The Wolf Tooth Necklace

Here's the Wolf Tooth Necklace just finished. I tried to replicate it from "300". I love the way the necklace threads through the movie as a symbol of courage and love. And the use of it as a symbol of legacy. I only have a few right now. They'are handformed, made of porcelain and fired three times. The necklace length is adjustable with the wooden bead.
Contact me through comments with an email address if you're interested.

Latest plate experiements

Two samples of 6 full-sized plates and 6 bread and butters that just came out of the kiln. An experiment in shape, slab and glazes, I used an old two-part plate mold made for poured ceramics to make these. I found a full-sized plate mold and a butter plate mold at the Goodwill and this is the first time I've used them as slump/hump one-part molds to make anything. I rolled out a slab of porcelain 1/4 inch thick, carefully laid it on the part of the mold that would have been the inside surface of the slip plate. Then I let it get dry enough to handle--about a day--and cut irregular rims, then lifted the form off the mold. Before I took the form off, though, I buffed the bottom surface with a plastic spoon-back to create a smooth surface, since these were to be fully glazed and would not have a foot ring. I did the same thing with the bread & butter sized plates and made 6 plates in each size.

I like the Cayote Glaze Co.'s shinos, so I used the light and dark for the two base colors, then took a baby ear syringe and filled it with glossy glaze, laid the plates on newspapers on the studio floor and slopped away. The plates were all fired with large stilts underneath and there was little grinding needed to remove the glaze pips on the bottom. Some warped a bit, but that's okay; goes with the loose design and spirit of the plates. They stack nicely and will wash in the dishwasher just fine.

I'm thinking about throwing some much larger plates and glazing them in a chocolate black/brown to go under these plates in a place setting. I also have two thrown bowls and used the same glazes and they look great. Can tumblers be next?
An earlier oval casserole with similar glazes was the springboard for the plates. To make this piece, I have an oval pattern (one of many rounds and ovals) cut out from plain paper with a notation about how many inches make up the circumference. I throw a bottomless rim on the wheel in the round, measure to the circumference plus a little more and allow that to stiffin up on the batt. When the bottom and the rim are about the same in dryness, I lift off the rim, carefully place it on top the oval base which has been scored and slipped and seal the rim to the base. Sometimes I have to cut the rim to make a match, but I would rather accomplish a match so that there are no breaks in the surface of the rim. I allow the piece to get to leather-hard, flip and trim the bottom by hand or roll and seal it with a little wallpaper seamroller. I buff the bottom to create a smoother surface, sign it and allow it to dry for the bisque firing.

Flying in Dreams

I had a flying dream the other night. I like them. They don't happen that often, but I always wake up content, refreshed and and happy with an added touch of a feeling of accomplishment. Don't ask me why.

Every time I have this dream, it's different; like a variation or continuing story with a new chapter. It must mean something. I have no clue what, though.

The first flying dreams began when I was a child. I could gingerly levitate but only if I didn't think about it. I would drift upward nearly holding my breath while I controled my mind to NOT think of flying or, I was convinced, I would surely fall. At that time, all flying occurred in the dreams as if it were night. I would lightly land at the windows of domed buildings or drift by skyscrapers enjoying the view and no one saw me.

Later in life, I would fly like an underwater swimmer, making the effort to move through the air, but lightly. Still, no people were involved, although I was 'swimming' over them silently, they couldn't see me, but I could see them. This was like a big secret I was enjoying. Sometimes the trees would toss in the wind and I would have to be careful about altitude. I might have to fight to keep from being swept upward and away.

When I learned to scuba, being underwater was like a flying dream. Traveling over coral was like coasting over landscapes. It gave me the same feeling of exhilaration and peace and a dizzy perspective of very high altitude and great distances if I let my imagination kick in.

And now my flying dreams include towns that look like European villages, ancient forests, people who see me and are friendly. Many times, I go back to the same place and the story continues. In last dream, I was talking to people and we were joking and laughing. And for the first time, I was conscious of a costume with light yellow wings that were attached to my arms from wrist to underarm and continued down each side to the waist. Midsummer Night's Dream comes to mind.

Thoughts about Artist's Statements

Disclaimer: The following is my opinion about artist's statements.
First of all, most artists don't need to read other artists' statements. Statements are not for other artists; most artists 'get it' before they ever read a word. And, it's not just artists who 'get it' either. A statement should only enhance the intuitive quality of art.

