It was a really hard decision!!!

 I read all of them.  And I knew so many people on the comments personally.  I didn’t know if I would be able to choose objectively.  So I had a friend choose a winner for me.  She really struggled with it as well. 

Thank you to everyone who wrote in.  It was really nice to read everyone’s story.  All of them were touching in so many different ways.  It was so nice to get know people this way.  And also it was nice to see who is reading my blog.

Also, go to Facebook and “like” my page, (Connie Norman Ceramics) it would be great to get up to 900 followers.  I’m at 828 now.  I never believed that I could have that many followers.  When I started FB ceramics page I thought I would only have my friends and family “like” my page.

Visit the newly launched 2010 Annual Art Auction website at andersonranch.org/2010auction for a preview of the amazing array of artwork that will be available in the live and silent auctions on August 14, 2010. 

My piece is #137 in the Silent Auction Catalogue.  You can place an absentee bid on any of the artworks, so if you see anything you like, register and help out a great art center. 

There are nearly 250 pieces of art contributed by international, national artists.  Bid on works by renowned artists including James Surls, Betty and George Woodman, David Ellsworth, Anish Kapoor, Charles Long, Enrique Martínez Celaya, Peter Voulkos, George Condo.

Here is my bowl if you don’t make it over to the Ranch’s Auction site.

Check out Lisa’s web site, Two Fish Studio.

Lisa’s work can be seen at Plinth Gallery.

Lisa Pedolsky’s forms are hand built slabs constructed in terra cotta. Beginning as a sketch, each form evolves with the use of patterns, cutting, folding, darting and assembling. Lisa uses many homemade or found objects to create unique patterns on the clay and to apply slips and glazes in an interesting way. 

I first became aware of Lisa’s ceramics when our work appeared together in The Artful Home Spring Catalog in 2009. (The photo on the above.)  Then our paths crossed again when Jonathan Kaplan of Plinth Gallery introduced us for the interview series.  If you’re dying to know how she puts her work together she is teaching a workshop at the Taos Clay Studio, July 17 &18!

Tell us a little about yourself!

I grew up in and around New York City and involved myself in the arts throughout my childhood.  In the early seventies I moved to the Bay Area where I pursued my formal art education at California College of Arts and Crafts, Oakland, and U.C. Berkeley.  Presently I live in Durango, Colorado where I am a studio artist.

How did you become an artist?

I’ve been a “creative” all my life. In elementary school an hour in the art room was the highlight of every week, and in my later childhood years I was scandalized to learn that Art was not everyone’s favorite subject in school. Playing at art was part of my home life as well, and art progressed naturally as I became more serious and focused over the years. It was a given that I would study art in college. (What else was there?) My post college path was circuitous for a time but I always returned to art. I think it was both nature and nurture that did it for me.

How would you describe your style? One of the hardest things for artists to do is to stand apart from everyone else. How long did it take you to come up with your own style and signature look?

Style is a tough one to convey in words. I have not consciously worked at developing a style. Rather, it is something existent that I have cultivated. Each of us has innate tendencies: our touch, flamboyance or exactitude, approach, etc. An overview of my work from earliest pieces to my most recent body of work will reveal characteristics throughout that are uniquely mine. As my work has developed and matured over time these characteristics have become more pronounced and refined.

What keeps you motivated?

It certainly helps to love one’s work, which I do.  Many years ago I identified myself as a strongly kinesthetic learner. I find that information and ideas are best addressed when I am in motion, and so it comes as no surprise that my process is so physical in nature. Working with my hands both engages and frees my mind.  The purest moments in the studio occur when I am completely given over to the work and time seems not to exist.

I am compelled to create.

Are you a full-time artist? How do you come up with your creations? Can you walk us through your creative process when dreaming up new pieces?

Yes, I am a full-time artist.

My process of slab construction is very much like package design or dressmaking, and a plan must be hatched before I touch the clay. I spend hours thinking about forms and do a lot of problem solving before taking pencil to paper. All pieces start as drawings from which patterns are made. Patten pieces are attached to the clay slab followed by cutting, folding, darting, connecting, etc. I also have a strong idea about surface treatment from the start. That said I’m open to deviating from my original plan if something interesting presents itself along the way. It’s an exciting, engaging process. Attention to detail and fine craftsmanship are paramount in my work, and I find my own character in this regard to contrast with that of my gritty earthenware clay which is loose and casual in nature. The clay and I have developed a wonderful symbiotic relationship over the years.

What was it that made you want to start creating? Did something specific trigger it?

