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Posts Tagged ‘Ceramics’

A New Home for Envy!

Thursday, December 20th, 2012

The other day I got a two great Christmas gifts from two customers from The Holiday Studio Sale at Bonnie Lebesch in Fort Collins, Colorado!  I received an email from Colleen showing where she has my vessel Envy in her house!  It looks like I have prime real estate in her house.  What a treat to see the new home for my work.

Later that day this card from Mickey Bookstaber was in my mail box. I met her during the Bonnie’s Holiday Studio Sale also .  She came up to me and said she recognized my work from the NCECA show; Uncommon Ground: Impact and Influence in Arvada, the show was back in 2011.  That in itself is the greatest gift to have someone remember your work from over a year ago.  She said she had taken a close up of my vessel and was using that image for cards, and she sent me one.  This absolutely made my day.

 

Here are some pictures of the show @ Bonnie’s right before things really got going!  It was really a great set up.  Bonnie lives just a block off of Old Town in Ft. Collins, Colorado, which has great shopping.  So lots of people were out Christmas shopping.  The show was fast and furious, and we always had a big crowd.  I hope we can make it an annual show and sale.

 

 Here we all are… starting from the left…     Laurie Beth Zuckerman, Lili Francuz, Jacque Ristau, Shana Salaff and me, seated in the middle is Bonnie Lebesch.

The Boneyard

Saturday, October 6th, 2012

The Boneyard @ Casper College

The Boneyard is a very intimidating place to be, especially if you’re me.  Casper College has this amazing, overwhelming, awe inspiring collection of bisque ware; the mark of 40 plus years of visiting artists.  Representing such artists as Val Cushing, Joe Bennion, Chuck Hindes, Clary Illian, Kathy Kerns, Jenny Lind, Kurt Weiser, Alleghany Meadows, and list goes on with many more well-respected incredible artists.  Lynn Munns for 35 years had two visiting artists a year come in give workshops, now Mike Olson has continued that tradition.  When I accepted the offer to be a visiting artist, I blanked out about the Boneyard.  I’ve even been to the Casper College’s Pot shop many times.  I was super nervous about teaching a workshop, and completely spaced the boenyard.  When I got to  Casper and started setting up for the workshop, I was totally focused on getting pots made so they would be leather hard for the workshop, that it didn’t sink in.  The second day of the workshop Mike says to me, “That one is going in the Boneyard right?”  Then tunnel vision happens to me, you know kind of like when in the movies everything fades away, and goes really far away with blurry stuff in the middle.  That’s what happened to me, and looked down and I had totally screwed up on my lettering, it was going at a colossal slant and I thought I could line it up, but the more lines I did the worse it got, then I was out of time and I had to pack up and go home.  More so Mike had to go home, I think I would have made a whole new one and stayed at Mike and Amber’s house for a few more nights before giving him the piece of dog doo that I gave him.  Actually I really needed to go home my husband was and still recovering from phenomena, and watching an extremely energetic five year old does not work well when you are trying to rest.   BUT, I am planning my bait and switch, I’ll have to figure out how to distract Mike, clay trap overflow, low fire clay in a high fire, raku fire accident, or maybe a kiln explosion.  What should my tactic be?  Any suggestions?

The Boneyard close up @ Capser College

Well, anyway here’s my very unsatisfactory vessel in the Boneyard next to Frank Saliani on the left and Jim Brashear on the right.

 

My vessel and bowl!

 

 Thanks to Mike Olson for the great pictures of the Boneyard!

Casper College Workshop

Thursday, September 27th, 2012
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I’m back from Casper College!  My workshop went well.  I am pleased how things turned out anyway!  The students of Mike Olson’s ceramic classes made me feel very welcomed.  They seemed to be interested in my techniques.  I have one college kid come up to me and say, “I have to leave to study for a math test.”  Then he didn’t leave and he came back to me and said, “Connie Norman only will be here once I’d better stay.”  That statement made me feel pretty good.  I do enjoy teaching workshops.  I always learn tons from the students in the workshop; I feel they are always a great exchange of ideas.  I always come back with great ideas and really feeling recharged.

