Check out Shelia’s web site  http://www.sheilakhrasky.com/

Shelia is represented by Plinth Gallery! 

Sheila K. Hrasky is a fine art artist of the West who works ceramics, oils, acrylics, and watercolors. Sheila is known for her nesting ceramic flower bowls and on location paintings. She remains true to the process and produces original art daily.

Tell us a little about yourself!

I grew up in the mid- west, Illinois. My love of Art was known at an early age. With support from my family and a lot of trips to the Museum at The Art Institute of Chicago, my passion for Art became very clear. Art was more than something to just pass the time, it lead my studies all the way through college achieving a degree in Art Studio. I was educated at The Rhode Island School of Design and the University of New Mexico. After graduation I spent the next ten years working as an artist, living in New Mexico. In 2004 I trailed north to Livingston, Montana where I continue to follow my dreams and make Art daily.

How did you become an artist?

I knew from a very early age that I was an Artist. I was always creating something; I have a piece of ceramic art from almost every year of my life. So it was the logical choice to follow my instincts and become an Artist.

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? After I graduated from College, in Art Studio in New Mexico I started going to the Flea Market in Santa Fe with some of my artwork to sell. By the end of the first month of selling my art I had a fairly good idea of what I wanted to make to sell in Galleries. So over a period of 4 days I came up with my Idea of the Flower Bowls. Form fitting function was one of my biggest concerns, so I decided to hand cut the edges like flowers and then paint the bowls in a timeless floral pattern I focused on my strengths and gave myself the time and discipline of throwing pots daily to get more efficient at the process.

What is your inspiration for your pieces?

My inspiration comes from my love of color and pattern. I knew it was important o my work to supply the form …a bowl which people can use…. and then use great color in a way that makes the piece irresistible. I observed how people would buy things and color is a big motivator, so now I follow trends in style, color and patterns.

What keeps you motivated?

The Process keeps me on going, I work on my Pottery daily, and it sets the routine. It is very fulfilling because every part of the clay process has something very rewarding about it. I truly enjoy making one thing well.

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 am a full time artist…living simply, but keeping my dream alive. I probably come up with a new edge every couple of years. Sometimes it life that inspires me, a new trend in color or just the way two colors look when they are right next to each other.

What was it that made you want to start creating?

Did something specific trigger it? I have a clay work of art from almost every year of my life. So naturally I was drawn to it, but really what sold me on Clay was that I can make something that people could use, a functional bowl. I have found some security in this form of art. Once I had the form…the bowl, I got to have a lot of fun with the designs and the way I Painted each bowl.

What or who inspires you?

I am inspired by Color. It motivates me to keep trying new designs on my bowls.

How do you maintain a healthy work and life balance?

Focus and Discipline, and the understanding that I love living the life of an Artist. I am pretty grateful to be able to create art on a daily basis.

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?After I graduated from College I started to make out of Clay whatever I could think of and then went to the Flea Market in Santa Fe and stood in front of the Public and Listened to what they liked, and a month later I was developing my idea of my Flower bowls. It worked instantly and through perseverance a year later I was in a Gallery that my College Professor shows in.

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

Do your research. In my case I spent a Year seeing what people were making out of Clay in Galleries I wanted to be in and I found my niche, "Color " in a sea of shades of Brown pottery in New Mexico. And then I worked very hard on Technique. Know your market and believe in yourself.

Shelia, Thanks so much for sharing your beautiful work!!

Here is my donated artwork for their auction.

Friday, September 10, 2010 at 6 p.m.
at the Nicolaysen Art Museum

Tickets: $150 Members or $175 Non Members

Master of Ceremonies: Brian Scott

Black Tie Optional

If your in the area The Nic is a great museum.  Please come to support them!!

Check out Bebe’s web site.  www.bebealexander.com 

Bebe is represented by Plinth Gallery!  Check out the exciting shows Jonathan is exhibiting!

Tell us a little about yourself!

