Being an Expert

The Master of the Pot


One thing you can usually say about an artist's work: It will change.

I've seen lots of my fellow potter's work and progress and change over the years.

And I have observed that a clay artist's works can change more radically and sometimes more quickly than other disciplines.

A contributing factor may found in the very nature of artists who chose to work in clay.

Maybe it is because of the versatility of clay.

Maybe clay artists are naturally disposed to be more inquisitive and adventurous than, say, a painter or printmaker.

Maybe it is because of the material we work with; the huge range of raw materials and variety of techniques available for potters to explore.

Many of us come to clay from a variety of other disciplines.

Clay is very receptive to the application of other techniques. It can be woven, printed on, painted, drawn on, paired with metals and woods, sand blasted, etched, patinated, etc.

My interest in clay has always been exploring it's versatility. Building from slabs, wheel throwing, design and solving problems.

I spent time doing historical research. I was very lucky to be in places where I could see actual examples of many kinds of examples from prehistoric to modern works.

I liked trying to duplicate some of the techniques just by working out how things were done. I'm not one who likes to go to workshops. Workshops sometimes turn out little "Mini-Mes" of the teacher. However, if you learn the technique, it behoves you to make it your own and re-interpret the technique into your own style.


On the other hand, some artists find a formula that works for them and they stick with it. They make the same thing over and over again. There's certainly nothing wrong with that. If you have a good thing going and it intrigues you, go for it. There's lots to be said for establishing a trademark.

In some ways, it's very good because they become closely identified with a certain form or style and it becomes their identity. In the world of art merchandising, a quantitative source is a valued thing. The public at large and art dealers can pin down and put a price tag on easily-identified signature work. It fits into the commercial framework.

There is no 'right way' to make art. The key is figuring out what works for you.


Become the expert of  YOUR work.

Ever Wonder?

Do you ever wonder where your work wound up?

Ever want it back?

This happens to me sometimes. I made a sugar and creamer once - strictly experimental piece - that I sold at a show. Thank heavens I took a good photo for future reference.

This little "Tea for Two" pot also went and in this case, I knew the woman who bought it would use it. And that feels really good.


One piece that I think I will always wonder about is a large square teapot. It had been included in the first book, 100 Teapots.  It was sold before the book came out and try as I could, I could never find the new owner to let them know their teapot's image had been published.

Too bad galleries don't help artists track their buyers. I suppose they assume the two parties will go around them on sales, but that's wrong thinking. Cooperation and good communications between buyers, galleries and sellers has great potential to encourage even more sales for everybody.

I would be happy to let my buyers know where they could find my work. I'm sure galleries would appreciate artists who tell their buyers about the gallery or a show. And I know buyers appreciate information about where to find more of your work.  Think positively!

Become Master of the Pot--Advice to Artists

My Advice to Artists








Keep your best work.

Consider making two of each thing and keeping one. Keep the better of the two and sell the other.

If you hit a creative snag, get out of the studio, go do something else, visit a museum, look at other artist's websites, go back over your notes from firings, look at your photo archive. Visit galleries, look at art books.

Your mind may be digesting and assimilating your art. 
It may be a needed part of your creative process. 
Let it happen. When you are ready to create again, you will know it. 



Relax.

Keep learning. Don’t rely on somebody else to teach everything you need to know. Teach yourself whenever you can, you’ll learn better that way.

Take notes.

Photograph everything you make.

Follow every impulse.

Even if it seems crazy, do it. 


Do it, even though it has not been done before by you or anyone else.

Learn your flaws and work to correct them.

Search out your own truth.

Avoid looking at ugly. 

It's okay to steal, but only an IDEA. Take it as a springboard and make it your own.


Listen to everybody. Ignore bad advice. Keep only what feeds you.

Set your standards high. I mean HIGH. So high you will always have to chase them. 

Keep returning to your own themes.

Find your market niche.  


Find your flock. Only other artists understand your life as an artist. 


Don't fool yourself by thinking, "I'll remember that next time." You might not and it will be lost to you.

If a piece doesn’t sell, pack it up and don’t look at it for a long time. Then unpack it and look at it again. Decide then if it should be kept, sold, or destroyed.

Don’t offer anything for sale you would be embarrassed to see again.