Pots at Rest @ The Clay Studio

Wednesday, September 5th, 2012

 At the end of the summer I got a pretty exciting email from The Clay Studio in Philadelphia. I was invited to be in the Pots at Rest show by Elizabeth Robinson, which is in the gallery now. (side note I got to interview Beth on my blog a few months ago, if you’re  not familiar with her work please make the jump the to her incredible interview.) I have to tell you the thoughts that were going through my head when I opened the email. First of all I do subscribe to The Clay Studio’s newsletters, so I assumed this email was a newsletter. The title of email was “Show Invite”, but somehow my brain did not register this. I begin to read the contents of the email, it started with:

“Dear Connie

In the fall of 2012 The Clay Studio will undertake an exciting project that explores the relevance of handmade dinnerware in the 21st century. The project includes two exhibitions, one focused on the tableware of Derek Au, and the other a group exhibition, which I am hopeful you will be a part of, (this sentence didn’t even register again) titled Pots at Rest. Lectures, and a public project titled the Guerilla Mug Assault (The Clay Studio was honored to be a 2012 Knight Foundation Arts Challenge recipient for this project, one of thirty-five to receive funding selected from the 1,260 plus applicants submitted) are also programmed during these exhibits running August 17th  September 30th, 2012…….”

At this point I started thinking, “Oh sounds like a nice show, but I won’t be in Philadelphia anytime soon, can’t see the show, I think I’m done with this email and I’m going to hit the delete button. But somehow I keep reading… Three more paragraphs about the show Pots at Rest, yada, yada, yada, then suddenly I see, “I hope that you will agree to participate in this really exciting exhibition!” What! What exhibition! What are they talking about! What! I’m so glad that somehow the baseball bat finally made contact with my head and I realized that I was being asked to be in a show!!!!  Woot! Woot!

This is a dream come true!!! On the rare occasions that I have the opportunity to visit Philadelphia I’ve always gone to the Clay Studio and dreamed of having studio space, dreamed of being included into a show, now I’m delighted to say that I am in Pots at Rest at the Clay Studio.

Scroll down to read The Clay Studio’s description of Pots at Rest. 

Here is one of Elizabeth Robinson’s timeless plates. Then on to the show!

Here are some pictures of Pots at Rest @ The Clay Studio.

Here is the part of the show that Elizabeth Robinson curated. She I love the collection of pots she put together.

The Clay Studio’s description of Pots at Rest. 

Pots at Rest engages eight ceramicists as curators and exhibiting artists: Kari Radasch, Elizabeth Robinson, Lorna Meaden, Ingrid Bathe, Brian Jones, Munemitsu Taguchi, Matthew Hyleck, and Joseph Pintz. All are nationally recognized mid-career makers of tableware selected for the strength of his/her work: the conceptual content, formal qualities and his/her personal aesthetic. As a group they represent a broad range of material use, varied form and the primary processes of making and surfacing. All bring with them an extensive knowledge of the field, professional contacts, and buyers for their work. Each Artist/Curator was assigned a piece of equipment or furniture, typical to most kitchens, where pots when not in use, live or rest. Each selected functional wares for these spaces made by ceramicists from across North America whose work they admire and respect and share their reasons why they believe handmade tableware remains relevant in the 21st century.

 

Extra! Extra! Read all about it, in the Casper Star Tribune!

Sunday, September 2nd, 2012

On Friday The Casper Star Tribune featured a story on my show at Casper College. Margaret Matray called me to write the story and we had a lovely conversation. I had no idea that, that conversation was going to lead to a two page spread in the Casper Star. Holy Cow! I was blown away when I saw a copy of the paper. Living two and half hours from Casper it took several stops in Cheyenne before I could a copy. It was very exciting to open the paper in the store to see the gigantic story! Thank Margaret Matray for such an amazing article!

Here’s the story if you want to read it. And if you want to see the scoop on the Casper Star’s website make the jump here.

The Story Of Ceramics, Cheyenne Artists shares memories and secrets through clay.  by Margaret Matray

The phrases stamped into the cups, plates and vessels offer a glimpse into the mind of Connie Norman.The words read like whispers, as if she’s standing there sharing her secrets.

“PROMISE ME.”

“KISS SLOWLY.”

“FIND YOUR VOICE.”

The phrases repeat, stamped over and over again until they’re a block of text on the artwork. They read like a mantra.

“DON’T TAKE YOUR SECRETS TO YOUR GRAVE.”

And like fleeting thoughts.

“DOGS SHOULD BE ALLOWED IN RESTAURANTS AND STORES.”

A 48-piece exhibition of Norman’s work, now open through Sept. 20 at the Casper College Goodstein Art Gallery, showcases the Cheyenne artist’s ceramic cups, plates, bowls and vessels.  Although the pieces featured in “Words at Your Disposal” are functional, they all tell stories and draw on Norman’s personal experiences.

