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Posts Tagged ‘Elizabeth Robinson’

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.

 

Elizabeth Robinson – Plinth Gallery Artist Interview

Wednesday, February 29th, 2012

ELIZABETH ROBINSON: “Gestating”

“Elizabeth Robinson’s work is a very personal statement embodied in accessible work that is meant to be used. Her pottery is an intimate statement about the importance of the handmade object and the role such objects have in our daily rituals. Her attention to detail in both form and decoration results in work that is a joy to experience.” - Jonathan Kaplan, Plinth Gallery

Please join Plinth Gallery in welcoming Elizabeth for her, opening reception,  March 2, 6-9 PM.

Exhibition on display March 2 – 24th. 

Second Saturday March 10, noon-9pm

For more information on Elisabeth Robinson please go to her website.  And if you are in the market for beautifully designed postcards visit Beth at Postcards for Artists.  And to see the upcoming exhibitions at Plinth Gallery make the jump to their website. 

Tell us a little about yourself!

I am the mom of two small boys and a self employed artist and designer. I live in a small, remote town in Northwestern Colorado, and by remote I mean one stoplight and 55 miles by small roads from the nearest other small town. I have an undergraduate degree in biology, a master’s degree in fine art and travelled the world as a child.

I know that you are a Pottery Mom, how do you divide your time between work, children and life?

There’s never enough of it to go around, but I focus on trying to keep my priorities straight. What works for me is to have a clear daily routine with the kids which prioritizes their physical and emotional needs while also building in little spaces of time at home to get work related things done like designing postcards, communicating with galleries and customers, bookkeeping etc. Often I am working on these things late at night or early in the morning since I don’t want what my kids remember the most to be Mom staring at a computer screen or telling them to be quiet because she’s on the phone. Most importantly, as far as studio time goes, is that I have a work schedule, and barring illness or family crises, I don’t deviate from it. The most challenging part of that is, I can’t stay late or go in early when I need to get more work done, I’ve got to get what I can done in the time I have.


How did you become an artist?

I think I’m one of those people who have always been an artist. I remember wandering around as a kid with my sketchbook and drawing pencils and books on how to draw birds, horses and kitties. I always loved to make stuff and had a particular fascination with useful things. For some reason I didn’t like the idea of majoring in art in undergraduate school, but I was always taking a studio class. By the time I graduated, I had decided I wanted to be a potter. I realized I wasn’t going to be very good if I didn’t give it my full attention, so, I went forward with that, travelling the country and working in lots of different studios before going to graduate school.


I know you live in a remote part of Colorado, how do you get your name and artwork out, and keep current?

Honestly, Facebook is probably my best tool in this case. It makes it so easy to keep in touch with old art friends, colleagues and teachers and share what we’re up to.  I also have a Facebook studio page, Elizabeth Robinson Studio: which helps to promote my work and inform the general public. I try to keep up with maintaining my website and sending out email newsletters, but with 2 boys under 5, my computer time is limited. Living in such a remote area is helpful in the sense that there are few distractions.  With small children at home, my studio time is limited, but my focus is there, so I get the work done, and keep sending it out.

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?

Years ago I came across a blogger who described my work as: “your grandmother’s china meets wabi sabi.” That sounds about right. I’m interested in the junction between mass and delicacy, refinement and physicality, loose and formal lines. I think my work comes off as sophisticated and awkward at the same time.

I can honestly say that I’ve put little thought into developing a ‘style.’ When it comes to making things, I’ve depended first on instinct, then an awareness of my interests, and followed it up with a healthy dose of analysis. That last part I learned in Grad School. In one sense, I have a fairly modernist point of view in that I think that many people can pursue an idea or work with a similar inspiration and the work will have a uniqueness to it that is reflective of that person’s individuality. Not that there aren’t good copyists out there, but I think you need to look at a person’s body of work over time to determine if that is the case.

To have a ‘style’ that is your own and recognizable depends on having a fair amount of consistency in the work over time, either in aesthetic, subject matter or concept. I would never recommend, however, that someone stay with a body of work just for the sake of developing a style. I think that if you dig deep and make the work that is most interesting to you that the rest will follow, then go ahead and market the hell out of it.

 

How has your work evolved over the years?