I have been a maker of things as far back as I can remember. The act is more than the mere fabrication of objects; it is my way of processing information as well as communicating, and runs the gamut from meditation to obsession.

What or who inspires you?

There’s no short answer, but here are a few examples.

In 1972 I visited an exhibit at MoMa, African Textiles and Decorative Arts. The sublime nature of the work through the use of unassuming materials was striking. There was an intangible depth (something beyond physical attributes) in much of the work that I found engaging and which I strive to achieve in my own. The human touch evident in so many pieces stirred me. Many of the objects from that show – textiles, hats, implements of all kinds, and so on – remain influential. Through my show catalog I continue to contemplate these pieces.

I have another book, now out of print, called How to Wrap Five More Eggs. It contains page after page of images of ingenious Japanese packaging. Dried fishes strung together with raffia have an unexpected beauty. Humble materials are used to extraordinary ends. I am able to see these objects through a child’s eye, with no preconceptions, as so many pictured are unfamiliar to me. I value this perspective.

Lately I’ve been noticing the effects of urban decay – distressed street striping and rusted dumpsters in particular – with great interest and curiosity. This will undoubtedly affect my work in some way.

How do you maintain a healthy work and life balance?

I pay attention. I’ve been working at my art for enough years to recognize when I need a break, whether for an hour in my day or a day in my week. My studio is right outside my back door, and although I am quite disciplined this easy access allows for less rigidity in my work schedule. There are times when I push long and hard to meet deadlines, but time in the studio can also be seductive. I make room for the people in my life and my many other interests. Balance seems to affect my performance as an artist in a most positive way.

You, like most people enjoy the process of making and crafting and didn’t get into it for the sake of “business”. But eventually you found yourself having to make the transition from crafter to a businessperson. What have you learned so far and what advice can you give others in the same situation?

When I discovered that I wanted to spend my days in the studio above all else, business was inevitable. In my opinion, the work is never to be compromised. Trial and error has great value. Research. Learn from others. Be accountable.

What advice can you give aspiring artists struggling to find their own voice and look?

Make honest work. If you’re stuck, start with what you know. Experiment. Take risks. Be courageous.

Thanks Lisa!!

Visit Paul’s website: Paul Barchilon Ceramics 

 Paul’s work can seen at  Plinth Gallery. 

After many weeks of computer problems, and losing several interviews with the crash of my hard drive.  We are back with Paul’s Artist Interview!!  Paul Barchilon’s work is beautiful, intricate, and timeless.  While we were setting up the interview and emailing each other.  I found out Paul teaches ceramics to high school students.  (I’m glad I’m not the only one who teaches the young.)  His students are very lucky to have a teacher like him.  Paul has shared some exciting news. he will be featured in the September issue of Pottery Making Illustrated.  I hope this interview gets you excited about his work and look for his article this September!!! 

Tell us a little about yourself!

I was born in Boulder, Colorado, but have always loved to travel.  My dad is from Morocco, so we were back and forth to there and Europe all the time when I was a kid.  When I grew up, I found the travel bug had stuck with me.  I have had the good fortune to travel to over 20 countries, including India, China, Turkey, and Brazil.

Twenty-Seven Lovers, glazed earthenware, 2007

How did you become an artist?

I think I was always an artist.  My mom was a painter, and we were always surrounded by art.  From a very young age, I was encouraged to make things.  Making a living at art seemed almost impossible though, so I supported myself by working at Kinko’s for 15 years.  I always kept my art alive though, working on weekends and whenever I could find the time.  Finally I dropped down to part time when I was able to pull in a little income from my art.  Nowadays, I spend about half my time teaching art to kids.  I enjoy this a lot, although it also takes time away from making art.

Tracing a projection on to a platter.

How would you describe your style? One of the hardest things for artists to do is to stand apart from everyone else. How long did it take you to come up with your own style and signature look?

I have long felt that so called “Western Art” is only one form of art, and that it is only regarded so highly because it is what we are familiar with.  Having traveled all over the world, I find European culture to be a very narrow slice of creativity indeed.  What really moves me is Islamic Art, which I think is the most sophisticated and most beautiful of any form in the world.  Integral to the artform is a willingness to spend massive amounts of time on something.  The stunning tile creations of the Islamic masters involve thousands of hours of work, even to cover relatively small areas.  As a child, I saw these beautiful tile patterns all over Morocco.  I remember whenever I came back to America, I was always surprised at how boring and drab America was.  Didn’t Americans realize you could decorate white walls?  In my 20s I gravitated towards Islamic pattern and began putting them on my pieces.  This soon led to designing my own patterns, and the more I learned, the more depth I found in the practice.  I have been at it for about 20 years now.  I consider my work to be very traditional, and it fits perfectly in the 1,300 year continuum of Islamic Art.  Although I am Jewish, I find that this art resonates more with me than anything else.  I reject the distinction between artist and craftsperson, and consider both to be equally valid.  There is tremendous value in the time and love an artist puts into their work, and the often anonymous artisans who crafted the great mosques and palaces of the Islamic world have poured their souls into each building.  It fascinates me that you can look at a building that is 800 years old, and still hear the voice of that ancient craftsman.  