But---Since we live in a quantifying world, artists are sometimes required to write statements. It is not easy. I think a statement should answer these questions:

Are you unique?

Are you communicating?

Are you marketable?


Uniqueness:
Voice, style, whatever you want to call it -- that's the essence of an artist's work. It's what makes an artist an artist. No one else does what you do. You are distinct. Your work stands alone. You are identifiable. This is maybe the most difficult thing to put into words because 'in words' is not where the value resides--it is in the work.Teasing this out and converting it into words--what the work is--is one of the hardest things an artist has to do.

Communication:
Does your work speak to the viewer? How do you want it to speak? Is it telling them about the uniqueness of your work? Is it your voice? Does the artist's statement help them understand your communication better? At some time, on some level, work must communicate. Even if you are only communicating with yourself, there's no getting around it. Art speaks.*

*conversation with my college art prof.:
"What kind of statement are you making?"
Me: "Statement? There isn't anything to say. It's a teapot."
Prof: "Okay."

Marketability:
Lets face it, no gallery, no show, no body is going to be interested in your work unless it sells. You finding your niche is the key. Marketable to academia/ marketable to the general public/ marketable to galleries/ marketable to connoisseurs/ whatever the target is, whoever is going to take an interest in your work, marketability has to come in somewhere in the mix. To non-artists, marketability sometimes equals validation. People buy art for many reasons. Because they love it. Because it is a good investment. Because it shows they have good taste. Because they want to learn more.

Arfs & Crafts charity auction

Drove to Tacoma yesterday to give The Art Stop my contribution to Arfs and Crafts. I made several small, low cat food dishes with freehand, one-line drawings done with a brush. I love to do these drawings and make them appear to be done by a child. It really takes a lot of control to do it, funnily enough.

But the absolutely favorite one isn't a dish at all. It is a joke/noteholder/penholder. Actually you can put a post-it on it. And it could be hung on the wall--the pen stays in--but I doubt it will be used that way. (Click on the image to read it if you can't see it on your browser.)I hope it's in the running for the Silver Biscuit Award or Pick of the Litter prize. The show opens Thursday, April 19th and a silent auction runs through Saturday, April 21. The Art Stop is at 940 Broadway, Tacoma WA. www.theartstoptacoma.com (see earlier post about the companion dog program the proceeds are used for.)

Enough of this ---I must get back to more serious work. Have a kiln to unload this morning. Am I a lucky person or what?

Warning: Some people may find offensive.......or why I love email

Previously today, my friend said:
"Heard on (name withheld) support line Sunday night:
" 'All of our operators are helping other customers. Your call is very important to us. It's easier to reach our associates from nine to five, Monday through Friday. If you don't want to wait, you may prefer to hang up and call back during those times.' "
"Hold on", my friend says. "If I don't want to wait a few MINUTES, I should wait for more than 12 HOURS and call them again? That doesn't make any sense!"

Me:

"no no no no no,

'Wait', in this case, is a destination. It's that sucking hole of desolation in the murky dark recesses of Telephone Damnation that you are pitched into head-first to nurse your lurking feeling of total rejection and where that slimey little demon hiding at the back of your head finally sees his opportunity to skewer into your subconscious thoughts like: I know my mother really didn't love me. My sister was right, I am a butt pustule. My life means nuuuuuuthing.

Or (insert perkey voice here) You can hang up."

Shadbolt Clay Conference

Just got back from the Shadbolt Clay Conference in Burnaby, British Columbia. It's a 3 1/2 hour drive from home, but well worth the trip. It was a great conference. Small, but quality offerings in the way of demonstrations and information. The highlight for me was to meet Magdelene Odundo whose hand coiled, burnished pots I've seen in museums and admired for their beauty. We were able to chat for some time about her work, the UK, and travel.
What a wonderful thing--to be able to meet one of the giants of the ceramic world in such an easy atmosphere. The problem with these conferences and conventions though, is deciding where to spend your time. There is so much stuff going on and so many things that you want to see and do. Too bad you can't clone yourself just for a short time and go everywhere. Choices, Choices!
I decided to get out of my comfort zone and go to demos that were about techniques I know very little about. I was a total sponge in Kinichi Shegeno's newspaper resist demonstration. He not only worked live, but had a video explaining the technique. He also did a slip mold of a very large teapot form and threw a giant platter. So generous with his information and full of great tips. The only disappointment I had was he ran out of time and didn't address overglazes.