I am a ceramic artist, living in Denver, Colorado. Most of my work is handbuilt, using slab construction. Surface is extremely important to me, and I use a wide variety of firing techniques to achieve the surface that I have in mind.I run the ceramics education program for The Arvada Center. The Arvada Center is a multi-use cultural facility located in Arvada, Colorado, and is comprised of three galleries, a history museum, three theaters, a conference center and educational classrooms, including a fantastic ceramics studio. I make, and bisque fire my own work in my studio at home, and then bring it to the Arvada Center to glaze fire, where I have access to a number of kilns and firing choices. Lately I have been firing my work at either cone 10 reduction or salt, and lately have been experimenting with cone 6 reduction.How did you become an artist? When I was growing up I spent a lot of time with my grandmother, who was an artist. She taught me how to paint, and entered me in my first show when I was 9 years old. I went to art classes and workshops with her, and she would take me with her to do site painting in the sand hills of Kansas.In high school I discovered clay, and it has been my medium of choice ever since. Because of my early experience with art, it did not seem like an unusual choice to become an artist.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? Like most ceramic artists, my work has been “all over the board” over the years. I tried many different directions, including throwing and hand building functional pots, hand building both organic, and more geometric, architecturally influenced sculpture. I Raku fired my work for about 10 years, because I enjoyed the immediacy of the firing process. I did not like the fragility of the work, and felt limited by the surfaces I could achieve about 12 years ago, and started experimenting with other firing methods including low fire, cone 6 oxidation, cone 10 reduction and salt firing. My work is now all architecturally inspired, and fired at either cone 10 or cone 6 reduction or salt.What is your inspiration for your pieces?My work is a reflection of my fascination with the inventiveness and ingenuity of the human race. The sculptures are very often based on architectural forms and machinery because these are the objects we create to change our environment and landscape.I am very drawn to the lines of deco and streamline modern design. I look at buildings, architectural drawings and illustrations, cars and house wares from the first half of the 20^th century for inspiration.What keeps you motivated?Never being completely satisfied with the last piece that I have made keeps me motivated. I always feel that I have a better piece in my mind than the one that I just completed, or am anxious to take what I have learned from a previous piece and apply that knowledge to the next. I think it would be very dangerous for me to complete something and be totally satisfied with the result, or feel that I have nothing left to learn from the next piece.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 am not a full time artist, because of my position with the Arvada Center, although my job gives me the unique opportunity to be in a ceramics studio daily. I am not always creating my own work, but I am continually involved in helping solve technical and aesthetic questions with the students in the program, which constantly improves my own skills.When I do get time to work on my own work, I spend a lot of time looking at images in books and online to get ideas flowing. I try to look at a lot of images, without focusing too much on each one, so that when I begin to work I am not reproducing an object, but rather taking elements that I have seen to combine them into a new form. I do some very simple outline sketching, just to remind myself of the general idea of the form. I then cut templates for the components of the piece out of roofing paper. I sometimes will tape these templates together before I start building, as a sort of 3D “sketch” so that I can see if the proportions are working.What was it that made you want to start creating? Did something specific trigger it?I have always had the need to make objects, and feel that that is hard-wired in my brain. It’s a personality trait that I couldn’t escape from, even if I wanted to. I love having the ability and opportunity to make a figment of my imagination into a three dimensional object that can be viewed and touched by another person.What or who inspires you?My early influences in ceramics were Hans Coper and William Daley. I think those early influences are still evident in my work. My inspirations now come from Art Deco and Streamline Modern buildings and design.How do you maintain a healthy work and life balance?Maintaining a balance between work and life is one of the most difficult challenges for an artist. It can be very difficult, especially for women, to balance a job, family and a career as an artist. Sometimes there is just not enough time in the day, and something has to give. Unfortunately, what usually gives is studio time.I tend to work in intense bursts. When I have an upcoming show I schedule my time in the studio, just as I would schedule any other appointment or obligation. If I wait “until I have time” to get into the studio it doesn’t happen. During these times the rest of my life has to be put second to my time in the studio.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 was in school I took business management courses, as well as art courses, with the idea that I wanted to open my own studio, and needed an understanding of how to run a business. I wound up working as a bank supervisor for several years, and took additional finance classes during that time. I then had my own side business for several years, doing consulting and tax returns for small business, specializing in self employed artists. I also was a co-director and treasurer for a co-op gallery for five years, and was responsible for the cash flow of that business.The advice I would give any artist in regard to how to run their business is to educate themselves, keep good records of expenses and income, and to never use the “but I’m an artist I don’t understand business” excuse. Being able to use both sides of your brain makes you a well balanced person. If you are a full time artist you must take care of the business side of your career, or you will not be able to continue being an artist.What advice can you give aspiring artists struggling to find their own voice and look?I would advise an aspiring artist to try every idea and method that appeals to them, and to try and turn off their inner critic. Not every piece has to be a success, sometimes you have to make something to learn that that’s not the direction you want to go. Letting go of the fear of failure is necessary for growth in your work and finding your own unique voice.

Thanks Bebe!!!