 Painting on greenware.

What is your inspiration for your pieces?

Mainly ancient Islamic buildings.  At the moment I am particularly fascinated with Samarqand, a city in Central Asia.  The Timurid style was founded there, and features incredible patterning systems from the 14th century.  Modern mathematicians have only just recently even learned how to describe these formations, which are called quasi-cristalline pentagonal tilings.  It took us until the 1970s to catch up to what the Muslims were doing 600 years ago.  You can see one of my patterns that use this system in Timurid Ten-Step.  To learn how to use this system, I worked from a copy of a 600 year old Islamic pattern manual, called the Topkapi Scroll.

Alcazar Key, two views of a three sided vase, 2003

What keeps you motivated?

My work is very time consuming, I can spend over 30 hours decorating a single platter, but in the end I am always filled with joy that I created something beautiful.  The process is also quite meditative, and I am happy when I am painting a piece.  There are so many amazing patterns that have been created, but there are an infinite number more that can still be created.  I get really excited when I discover something I haven’t seen before, and then I like to pursue it and see what happens. 

A Night in Tunisia, glazed earthenware, 2008

Are you a full-time artist? How do you come up with your creations? Can you walk us through your creative process when dreaming up new pieces?

I teach part time, and make art the rest.  I almost always start a pattern in pencil on paper, working with a compass and a straight edge.  The techniques I use have not changed in over a thousand years, and I always begin by dividing a circle, into various numbers.  From there, I connect lines, and look for interesting shapes.  I often have hundreds of lines intersecting, and seeing the patterns in all of the confusion is part of the challenge.  Once I have a foundation, I usually scan it and then manipulate it in either Photoshop or Illustrator.  The computer allows me to try all sorts of color schemes, and I can turn layers on and off to help me visualize what I am creating.  I move freely between paper and the computer, both are useful tools.  Once I have a pattern, I project it onto a dry platter with an opaque projector, and then trace the lines in pencil.  From there, I paint colored slips on the green ware, and then bisque to 04. After that I apply a clear glaze and fire to 06.  If there is gold on the piece, I apply it after the glaze firing, and then fire a third time to 018.   To see how I design a pattern from start to finish, go here: http://home.comcast.net/~pbwebsite/about/demo.html

Seven Sisters, glazed earthenware, 2008

What was it that made you want to start creating? Did something specific trigger it?

I was in Marrakesh in 1991. While winding my way through a labyrinthine souk, I came across a man making brass platters in a tiny little shop. I was fascinated by his designs and asked him how he made them. He was kind enough to give me a demonstration. Taking a flat sheet of metal he first drew a single circle, and then divided it into six equal sections simply by setting his compass to the radius of the circle and then marking the divisions around the circumference. From there he drew lines between some of the points, and then again crossing into the center. In no time at all a complex interwoven pattern began to appear. He told me that all of his patterns were stored in his head. Many of them he had learned from his father, others sprang out as he played with the lines. I watched him in awe, but also had an inkling that this was something that perhaps I too could learn to do. I bought some paper and crayons at a small stationeer, and everywhere I went I took rubbings of the tiles. Some of my favorite patterns were found in local bars and one was even found in the men’s room of the Alcazar in Sevilla. When I came back to the states, I carved some of the tracings in clay and began putting them on vases.

Winter Monarchs, glazed earthenware with gold detailing, 2008

How do you maintain a healthy work and life balance?

I try not to work for too many hours in a row, and I often change tasks to prevent repetitive strain in my arms and hands.  I try to make sure I have time for yoga, walking to school, and riding my bike as often as possible.  In general, I spend too much time at the computer, and need to get better about balancing that.

 Rkab Djaja, two views of a five sided vase, glazed earthenware, 2004  

You, like most people enjoy the process of making and crafting and didn’t get into it for the sake of “business”. But eventually you found yourself having to make the transition from crafter to a businessperson. What have you learned so far and what advice can you give others in the same situation?