Norman’s exhibition is the first of seven shows to be displayed at the Goodstein Gallery this school year. Artists must submit proposals for consideration, and exhibitions can be booked as many as two years in advance, said gallery director. Norman previously exhibited at the Goodstein Gallery in 2006.

“Connie is consistently exploring new ideas in clay,” said Innella, art history and museum studies professor for Casper College’s Visual Arts Department. “… I think it’s really exciting when an artist is thinking about text as a form of communication through visual art, which is already a very potent form of communication.”

Norman’s work has been featured in exhibits nationally, including Strictly Functional Pottery National, Ceramics USA and the National Council on Education for the Ceramic Arts. She has been featured on the cover of “Ceramics Monthly” and currently teaches sixth- and seventh-grade art at Carey Junior High School in Cheyenne.

Her interest in pottery came in high school. Six weeks before the end of senior year, Norman wanted out of her home economics class. Her friends were taking pottery, so she started hanging out in their class. Before school, after school and at lunch, Norman made pottery. She had made so many pieces by the end of the year, in fact, the teacher went to the principal to ask if Norman could get a full year’s credit.

She graduated from the New York State College of Ceramics at Alfred University, where her work took a turn. Norman intended to perfect her functional pottery but instead shifted to mixed-media sculpture. She used hay and found objects to build her work, which focused on women’s issues.

Married, out of college and with little money, Norman’s husband asked her one Christmas if she could make gifts that year.  “But we can’t give away that weird stuff that you make,” Norman remembered her husband saying.

She returned to functional pottery. At first, she experimented with words as texture and pattern. Norman said she’s always struggled with writing, but as her artwork evolved, she began infusing her ceramics with meaningful phrases. She’s worked in this style for nearly a decade.  “I wanted to make something beautiful that told stories,” Norman said.  Norman’s ceramics reflect her private thoughts and inner dialogue. The words she uses draw on memories, conversations she’s had and phrases she repeats to herself in times of joy or worry.

A large vessel in Norman’s show is split down the middle with a blue line. On the left the words “This is how much I remember” repeat over and over. On the right: “THIS IS HOW MUCH I FORGOT.”  The piece reflects on a time when Norman’s father was in the early stages of Alzheimer’s.  “I was really kind of watching him lose what was going on in his world,” Norman said.  When her father died, the chaplain at the funeral asked Norman about her father’s military career. He had been retired for about 15 years at the time.  “I realized I had kind of forgotten his stories,” Norman said.  She made this piece: “IF WE DON’T TELL OUR STORIES NO ONE WILL KNOW.”

The vessel “Invisible strength” was inspired by Norman’s friend who had cancer. And the pieces that say “I’m so lucky” are about her 5-year-old son. Norman and her husband adopted him from Ethiopia. People tell them their son is lucky. Norman replies that she and her husband are the lucky ones; he makes the family complete.  “I try to pick phrases that are universal, that people can kind of bring their own meanings to,” Norman said.

Norman builds all of her pieces instead of throwing them, which means she doesn’t use a pottery wheel. She uses old letterpress type to stamp in her phrases, and the rest of Norman’s work is covered in color, shapes and lines.

A few vessels featured in the Casper show come from earlier years, but Norman made most of the pieces over the summer.  Although the school year has started, Norman finds time at night to work in her studio.

“I didn’t become a professional artist until I became a teacher,” Norman said. “It really inspired me to go home and do what I was preaching all day. There’s something about the energy of school that makes me go home and create.”

 

 

New Work – For Casper College, 17th Street Art Festival & Pots at Rest!

Wednesday, August 15th, 2012

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My Show At Casper College opens August 20.  And I will be giving an artist talk at noon.  If you live in Casper, please come by to say hi!

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17th Street Art Festival is this Friday and Saturday!

Friday August 17, 5 – 9PM
Saturday 18th 10AM – 8PM
The inaugural 17th Street Arts Festival, located at the new Dinneen Downtown Plaza in Cheyenne, will feature dozens of visual and performance artists, children’s activities, food and fun. The festival begins Friday night, August 17, 5 -9PM with an Artist Preview Reception, including performances by local artists and a wine tasting bar, everyone is welcome. Then all day Saturday, August 18, from 10 a.m.–8 p.m., enjoy visual and performance art, a children’s area complete with bounce house, all day family arts and crafts, and local art exhibits.