Marko Fields Darwin was Right and Exxon Helped

 Plus, More Cautionary Ceramic Tales of End Times

The work of Marko Fields is an exciting new addition to Plinth Gallery’s exhibition schedule.  His highly narrative vessels reflect his sense of mythology, spirituality, and philosophy.  Using a variety of materials, Fields builds highly patterned and embellished pieces that tell stories which may be socially or politically important. His newest series of figurative works feature the frog as a barometer species, which speaks to our eco-health. Fields’ work explores current themes that are both timely and highly relevant.

Marko’s show opens this Friday August 6, 2010 from 6:00 – 9:00. 

Check out Marko’s webiste: http://markofields.com

Plinth Gallery: http://plinthgallery.com/

Tell us a little about yourself!

I was born and raised in Wichita, KS, the youngest of four in a fundamentalist Baptist family. I have never been fundamentalist material, so it was a struggle finding my way. I happen to be one-eighth Comanche and a lot Irish (my Mom was ashamed of her own one-quarter Comanche, three-quarter Irish white-trash lineage) so I suppose the dysfunction of my youth logically contributed to my genetic predisposition to addiction. My youth, though not without some achievement and happiness, was mainly misspent. During my childhood I was blessed with a classic studio art education. I suppose I have always drawn, painted, written and played music. In 1976, I dropped-out of college, giving-up on my dream of one day teaching art at the university level. In 1977, heartbroken by a love-of-my-life, I hitchhiked from Wichita to South Florida, never returning for other than visits. After three years in South America, mostly in Bolivia, I returned to the States, if one calls Key West part of the USA. My first five years in KW led to my ultimate bottom, wherein I sought recovery. I spent another 5 years in KW. I met Amy, my wife of 20 years, in KW and she gave me the gift of going back to college to finish my BFA and then get an MFA. Dropping back in to KU in 1991 as a sculpture major, I discovered clay by taking Ceramics 1 and I realized quickly I had found my life’s work.

I’m all better now… Yeah, right. I’ll celebrate 25 years clean on August 9^th. Life is actually amazing; I have two kids: Michael (18) and Abby (15). Quite frankly, they are extraordinary. I have to assume that is because of my wife, Amy. I am just grateful that they aren’t doing what I did at their age…

How did you become an artist?

See above. It’s a long answer and if you really want to know, come to the opening. I can talk faster than I can type.

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?

My work is very narrative, though that does not describe a visual style. I would say that my work is defined a passion for personal iconography, visual movement, texture, anthropomorphism, animation, gesture, personal mythology, irreverence, the blues, humor and entoptics. If you really want to know about entoptics, come to the opening…

I am told my style is very distinctive. I agree. I’ve always been able to identify my work.

What is your inspiration for your pieces?

Is this a trick question? There is no single inspiration for my work; it goes piece-by-piece with me.

What keeps you motivated?

Commitment. I believe that there are things that will only be done if I do them. Of course, this happens to be true for everyone, but a lot of folks don’t know it. I believe in art; it is essential, it is worth doing. Art contributes to the quality of life. It’s THAT important.

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?

First, I am full-tilt boogie in the studio probably four months a year, beginning in May. Then I begin my academic and NCECA work cycles from September until the NCECA conference. I do work in my studio nearly every day and I am always thinking about work; I rarely dream about my work. Dreams are where I work on my pathologies. But, I write a lot, and sketch ideas and thoughts. My creative cycle is this: 3% conceptualization, 95% showing-up and 2% magic. Talk to me about this at the opening. Come to the opening. I will answer any question, sometimes with ‘I don’t know.’

There are a lot more questions but let me just say that I believe in what I do. I’m lucky that every aspect of my employment revolves around clay. As I am writing from Mexico, and I’m really tired, I’ll just say: Come to the opening. It will be fun, if nothing else.

Thanks Marko, I hope you have a wonderful turn out for your reception!!  It looks like it will be an amazing show.

I was asked to serve on a panel to discuss pricing and value at the “What’s In Your Business Toolkit?  A Symposium on the Nuts and Bolts of Managing an Artistic Career.” It will be held The Nicolaysen Art Museum in Casper, Wyoming, August 5 – 6.  I’m honored to be asked.  But as always I’m a little nervous. 

The Nic’s write up about the Symposium is…. It will utilize business and creative skills to enhance your visibility as an artist.  It is a business development symposium for visual artists at the Nicolaysen Art Museum August 5 -6, 2010.

Many artists wonder if it’s possible to make a living doing what they love most.  This two-day smorgasbord of information will illuminate the processes of becoming more visible and financially successful as an artist.  Tips, tricks, professional insights, as well as business skills and development will ve addressed in this symposium. 

This Symposium will present sessions and panelists that will explore the following subjects:  Legal & Finance, Crafting a Business Plan, Marketing, Technology, Pricing & Value, Accounting.

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.