Don’t take yourself too seriously.

Book: Art and Fear

I highly recommend this book to any artist!

Confidence builder, sympathetic sounding board,

No, you are Not crazy.

 Encouragement resource.

This book is all of this and more.


Any creative person can benefit from  this book.  Read it through or take snippets to ponder.

Dip into when something doesn't go right.

Artistic frustration can be as sharp as a knife.  If we didn't feel it; we wouldn't be artists in the first place.

When you are at a low ebb and all around you are crooking their eyebrows and looking at you sidewise, read it.


Available from Amazon and as a PDF version at http://www.libertyeyeschool.com/ap2d.cfm?subpage=1655939

GET IT!

Jottings: "Art Advice"

Since, at the moment I don't have access to clay or equipment, I have been spending time "cleaning out" my computer.

 "My dirty old computer"-that commercial cracks me up.

++++++

**Segway Warning**

Can you become a computer hoarder?
I think so.

++++++

Anyway


In my frustration and because my MAC is now screaming to me that the Startup Disc is full and I can't download things and need to unload files,  I ran across a stored document called,


 Art Advice: Random Thoughts about You and Your Work

The first 10 years are the hardest.

Break a lot of bad pots.

Keep a lot of bad pots, but only as a reference.

Surrender to your art. 

Recognize it is an organic need for you. 

Don't apologize for taking time to pursue it.

Follow every impulse. 

Do It, 

Even though it has not been done before by you or anyone else. 

Even if it seems crazy, 

Do it.

Don’t persist in trying to ‘heal’ a bad pot; chuck it and make a better one.

Strive to know your flaws and work to correct them.

Learn from your mistakes.. 

Make notes about your mistakes so you will remember them.

Keep your best work.

Find other artists to talk to. They understand creative madness.

Flex your creative muscles every day:  

Sketch, read, dream, plan, make:  

Whatever needs doing and whatever dreaming need to be dreamed. 

Make it a daily habit. 

Inches add up to miles.

Photograph everything you make.

Take notes about your work. Your initial intention, the happy mistakes that happen, techniques, inspirations, whatever you will need to think about, whatever you see or do. You may think you'll remember later, but sometimes ideas are fleeting. 

You don't want them to get away.

Search out your own truth and keep returning to your own themes.

Keep pictures or examples of your inspirations.

Copying an IDEA is good; duplicating another artist’s WORK---not so good.  

It robs them and robs you.

Build a reference library: Keep the books that are relevant, sell the others

Avoid looking at ugly.

Listen to everybody. 

Ignore bad advice.  

Keep only what feeds you.

Strive to master the medium.

Don’t worry about Style, worry about Skill.

Set your standards high. 

I mean HIGH. 

So high you will always have to chase them.

Don’t worry or ask yourself, ‘Is it good enough?’ 

It’s good enough until you can make better.

Find your market niche.

If you need a tool, figure out how to find it or make it.  

If you can’t, find a good craftsman to make it for you.

Take care of your tools.

Keep learning. Don't rely on somebody else to teach everything you need to know. 
Teach yourself whenever you can; you will learn better that way.

Find your own best work environment, be it solitude or group, silence, music or talk, sloppy or neat, etc. 

If a piece does not sell, pack it up and don't look at it for a long time. Then, unpack it and look at it again. Decide if it should be kept, sold or destroyed.

Don't offer anything for sale you would be embarrassed to see again.

Live with your pots. What looks great today may not look so great tomorrow. And surprisingly, vice versa.

Don't get into a rut. 
Everybody's work changes even a little bit. Embrace it.

Don't take yourself too seriously, but seriously enough.

Art and Fear

"Some books are to be tasted, others to be swallowed, and some few to be chewed and digested."

Sir Francis Bacon, English author, courtier and philosopher (1561 - 1626)

Art & Fear, Observations On The Perils (and Rewards) of Artmaking by David Sayles and Ted Orland is one of those books that should be dipped into occasionally and chewed or to be swallowed and digested--whichever way is the most useful to you. It is the kind of a book that should be on hand in your studio, bookshelf or nightstand.