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Pots at Rest @ The Clay Studio

August 17 through September 30, 2012
A dream come true, one of my plates will be part of a group show at The Clay Studio in Philadelphia. It will be a part of Pots at Rest, a multi part project titled MADE BY HAND, exploring the relevance of handmade tableware in the 21st century. The Clay Studio invited eight mid-career ceramicists to curate the exhibition. Each artist was assigned a piece of furniture where their pots would rest. At Elizabeth Robinson’s invitation my plate will rest on a dish rack with several other ceramic artists! Thank you Beth for this amazing invitation!

Here is mine!

CNorman

When it rains it pours.  All these shows are just days within each other.  Whew!

Don Davis – Plinth Gallery Artist Interview

Friday, July 20th, 2012
This month’s Plinth Gallery Artist interview is with Don Davis.
Exhibition Dates:
August 3 – September 29
First Friday August 3
Second Saturday August 11
For more information please visit Plinth Gallery’s website.  Or if your int the area please visit the beautifully designed Plinth Gallery @ 3520 Brighton Blvd, Denver Colorado.
Don Davis’s dedication to clay work is due to an enduring love for the material and the processes of forming and firing it. Most of his work has been wheel thrown porcelain forms although he has pursued many other ceramic techniques. Davis’ early work focused on form, surface treatment and the concepts of duality, indicated by the play between interior and exterior which provided sufficient content. His latest work with terra cotta has become more sculptural and involves content of a more specific yet complex nature. While the natural world and ancient traditions provide the greatest inspiration for him, he allows his work to take its own unique contemporary direction. At its best, that direction is a cooperative effort between the clay, the fire and myself. – Jonathan Kaplan Plinth Gallery
Don sent this interview from Italy!  Grazie e buon divertimento!

For more informatin on Don and his artwork please make the jump to his website.

Don Davis will conduct a 2 day participatory workshop at the Gallery August 4-5.The workshop will demonstrate both wheel thrown and hand built forming methods. Starting with bowl forms and moving on to composite pieces constructed from components formed by various methods. Discussion will focus on clay choices related to form, using wild materials, the importance of improvising, the challenge of throwing thick or thin, relating surface treatments & firing methods to our particular forms, and staying open to new possibilities while exercising personal choices toward your desired results. Ceramic history and cultural influences will be discussed as fundamental inspiration for our own contemporary philosophy and work.  Please call the gallery for more information and to register for this highly instructive workshop. Graduate college credit is available through Adams State College.  303 295-0717
For more informatin please visit the website of Plinth Gallery.

Let’s go back to the very beginning—how did you become a ceramicist?

Fell into it along the way.

Has a significant personal experience shaped your work?
Many
What other clay artist influenced you if any and why?
Chuck Hindes, Norm Schulman, & Jun Kaneko – significant input as teachers.
Where do you find inspiration for your work?
Ancient things.
What are you showing at Plinth Gallery this month? How did you come up with the title for the show?
Showing the tower forms influenced by ancient architecture, omphalos bowl forms, & muse baskets.
If they stuck with the title “transitions”, it references my transition from high temp, Asian influenced ware to my recent work in terra cotta.
Can you tell us a little bit about your book, “Wheel Thrown Ceramics”?
It was a great experience for me.
How do you maintain a healthy work and life balance?
Good food, wine, and keep a garden.
You, like most people enjoy the process of making 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 was a full time studio artist for 22 years; now a university professor. Business (making a living) and the transfer of information (which can also be part of making a living) are both part of the profession.
Tell us about your studio. What do you love most about your studio?
It is comfy and right across the yard from my house.
What advice can you give aspiring artists struggling to find their own voice and look?
Keep an open mind and don’t be in too big of a hurry to “arrive”. Don’t follow trends; pay attention to the ancients!

Miss July!

Monday, July 16th, 2012

I am the Miss July! July artist of the month that is, here in little ol’ Cheyenne, Wyoming. The organization Arts Cheyenne and our local paper the Wyoming Tribune-Eagle have been featuring the arts once a month. They have been featuring the visual arts, literary and the performing arts. It’s been nice to read about all the different artists we have in town. I’ve known most of the visual artists but not in performing or literary! If you want to see some of the other artists make the jump here. I really appreciate Arts Cheyenne recognizing the arts; it’s nice to know that we have art advocates here in Wyoming. If you know some great artists from our area that you think should be featured please go to this link to nominate them!