I think it is important to realize that the public at large has very little interest in art.  People are interested in football and television, not art.  That doesn’t mean art isn’t important, but it does mean that it doesn’t really command market share.  Don’t expect society to support you for being an artist, accept that you are probably not ever going to make much money as an artist.  Accordingly, look for other ways to supplement your income, while still finding time for your art.  If you are lucky enough to have good sales, don’t ever take it for granted, and always give your work your all.  I would rather make what I want to, and not sell that much of it, than make things I know I can sell but don’t really want to make.  Make your choices consciously, and you will be happier with them.

1412 Overture, glazed earthenware with gold detailing, 2009

What advice can you give aspiring artists struggling to find their own voice and look?

There is really no substitute for time spent working in the studio.  Take any idea, and pour your energy into exploring it fully, and you will learn much in the process. Keep your heart in your work, and don’t ever tie your sense of self worth into whether you can sell what you make, or even if other people like it.  The only person your art needs to please is you, and it should make you ecstatic.  If it doesn’t, keep working at it, and keep improving your skills until  you can make the things that will make you ecstatic.  Being an artist is not an easy path, but you should accept no substitutes. Artists are charged with being able to see and create beauty, and being able to re-imagine the uneventful into something more exciting.  When you succeed, you touch the divine within yourself.  This spark is what the world needs more than anything else.  If everyone connected with that spark, there would be no war and no violence.  As an artist, you have an obligation to share what you can do with the world.  It is a sacred trust, and if you fail to live up to it, you will find yourself unfulfilled and unhappy. 

Thanks Paul, I’m looking forwad to seeing your article in Pottery Making Illustrated.

My husband, Todd and I have been trying to get a permit to raft the Gates of Lodore for years, without much luck.  This year we were invited to raft with Bo Christensen, he runs the Intermountain Outdoor Institute, and Canyon River Adventures.  We went with our good friends and fellow rafters the Zane, Maura and their kids, Ryan, Robbie, Brandon, and Cory.  The reason it is so difficult to get a permit is the National Park Service only allows 50 people down the river a day.  We took four boats and two kayaks down.  We started out rafting the Green River, Lodore Canyon, in Colorado and four days later we were in Utah.  We covered 44 miles of the Dinosaur National Monument.  The Gates of Lodore was named by John Wesley Powell who was the first person to navigate the river in 1869.  We had an amazing time, the canyon is absolutely beautiful, the weather was wonderful, but the mosquitoes were ruthless.

At the end of this blog post and some here and there, you will see my photos of my Adventure Mug.  I took my Ayumi Horie mug along to try to photographic it along the way, for her Pots in Action Contest.  This mug is now very well traveled, and we traveled in style with it. 

Day One

Setting off for four days on the Green River.

Of course we had to have beautiful pottery with us!

Thanks Ayumi!!

Every night Maura treated to delicious cakes made in Dutch Oven in the fire pit.  Here is Bo and the kids making a sun dial, so Maura knows when it’s done.  If you notice the shadow is hitting the first stone, and the sun will move across the stones to mark 30 minutes.   And…Voila it’s done!

The boats docked at Pot Creek, the first campsite. 

Views of the utterly gorgeous canyon.  My pictures just don’t capture how pretty it was.

Day Two

The boat mechanics…

As we were waking up we found we had unexpected visitors.  A mouse was scurrying around and eventually hid under the raft.  The mouse had an audience from that point on, until we got on the river.  We saw so much wildlife on this trip, besides the mouse, we were lucky enough to see a bear, just after catching something to eat.  Watching the bear run up the cliff-side was really cool.  Also, we saw big horn sheep and entertained by a deer swimming across the river near our camp.  All the kids were thrilled to see all the wildlife, as well as the adults.  Unfortunately, no pictures because they did not come out too well.

Scouting the rapids, Hell’s Half Mile, all the rapids were named by John Wesley Powell.  Some of the other rapids on the Green are Disaster Falls, Triplet Falls, Harp Falls and Greasy Pliers.  Many times Todd tells me, “Oh it’s not that bad, you’ll be fine.”  But with drops like “Lucifer Rock” and “S.O.B.” it doesn’t give me much confidence.  I’m a wimp, and I’m still looking for rapids named something like, Powder Puff Falls, Lemon Drop, or maybe Strawberry Swirl.  Then maybe I’ll get the nerve to go down some more difficult rapids. 

Since I am a big scared-i-cat, I was more than willing to walk the kids around the rapids, while everyone else boated the rapids.  The kids had fun eating Gold Fish, exploring the flora and fauna of the river.