Here is the opening sentence:

"Making art is difficult. We leave drawings unfinished and stories unwritten. We do work that does not feel like our own. We repeat ourselves. We stop before we have mastered our materials or continue long after their potential is exhausted. Often the work we have not done seems more real in our minds than the pieces we have completed. And so questions arise. How does art get done? Why, often does it not get done? And what is the nature of the difficulties that stop so many who start?"

Very deep questions indeed. I plead guilt of many of these very things.

As you can see, this book is written by artists whose words resonate with other artist and with our particular and unique dilemmas. It isn't a book about "Art Or Craft". It isn't a book about airy theories or fluffy ArtSpeak.

If you are stuck or wondering or twisting and turning about your work, have doubts or need to hear a friendly and understanding artist's voice, this is a book to chew on.

Record Keeping

I have an old 3-ring binder standing on a music stand in my studio. A pencil is tied to the stand with a string. (I can NEVER find a pencil or pen when I need it.)

The binder is divided in sections and one section says, Glaze Record. Another says, Firing Record. A third says Throwing Record (although handbuilt pieces are included).

I make blank pages for these sections so they are already formatted for my notes.

Here's what a sample looks like filled in:

The last page, the firing page, has a check-off box for the type of firing, a place to note the program number on the computer and one for noting how long the firing took. (Kilns change over time and you need to know about any changes in firing.)

The box in the corner is for quick notes on this firing I want to remember. The space at the bottom of the page is for more elaboration. This makes it easy to flip back through the pages and find what I'm looking for if I need to review a past firing.

The Throwing page is really just a blank grouping of sheets available for me to note down the measured diameter of a teapot lid, the beginning raw clay measurements of a piece so I can know the shrinkage rate, a place to diagram something--whatever you Think you'll remember, but Know you won't.

I find this works for me and I keep scanned copies of these pages in a file on my computer to print new ones quickly when I need them.

Woo Hoo!

I just opened my January issue of Ceramics Monthly and saw they had published my suggestion about how to make a foam trim batt, first seen on this blog in May of last year.

One free year of Ceramics Monthly! Yea

Break a lot of bad pots; Keep a lot of bad pots.

Photo by the very talented Erik Johansson. See more at http://www.alltelleringet.com/

Break a lot of bad pots.

My rule is, if it offends me, I break it.

If the piece glued itself to the floor of the kiln and I had to break it off, definitely break it and stick it into the bottom of a flower pot.

If the piece has a crack, a break, a dangerous glaze result and doesn't contribute to the "look", break it.

If the structure or the glaze just didn't work, break it.

BUT

If the piece was a good idea gone bad, keep it.

Photograph it.

Analyze it.

Try it again.

Or pack it away and forget it for a while.

I have to admit that there have been a few pieces I've applied the hammer to that I wish now I hadn't been so hasty. Or so persnickety. That was when I first started making ceramics and had this image of perfection embedded in my mind. After I went to a few NCECAs and looked carefully at a huge variation in other people's works, I edited my ideas of what is and isn't perfection.

I do have a series of mugs that I thought would be a good 'family' with variations in shape, but uniform in glaze and unique (same) handles. I still think it's a good idea, just didn't pan out that time. They are sitting on a shelf in the studio as a reminder.

So, trash the 'failure', don't trash the idea.

P.S. Don't forget your goggles while you're happily smashing stuff!

A New Mold

The other day I decided I needed a mold of a half sphere.

I'd been prowling toy and variety stores to find a child's ball large enough to make what I had in mind.

Surprisingly, it was difficult to find but I finally located one after previously buying three of varying sizes.

I had a used box that was just the right size, but it was rather hole-y.

That's when I got the bright idea to line it with duct tape.

Duct Tape - the wonder fixer.

No matter how hard I tried, though, it was impossible to get the tape inside without some seams and wrinkles.

After the duct tape was all in, I coated the inside of the box with a liberal slather of cheap dishwashing liquid. Same thing for the ball I wanted to mold.

I mixed up the plaster and poured it into the box, then positioned the ball half-way in and half-way out.

BUT WHAT I HADN'T THOUGHT OF WAS THAT THE BALL WANTED TO POP UP!

Yikes.

There I was, one hand holding the container that had just held the plaster, the other pushing the ball down to just the right depth in the mold box.

What to do, what to do.

Luckily, I was able to grab a bucket filled with water and put it over the top of the box.