Governor’s Capitol Art Exhibition 2012

Thursday, July 5th, 2012

 

This year the Governor’s Capitol Art Exhibit new home was in the Hynds Building, instead of the Wyoming State Museum. The GCAE (Governor’s Capitol Art Exhibit) is a way for our state officials to pick out art work for their offices and to grow the art collections of our state buildings. All the artists in the show are from Wyoming, with Cheyenne having the most artists represented in this year’s show. The juror for this year’s show was Carl McQueary. I had two of my three pieces juried in!

An Instagram shot of my work at the Hynds.

During the reception I talked to David Newell, the curator for the State Museum and the organizer of the show, about why he choose to move the GCAE to the Hynds, he said that the show had out grown the Wyoming State Museum, and he couldn’t display oversized work at the museum. This year’s show represented 70 works of art and in the past the show has hosted around 50 pieces. But because of having to rent the Hynds this year’s show was only two days long rather most of the summer like it usually has been. For Cheyenne the reception is a big night, the Governor and First Lady make speeches, the purchase awards are announced, lots of elected officials are milling around. And the last big change they made was; if you were accepted to the GCAE then you were able to set up a booth in the next room with your artwork, called Artist Alley.

Reception @ The GCAE!

Now for my opinion, I have been in the GCAE many times. I have mixed feelings about all the changes this year. I don’t mind that David wants to mix things up, and this was great for the Hynds Building. Since the show helped to get more revenue and exposure for the Hynds, and maybe one step closer to achieve their goal of becoming an art center.  (Here is an earlier post about the Hynd’s Builiding.)

But,………………….. I was sad to see the show up for only two days, and the Hynds still needs lots of work, the walls are still in disrepair and the vent system is hanging down. David called the Hynds SoHo-esque, I think it is more like the movie Brazil. (Check out the post about here.) I went down the second day of the show to really see it since it is almost impossible to see art during a reception, there were lots of people there looking at art. So the two day event made people go down to see the show, instead of procrastinating all summer, then missing it all together.

GCAE reception

Here  are a few of my favorites from The Governor’s Capitol Art Exhibit.  If you are interested in seeing the whole show make the jump to this link.

Georgia Rowswell, Cheyenne, Wyoming

Tony James, Cheyenne, Wyoming

Michele Farrier, Alta, Wyoming

Ginnie Madsen, Laramie, Wyoming

Lynn Newman in Artist Alley.

 

 

Sandi Pierantozzi and Neil Patterson Plinth Gallery Interview

Wednesday, May 30th, 2012

Sandi Pierantozzi

Neil Patterson

Sandi Pierantozzi and Neil Patterson: New work!

Exhibition dates:
June 1 – July 28
First Friday June 1          
Second Saturday June 9

Sandi Pierantozzi will teach a 2 day participatory workshop at the gallery presenting her innovative approach to form and surface at the gallery June 2-3. This weekend workshop will focus on using slabs, texturing the surface, and then by altering them through techniques such as darting, creating interesting and innovative forms.

Sandi Pierantozzi’s functional work comes from a deep appreciation of food, celebration, and setting a beautiful table. She feels that “pots help me connect with people on a very basic human level” by communicating some creative life into the daily rituals of eating and drinking Sandi believes that a handmade ceramics contains ”the soul and energy of the maker” and that with use, a real human connection is made. These connections between people are essential to keeping alive the soul in all of us.

Neil Patterson ceramic constructions honor the handmade object and the simple daily rituals of use. He makes pots that are designed to be used and enjoyed. Through their carefully considered volume, weight, surface and textures he hopes to provide a slow, savory experience for the user. There is always an evidence of the soft material, clay, often bolstered by a formal or architectural structure. -  Jonathan Kaplan, Plinth Gallery

For more  information on Sandi Pierantozzi and Neil Patterson please go to their website. http://sandiandneil.com/

And for more  information on Plinth Gallery go to thier webiste.  http://plinthgallery.com/

 Tell us a little about yourselves! And how did you meet?

We met at Anderson Ranch in 1989. Neil was the studio assistant in a Chris Staley workshop and Sandi was taking the workshop. We became friends during the workshop and wrote letters for a couple of years, so I guess you could say we fell in love through the mail. This was before email. Then we hitch hiked all over the UK in the summer of 1991, and that is when we knew we would be together forever.