Here is Todd’s solo run down Hell’s Half Mile.  Notice the first picture (top left) where Todd drops into the first hole.  That is a 16’ boat almost completely engulfed…that is a big hole.  Nice run Todd! 

Who needs a water slide when you have a raft? 

Vander catching some hang-time with Dad. 

Looking back into the canyon, it was just amazing!

Who needs a trampoline when you have a raft?  Bo is very athletic and entertained us all week with flips off of just about anything.  You name it, he flipped off of it. 

Day Three

Who needs a bed, when you have a raft?  Zane and the girls sleep on Ryan’s raft on the second night at Rippling Brook. 

Crawdads!!!!  I recommend catching crawdads for hours of kid entrainment.  Thanks to the genius of Bo and Cory.

Steamboat Rock!  The Yampa river enters here on the left. 

Day Four

We have all the kids in our boat today.  And yes, Pringles are a must, for an after breakfast treat. 

Wind!!!!! 

Here’s the most of the group. 

On the way to the take out, just after the rocks.  It was a great trip!!

Adventure Mug!!!

I took one of my Ayumi Horie’s mugs to try to get photos to enter her Pots in Action contest.  Here are some of the photos of the mug while on it’s adventure.  It was fun to do.  By the end of the trip almost everyone had been photographed with the mug. 

What photographs do you think I should submit to the Pots in Action Contest?

I really love Lander, especially after this last visit.  All 15 spots filled in the workshop, and most of the people were experienced potters.  The pressure was on I had show them something new.  Thank Goodness I had a few tricks that no one had seen, such as my love of decorating with office supplies. 

I started off showing everyone my glazing techniques, and my love of office supplies.  We spent the day glazing and did a quick fire that night, so everyone could see the results the next morning.  I did everything backwards for this workshop.  We glazed the first day and then made things the second day, I figured I do everything backwards this just made sense to me. 

Here I’m showing everyone my deep dark secret.  Garage sale dots and a paper punch. 

Here are pictures of everyone working away. 

Some of the stuff that came out of the kiln.

The second day of the workshop building stuff with slabs, and getting your aggressions out. 

Thanks to Deborah Britt and all her hard work getting me to Lander, I got to have a great time meeting new people, hang out and talk a ton about ceramics.

I have a few interviews that are waiting to be published.  Because of our recent computer problems I wasn’t able to get them out.  I even lost one when my hard drive crashed.  (Sorry Paul!)  But I think everything is resolved now!!  I hope.  Look for interviews from Paul Barchilon, Shelia Hrasky, Melody Ellis, Bebe Alexander, and Lisa Pedolsky.

Two posts in one night.  I’m trying to catch up with everything that has been going on. 

I am very excited to be the featured artist on Art Palaver this week.   If you don’t know the Art Palaver blog it is about helping artists sell art by offering resources to help you better market and promote yourself and your art.  The blog has some great advice and artist features.

Last week Michael Wisner came to Cheyenne to give a workshop.  He makes absolutely beautiful ceramics.  I meet him years ago, Anderson Ranch Art Center in Snowmass.  His workshop was a two day intensive workshop about Mata Ortiz pottery and Michael’s contemporary southwestern pottery techniques. 

    Here he is showing us how to use bisque molds to coil build in the Juan Quezada – Mata Ortiz style. 

Michael makes his patterns from hack saw blades that have been shaped into a pattern.  Of course Michael makes it looks so easy.  I can tell you from experience, there is nothing easy about making this pattern.  When I brought my pot home, my husband’s comment was, “Yours doesn’t quite look like Michaels.”  If you notice here, my coil pot is not pictured here. 

Michael makes his own brushes from hair.  The brushes he makes draws incredible lines.  In this picture he is cutting some hair from the back fo her neck.  I didn’t realize I would be getting a new hair cut in this workshop.  ha ha.

The second day we fired our peices.  We rakued them in the eletric kiln which was super exicting.  Here are some pictures of me lifting the lid, while the kiln is at 1500 degrees.  A pyromaniacs dream!!

It was a great workshop.  If you ever have the opportunity to take a workshop from Michael, I know you’ll learn tons and have a wonderful time.

I was asked to make some salt and pepper shakers recently.  Someone asked why I never made salt and pepper shakers with the amber, green yellow combination.  Well, the answer is I’ve never thought to.  I think I was afraid that the green and amber glaze would run.  I love this combo in bowls.  Here are my experiments in that glaze combo on salt and pepper shakers. 

Also, I took these pics.  What do you think?  How do the images look?  What do you suggest for the next around of images.  I would appreciate all the help I can get.

Thanks

Connie