The distance between the top of the ball and the top of the box just happened to be at exactly the right level to keep the ball in place where it should be.

Whew.

Otherwise, I could see myself sitting in a half crouch, holding down the ball in the mold until the plaster finally hardened.

Meanwhile, in the other hand, I still had the container I mixed the plaster in. (Too bad for that, it went into the trash 'cause I didn't have time to clean it out with water.)

Not impossible, but damned uncomfortable.

Sorry I don't have a picture of the ball or the whole thing when the plaster set.

I did have to wiggle the ball a bit and work it loose before everything really set solid.

I'm happy to report that the duct tape idea worked the box was very easy to dis-assemble and the mold, after a bit of a clean-up on the top surface (I don't care how the outside looks) is a beauty and I'm looking forward to using it.

Even thinking about making others in smaller sizes.

And maybe even a positive of the negative.

Next time, I'll be much wiser about logistics......

Sometimes When Things Go Wrong, They Go Right

This is a plate I got a little intense about when I was throwing it on the wheel.

I pushed the rim too far and it did this.

I cut it off from the wheel, laid it aside and went on with whatever it was I was doing.

Later, I looked at it and decided, "What the heck, let it dry."

I bisque fired it, tried a white glaze on it as a test firing and Voila. Not a bad plate.

So, don't be too hasty or too harsh about how your work turns out.

Besides, I don't think I could do this again if I tried.

Reading Hugh MacLeod

Hugh MacLeod, a corporate guru/artist says, "Ignore Everybody" when it comes to creativity. His book of the same title has been on the New York Times best seller list.

See his cartoons at http://gapingvoidgallery.com/ He doesn't mince words, this boy.

I admire people who can make a living out of 'thin air'. He started making doodles on the backs of business cards and has shepherded this idea into a roaring business that seems to grow expediently.

I'm looking forward to reading his new book. Flipping through the chapter headings, I can see even though the book is aimed at corporate types and addresses creativity, a working artist can certainly benefit from reading it. After all, work ethic is work ethic.

Feed Your Inner Potter II - Internet Images

I keep files on my computer desk top labeled: Reference Clay, My Work, Teapots.

Whenever I download digital images of my work, I stick them into My Work. That way, I can keep better track of what I've photographed lately and what I have in my files already. I have a Resume, Portfolio and Shows Applications file folders located within My Work folder. It's a good way to keep track of where you are with your digital records.

The other files, Reference Clay, Reference Jewelry and Teapots are for images I run across on the web that I want to remember and look at some more. Or I might print them off for my paper files that I take to the studio for personal reference. With a Mac you can click on an image, hold down the curser and move it off a page onto the desktop. Then it can be sorted and filed for later viewing.

I started an image file 'way back in college in conjunction with study in commercial art. The idea was if you wanted to do an illustration, having actual photographs from publications and your own making of faces, locations and articles would help in pulling it all together for a composition.

I began filing references for paintings and graphic designs also. Loose examples in a file folder were much more accessible than images in a book or magazine or a group of slides or photographs. Until the computer, managing slides and photos always seemed to be clumsy and difficult.

Today, If you want to have an image within easy reach, you can even photograph it, download the image into your computer, print it off onto paper and file it in your personal files.

Tile piece by Bede Clark. Isn't it great?

When I tend to get too tight with glaze application, I can take a closer look at this jewel and get inspiration from it.

Since that beginning in college, I've kept up the idea of an image file. Over many years the idea has grown into many other files like travel, architectural design and interior files, antiques and furniture references, ethnic clothing, weaving, quilting and specialized sewing like French hand sewing.

I have a whole section of art business with shows, consignment form examples, information articles.

I have painting references such as faces, landscapes, abstracts. Jewelry files, paper box making, holiday designs, 2-dimensional graphics, handmade books files are also there.

I also keep files of my work in design and commissions. They take up 3 drawers in my office.

In my studio I have 3 more drawers filled with images of clay pieces--teapots, plates and platters, animal images, sculptures, drawings, patterns, booth display layouts etc.

There may be a photograph of a beautiful piece of fabric filed in the glaze ideas drawer--a motif in the design could be the beginning of a design on a pot, for example.

The rule is, if I look at anything in a magazine or on the web for more than a few seconds, it goes into the 'to be filed' stack or desktop folder.