Neil Patterson

Sandi Pierantozzi

When and how did you discover the passion for ceramics?

Neil:In high school in Cleveland, Ohio, Neil was very inspired by his teacher Joe Turkaly, and decided then he wanted to become a potter.

Sandi: At the Clay Studio in Philadelphia, Pa. Sandi got turned on to clay in 1984. She took a class because she loves to cook and wanted to learn to make serving dishes for her food. At the time she had a graphic design business, but the more she worked in clay, the more she wanted to. When computers took over graphic design, she decided to make the transition to full time potter.

Sandi Pierantozzi

Neil Patterson

What are you two showing at Plinth Gallery this month?

 Sandi will be showing her newest work in which she combines stamped designs, colored slips and slip trailing.  Forms included will be teapots, vases, candlesticks & jars, among others.

Neil will be showing his current work which is wheel thrown and assembled. Forms include boxes, vases and jars with niches. He will also be showing his newest forms, which are handbuilt bird forms.

Neil Patterson

Sandi Pierantozzi

Since our show is not theme based, we decided we would just call it “New Work” since we are both showing our most recent work.

Sandi Pierantozzi

Neil Patterson

Do you share the studio or have separate spaces? What is it like to work so closely with your spouse?

We share a studio and work right along side of each other in a fairly small space.  Working so closely together presents some challenges, but fortunately we get along very well, and respect each others creative space. We love working at the studio together and cannot imagine having it any other way.

What do you love most about your studio?

Our location in the city, near the Philadelphia Museum of Art, and the community support we get from our neighborhood.

 How do you maintain a healthy work and life balance?

We continue to work on that, but we do have a regular Friday Night Date, where we do something fun and try not to talk about the studio.

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

Find sources from within and through your own studio practice. Look at the world around you for inspiration, not just at the work of other artists. You have to make a commitment of time, energy and lifestyle in order to develop and grow your work.  

Neil Patterson

Sandi Pierantozzi

Would you two explain your attraction for functional ceramics?

Sandi:Since the whole basis of my working in clay came from cooking & wanting serving dishes, that set me on a path of making things I wanted for myself, which were always functional. When people started offering me money for things I made for myself, this was a turning point. That is when I decided I would focus on functional work, so that others could enjoy a handmade pot as much as I enjoyed them. I love that people get a little piece of my soul when they buy one of my pots, and that something I made could enhance a daily meal for them.

Neil:Functional ceramics is an accessible art form that everyone can understand. It is an art form that has been practiced for thousands of years, and continues to integrate into our daily lives.

Sandi Pierantozzi

Neil Patterson

Sandi, it looks like you are handbuilding most of your pieces. Can you walk us through your creative process when dreaming up new pieces?

I sketch a lot. I always have a sketchbook with me, since I never know when I see something that might inspire a new form. When I am ready to make a new piece, I look through my sketchbooks to see what hits me.  Then I proceed to work out the form. Sometimes I make a small piece to work out the details, but other times I just go for it. Often, the piece does not look like the sketch, but the sketch provided the spark.

Neil Patterson

Sandi Pierantozzi

Neil, it looks like you use the wheel as a tool to start the construction of your work, will you tell us how the wheel informs your choices for what you make?  And can you walk us through your creative process when dreaming up new pieces?

The wheel has a historic connection to pottery, but I don’t always use it in the traditional way. The process of throwing informs the choices I make. There is a “back and forth” between my ideas and what the wheel gives, such as round forms and “stripes” or throwing lines. Then I apply my ideas for forms that might be inspired by architecture or nature.

Sandi Pierantozzi

Neil Patterson

Please tell us more about  the CircleMatic Form Finder Template Set. 

Sandi: The CircleMatic Form Finder Templates are a set of 24 templates based on a circle. The development of my circular templates happened several years ago, when I broke a finger six weeks before a major craft show. Since I had to wear a splint for at least four weeks, I could not continue to make my usual work, which was based on rectangular templates, because I could not dart and push the clay out to develop the forms. I devised the circular templates so I could just make parts and stack them without having to push any walls out. This let to a whole new body of work based only on circular templates.

I started bringing a few of the templates to workshops, to teach people how to develop their own, but most people just wanted to either copy mine, or offered to buy them from me. After years of having people ask me if they could buy my templates, I decided to take the time to produce a set. I did not want the set to be a “how to” but more of a jumping off point for people to develop a variety of forms based on their own ideas of how they might put the various parts together.

Sandi and Neil