I then went to a demonstration by Jeannie Mah of transferring printer images onto procelain. An extremely interesting process, I decided that I loved the idea and can adapt it to drawing my own images, running them through a printer and transfer it to a porcelain surface. Can't wait to try it! She is truly a master of this process.
The final session was with Diane Creber who does crystaline glazes and has written a great book on the subject. I chose to go to this one because these glazes both attract and repel me. The ones I like, I really like; the ones I don't I really can't stand! Diane works in small crystal formation. The process is very involved and regimented, it seems to me with much technical ability both in formulation and firing control to produce the growth of crystals in the glaze. Diane's pieces were stunning. Especially a totally new matt kind of result. Sorry, my pictures didn't turn out for an example. Anyway, I resolved that should I decide to tackle these kinds of glazes, her book will be the perfect guide.
And speaking of books, I was asked to autograph one myself. I was standing at one of the commerical booths and a lady was buying "500 Teapots". I pointed to the teapot on the back cover and said, "That's my work." She was flabergasted. I said that I had three selections in the book and she asked me to sign the back cover.
Beside the talks and demos, there was a gallery show of participant's pieces and/or any interesting piece owned by anyone who wanted to display it and write a small blurb on the placecard that went with it. I took the white teapot that is at the beginning of the blog and a mug to donate for the sale. There was one corner in the gallery area that displayed donated mugs and sold them on the spot. They were selling just about as quickly as they were being put on the wall.

Thinking time

It's nearing the end of March and it seems as though I'm walking through mud. Other things have eaten up my studio time---mostly the need to attend to the "Everyday". When you must concentrate on "Everyday", it steals your time and your mind from creative dreaming....... Sometimes I jot down notes to myself. Something will trigger a new idea. Like "Think about pots that have sculpted feather forms for handles." Or I'll make a sketch of a new idea for a jar and lid form.


I have to do this immediately because it is as if I have two minds: The Studio Mind and the Everyday Mind. When I'm in my studio, nothing else exists. I pick up right where I left off and continue to work on whatever I left there in progress. Forget House, Errands, Dinner, What-I-Need-To-Do....Time dissolves. When I'm away from the studio and a fleeting idea comes, I must make some kind of note or it will be gone; swamped by the Everyday.

300

Saw "300" in IMAX format this weekend. What can I say? It's a visually stunning movie. The CGI is incredible, undetectable and married with the action so well it is hard to believe that everything beyond about 30 feet from the actors is made by computer. Having been a lover of ancient history and having grown up in a home that was full of books on art and sculpture plus a full set of Ridpath's History of the World with it's beautiful engravings, the film to me was like watching pieces of art come to life. The true story of the bravery of the Greek 300 standing off Xerxe's massive army is one I've know since childhood.
There are moments when the film packs a visual whammy of imagery that prints in your mind. The action is seamless, the acting extremely strong and convincing. Gerry Butler takes command and keeps it. The accompanying book "The Art of the Film" is a great behind the scenes look at all the components that go into making a film like this. Amazing that months of work and skill boil down to one or two (hopefully more) weeks in theaters!

Tiles

It's been a long time since I made tiles; just tiles. Sometimes I make a 'set tile' for a teapot and cups to rest on, and even though I have been working on a bathroom shower installation with a sweep of handmade tiles across the wall, I have not made many tiles lately. I saw a notice that Lark Publications will be doing a "500 Tiles" book and spent the afternoon photographing some rather old ones in prep to send the digitals for jurying. This is a "Sea Life" series I did about 8 years ago. They are 6 inch tiles rolled to 1/4 inch thick, then the forms are sculpted on top of the tile, glazed in a basic white glaze and fired to cone 6. I'm a little baffled about how to upload the digitals to a website using ftp, but hopefully will have that figured out before the weekend.
Update: I finally got the files sent to the publisher late Sunday, but not before lots of head scratching, cursing, reading tech pages and asking several different discussion lists for help. Yeah! Once again the forces of good conquer the evil computer!

ME: 1 COMPUTER: 0

but I can hear it purring in the background..............