When you think about it, 6 file drawers is not a lot of space, but once in a while, I purge them removing outdated images, information or ideas I am no longer interested in.

The system has served me well when I need an image for reference or to re-engage with an idea.

Recent images:

Advice for Artist - Feed Your Inner Potter

Become Master of the Pot

Art books are expensive, but they really never go out of date.

I still have my old Daniel Rhodes' Clay and Glazes for the Potter textbook. I keep that book more out of nostalgia than for use.

I try to keep only the books that are relevant to me. I sell ones I've 'outgrown' or find are not relevant anymore.

You can find some great books in used bookstores and thrift shops. And if they are a bit worn, so what? They fit nicely in the studio where you don't have to handle them with kid gloves.

"Working" books in my library are written all over, have pages turned down and notes and bookmarks jammed all through them. "Keeper" books are in the house lined up in bookshelves and kept pristine.

Great art books like great cookbooks are enhanced by finger marks, dog ears and splashes....don't you think?

Magazines are good too. Ceramics Monthly, Pottery Making Illustrated, Clay Times and are the leaders.

The Studio Potter is pricey and is published a few times a year.

Crafts, a UK publication, are excellent magazines, though pricey, it gives you a good idea of what is current in the UK and Europe.

Ask your local library to order them. Librarians are usually delighted to get input from patrons for

their orders budget.

Make it known that a subscription to one of these magazines would be a welcome gift for your birthday or Christmas.

There are some good discounts are available through Potter's Council membership for Ceramics Monthly, Pottery Making Illustrated and Clay Times.

Check out the online site Ceramic Arts Daily to see information and other artist's work. http://ceramicartsdaily.org.

UK Art Magazines on Google is another great art magazine online. I particularly like Danish clay work.

http://www.veniceclayartists.com is another international site full of works from Europe.

Don't limit what you look at to only clay-related publications. I keep images of baskets, weaving, jewelry, glass, metal work and other kinds of work I like. Even a piece of pottery on a coffee table in an interior design magazine gets put in my files. Many can inspire you and feed your inner artist.

What You Do Today Affects Tomorrow

When I was working at a 'regular job', I commuted an hour+, worked eight hours plus, sometimes attended an evening class, commuted back home, did the regular house thing, cooking, cleaning, etc. went to bed and started all over again the next day. I was up before the sun and many times fell into bed long past evening time.

Weekends were spent catching up on things that had been left hanging during the week like food shopping, running errands, the million other things that have to be attended to in life.

While I liked my job, felt I was learning new things, living on a small farm in a beautiful valley, and was reasonably happy with my life, many times I was just too tired or wrung out to pick up my art and do anything with it. For me, art requires a bit more peace.

True, I did have windows here and there where I was commuting on a ferry or waiting in the queue to board that didn't require me doing anything but sit. And I sometimes read, ate, slept or just zoned out. It wasn't a bad commute.

One day I realized I was actually grieving about losing my desire to make art. That's when I made a promise to myself. I would FIND TIME EVERY DAY to do SOMETHING to "feed my art". And I would carve it out wherever I could find a few spare minutes.

I would sketch.

Read an article from one of my magazines.

Visit a supply store and catch up on new products.

Go somewhere to see new works.

Plan or get a new project going.

Sort through my stash of supplies.

Interact with other artists.

Think.

Soon, I felt I was doing something. My mood lifted. I began to find more time to work and made some good things. I even arranged for a showing of my pieces in the gallery space where I was working. I didn't feel like I was just plodding along.

Even though it was slow going, this time period helped me find focus and was the basis for the kind of work I did for many years to come. It was a creative seed bed. I would have missed that whole evolution if I hadn't woken up one day and realized I was wasting time I could be using for myself instead of handing it all to other demands.

Sometimes you have to be selfish for your art......

"We are what we continually do."

---attributed to Aristotle.

Note: This little sculpture was cut out of a flat slab of clay. Patterned from a piece of cardboard, the form was cut out, then gently opened up to make it stand. A cardboard 'tent' held the legs apart while the piece dried. The collar is 3-D and fitted when the piece was drying. The black chain was from an old necklace. Lettering was done over the dry glaze prior to firing. Cone 5/6 oxidation.