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.

Here is Jonathan in the back room of the gallery with my work.  If you’re following the interviews Jonathan was interviewed on my blog in February.  If you missed his interview click here.

Saturday was a big delivery day, Laura from DIA (Denver International Airport) met me at Plinth to pick up the rest of the commission.  It felt really good to get it finished and delivered.  It was a lot of late nights making pots for them.  (I will post images of the pots in the next post.)  They will be on display in the offices of DIA, until they are given to Mayor Hickenlooper and the Denver City Council in July.  I’ve been told that they will send pictures of the event.  I’ll post them on the blog when I get them.

Another view of the back room of the gallery and Jonathan.  I love the built in shelving for the mugs and cups, a potter’s dream.  Plinth is the only gallery dedicated solely to ceramics in the Denver and Front Range region of Colorado.  It is  located in the River North Art District (Rino), which is Denver’s new and fast growing art area.

A view of a very small part of Hayne Bayless’  show and work, and the front of gallery.  Also a few pots made by Lisa Pedolsky, who is going to have an interview on the blog soon.

I wanted to get more pictures of the gallery, but these guys were waiting soooooo patiently to go to the Denver Zoo.  I was rushed with the pictures.   We had a great day at the zoo, with my friend Sherry and her kids.  It was so fun to watch the kids discover the animals.  And I got to use my new found knowledge of exotic animals, from my extensive studies of  Go Diego Go, The Wonder Pets, and Dora the Explorer.

First Friday Gallery Opening and Reception with the Artist , April 2nd, 6-9pm

Margret’s website: http://www.mrealica.com/mrealica/index.html

Tell us a little about yourself!
I am originally from the U.K. and Hawaii. Now living and working in northern California. Am an artist, potter, mother and teacher.

How did you become an artist?
I was always one.

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 style is contemporary but has been influenced by where I’ve lived and by some of the events
in my life.. I feel that ‘style’ is inherent and just develops and matures over time.

What is your inspiration for your pieces?
Colour. Music. Film. Environment. Today’s visual technology.

What keeps you motivated?
Curiosity. Deadlines and the joy of sitting down at a wheel. Having an idea ‘work’.

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 full time. Have to have a concept first. De-construct, reconstruct, play and edit.

What was it that made you want to start creating? Did something specific trigger it?
Nothing triggered it. I have always done it as a child/teenager and on.

What or who inspires you?
Other artists work including dance, music, street art and film. Architecture and constructions.

How do you maintain a healthy work and life balance?
Take time out to play. Friends and family.

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?
Adapt to the times. Be willing to compromise. Open to new ideas.

What advice can you give aspiring artists struggling to find their own voice and look?
Be willing to play with the work. Find time to experiment and visualize/ Keep going.

Thank you so much Margaret!!

This NCECA I get to be a befuddled tour guide, I am going with my friend Gwen, a NCECA neophyte.  We’ve been told to bring umbrellas, but since we are both westerners, we really are kind of foggy as to what one is.  It seems every other NCECA I go to I get drenched while bus hopping to the galleries.  But this is one of  many adventures we will have, and I can’t wait for all of them.   

This Todd my husband went white water rafting, so I have been a single Mom.  I had grand expectations of getting the rest of my bisque glazed so I could throw it into the kiln right before I leave.  Needless to say I didn’t get much done.  They will be waiting for me when I get back.    

The double walled bowl and the bottles are new forms for me.  So what do you think?

Karen Swyler’s interview marks the first of monthly interviews in conjunction with Plinth Gallery in Denver, Colorado. We will be highlighting interviews with the artists who are currently showing with Plinth. Karen’s show opens this Friday, March 5^th from 6-9pm.

Karen’s elegant porcelain is both understated and eloquent. While they may reference the vessel, their altering and pairing speak volumes about relationships.

Karen’s website: http://karenswyler.com/

Plinth Gallery: http://plinthgallery.com/

Tell us a little about yourself!

I grew up on the north shore of Long Island, close to the beach. As a child, I played with clay in my mom’s pottery studio and worked with my dad on school science fair projects. Their artistic and scientific influences had a strong impact on how I viewed the world from a young age. I currently teach full time at Green Mountain College (an environmental liberal arts college in Vermont) while maintaining an active studio practice. I’ve found that my teaching and studio work fuel each other and that I truly enjoy being part of a collaborative educational setting that supports my studio work.

How did you become an artist?

Although I had access to clay from a very young age I really didn’t get interested in it until high school. I took throwing classes and found I loved making pots. This was something that felt natural to me – probably due to the fact that I grew up in a home surrounded with my mom’s handmade pieces. From there, my education in the field was very linear. I was fortunate to attend institutions where I received a strong technical background as well as exposure to critical theory and dialogues about art. I think it’s impossible to define a specific point in time when I became an artist. Instead, I view the process of making art as an evolution. My work is always changing; sometimes quickly, sometimes slowly. This is what keeps things interesting, so I hope I never arrive at anything that feels like a conclusion.

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?

While my style is constantly evolving, I had a major breakthrough during my graduate studies that continues to inform the work I make today. My visual sensibilities lead me to make work that is organic in form and subtle in color and pattern. Through this approach I aim to create pieces that are elegant and beautiful. These decisions are intended to draw the viewer in and emphasize the conceptual intent of the work.

What is your inspiration for your pieces?

When I was 12 my parents gave me the National Geographic Field Guide to the Birds of North America. Since then I have been an avid bird watcher and outdoor enthusiast. The natural world is a strong influence in my work; I see beauty in organic forms such as the curve of a bird’s neck or the subtle pattern of a bird’s plumage and aim to capture this in my pieces. Conceptually, I am interested in ideas that investigate communication and relationships.

What keeps you motivated?

Looking at art, reading about art, and talking about art with colleagues and students keeps me motivated and constantly raises new questions for me to think about in my studio work and my teaching. I also keep a full schedule and usually have shows planned well into the future. Setting these specific goals gives me deadlines; I like this way of working. The ebb and flow of the academic year also creates a schedule that allows me to balance studio work and teaching.

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 college professor and studio artist.

When developing ideas for new pieces I always look at my most recent work. Using this work as a reference point allows me to improve upon an idea or push an idea further by learning from successes and failures. To test new ideas I often sketch in clay, making pieces that will be sacrificed to experiment with a new form. I also make drawings, but have found there is little substitute for practicing with the actual material.

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

It’s hard to say; I can’t think of a specific event that triggered it. I have always been shy. The idea of art making as an alternate form of communication was attractive to me. I like the notion that I can make something with my hands that can communicate in a much more nuanced, powerful and multifaceted way than either the spoken or written word. I think that’s why art and art making are so integral to human society.

What or who inspires you?

My sister and my mother. My sister is a writer and has recently completed her first novel. The amount of perseverance, dedication and time spent on this single, intensive project is awe inspiring.

How do you maintain a healthy work and life balance?

It is a constant challenge, but I try to take things day by day. My husband is very supportive of my art and teaching practices and also helps me maintain a balance; we enjoy outdoor activities together including cross country skiing, hiking and bird watching.

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

Gaining a strong technical background and exposure to contemporary and historical artists can give you a good foundation, however I think the best thing to do is look to your own passions, even if they have nothing to do with art. This will help you make the most honest, personal work.

Thanks, Karen!