-green evidence of my earnest studio time in the past week, when I returned at long last to Weeks 28-39!

I was concerned that after such a long time away from these faces, my “hand” would be different and it would reflect in an observable and unwanted difference from July to January’s product. Not so! While I felt differently inside and held some completely different mental conversations — many of which were based on the powerful learning I did last summer at Skyline College with Tiffany Schmierer and last fall with Cynthia Siegel — what came out was pretty seamless. Whew!

I have an opportunity to work in my studio at least this much in the coming weeks and would love to get all these lovelies, current and future (Weeks 40-52), into the bisque kiln by month’s end. I am rarin’ to solve the puzzle of how to decorate this body of work and also how to display it to best effect. I have some tantalizing ideas on both fronts.

After a year’s practice, it has been odd to not set out each Thursday morning in search of the current week’s copy of the Good Times, but it has taken one tiny bit of pressure off my days, allowing me to absorb the fact that I really did collect the whole year and now just can enjoy the heck out of making good on my promise to myself.

More on this real soon!

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