The body of work I have been pursuing for the last 10 years, which has become very focused on the surface of the pot, and imagery that creates ever shifting compositions based on perspective, started in graduate school with an interest in pattern, decorative motifs and a lot of printmaking. Before that I was primarily interested in form and firing methods that created complex surfaces through atmospheric effects, wood and soda firing mainly. Gradually I realized that I wanted to deal with the surfaces more intentionally through my own hand and the making process itself, this process of activating the surface has evolved from thick slip painted on in distinct areas of pattern and fired with an atmospherically sensitive glaze to the layers of color and imagery that is characteristic of my work right now.  This latest evolution became firmly established when I set up my studio in Rangely and for the first time only had access to one little electric kiln instead of a kiln yard full of wood, salt, soda and reduction kilns. The surface wasn’t going to be complex an interesting unless I put it there myself.  As this aspect of my work evolved the surfaces of the pots became smoother and the forms became simpler, mostly as a result of my concentration on what I was doing with the surface, but also because I was working with a mid range porcelain that’s pretty, but has a lot of limitations. My work is in a period of transition right now. After years of small and simple porcelain forms, mostly dinnerware, I’ve switched to a terra cotta clay and am excited to be exploring larger pieces and working with the earthy qualities of this material.

What will you be showing in your solo show at Plinth Gallery opening this week? How did you come up with the title for the show?

The show is titled ‘Gestating” and it’s going to be a bit of a mix. I am showing some of my favorite porcelain pieces that I’ve saved back over the past year as well as some brand new terra cotta pots.

A little over 5 years ago I became pregnant with my first son who was born in the summer of 2007, and my second son was born in the spring of 2010. During this time my work was present, vital, but going through a period of refinement, constancy. I’m done having babies but I feel my work is now in a process of developing into something new.  I have to admit I feel a bit like a pregnant woman who shows up at the pool in a bikini, not because she thinks she looks cute, but because it’s the only thing that fits, and she might as well own up to it.

What is your inspiration for your pieces?

My work is inspired by a mix of global folk traditions and modern industrial forms, including my mother’s childhood teacup collection, decorative motifs and modes of ornamentation, landscape and painting. I take what is familiar and comforting and mix it with a bit of the unexpected.


What keeps you motivated?

I have always been driven to make things so I’ve never needed a whole lot of motivation to get into the studio. I admit, however, that sometimes after a period of time away from the studio it’s hard to get going again. Also, at the end of a making cycle, or after a big deadline, I usually take a break, usually because I’ve gotten behind in other things and need to catch up. Our family’s budget depends on some income from my studio, so money is certainly a motivating factor, as are show deadlines. Also, given that I have 2 small children at home, and time is even scarcer than money, it’s imperative that I have a work schedule and stick to it, so in that sense, just having the opportunity to go to the studio is a motivating factor, whether I feel like it or not.


Please tell us about your other business.

I have a home based graphic design business called Postcards for Artists. I focus on doing custom layouts for postcards, business cards, brochures, etc. I have always been comfortable on the computer, and my goal is to make the process of creating promotional materials streamlined, affordable and easy for artists, individuals, small businesses or whoever. I can help people through the process of picking their images, choosing their text and offer multiple layout options, or I can just do exactly what they already know they want. I keep it casual and easy and cater especially to those who aren’t comfortable with this part of the process or who need to focus their energies elsewhere. I’m good at working with the last minute deadlines artist are often faced with, and I think I have a knack for looking at someone’s work, or talking to them, and knowing how to design the card to suit their style. I love it, I get to know so many great people and it’s a great source of extra income that I can fit into day to day life at home with the kids.


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?

Oh man, I am still trying to figure that out! I know that the key is following through on your commitments, keeping good records, meeting deadlines and always putting your best work out there. Being easy to find, taking good pictures, and communicating quickly and well. Easier said than done!


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

1. Make LOTS of work and keep working even when you don’t feel like it or when mistakes happen. If the work doesn’t turn out, do it again, keep at it until you have a real sense of completion to the idea. This, of course, is an excellent quote on that subject by Ira Glass.

Ira Glass

2. Seek honest critiques from people whose opinion you respect. Listen to their input, take what is useful to you and let go of what is not.

3. Follow your instincts.

4. Don’t be in a hurry to show or sell, take as much time as you can letting your work be just for you. Once you start thinking more about money and audience there are aspects of that which inevitably influence what you make. That’s not a bad thing, there is a lot that is relevant and important to consider when it comes to audience and finding a home for the things you make, but the uniqueness of your work will develop best if there is a good incubating period away from these things, and that’s much easier to get BEFORE you start showing and selling. JMHO.