I recently made a series of prints that utilized random printings of old linocut blocks that become unified with one large superimposed image. Here is one from the series, “Somebody’s Portrait”. The piece is 19” x 26”. The red color is trace print, the rest of the images are the lino blocks and a paper stencil. Some transparant white in was also applied before the black stencil.
Fran and I made a road-trip to the Fuller Museum in Brockton yesterday to see the “Fertile Ground” show. Before seeing the show itself we looked at an incredible contemporary Basket exhibit and a really good exhibit that featured a number of Latin American Craft artists. The Fertile Ground exhibit was really great. I left feeling very proud to have be associated with such a talented group of people. There was a great variety of sizes and firing approaches, temperatures, firing techniques, types of clay and processes. Everyone’s work was of very high quality.
An added benefit of the trip was talking to a number of viewers who were admiring our work as well as talking to two docents who had seen anad remembered the “On the Line” piece we had created for the Fuller. We also talked to a former student of mine from UMass, Sage Brousseau, who has been working at the Fuller in their education department for the past six years.
Everything about this little trip was very positive.
The photos show the gallery in which our work was displayed. We were very happy to see that each of our works faced each other. I also was happy about the size of my work. I thought that in order for my idea of the imaginary vase to work, it has to be of a specific size. The size they are seemed about right.
Here is a new linocut/ stencil print. I haven’t officially signed and titled it yet. Having just brought it home from Zea Mays, I am not certain that It is completed but this is what irt looks like at the moment. It is a small edition of only six prints.
The big change here is using a horizontal format. It is 30” x 22”.
Another change is all of the white space and relatively clean paper. Almost looks like a silkscreen. Perhaps because of all of the space, there is a lot of depth in this one.
Fran sent me this image, looking into the studio, by the main entrance.
We always move stuff around and set work up in arbitrary juxtapositions. its a way of dealing with finished work and still maintaining sufficient working space in the studio. These three vases are definitely an odd combination but they seem to be getting along well enough to let them stay there for a while. They kind of wound up there after the Pottery trail.
Because this pedestal is the first thing that people see when they enter the studio, it may be a good thing to set up new work there, fresh out of the kiln, to showcase new work. it is a fairly narrow pedestal so a lot of work wouldn’t fit but it may be nice to try it out.
I had a brief hiatus from making prints at Zea Mays. Our trip to Vancouver, preparations for the Pottery Trail, the Fuller exhibit and stuff in general got in the way. But I have returned and am trying to use my many hours up. I have begun working on two works at the same time: a large print that combines paper stencils and linocuts and a small blockheads linocut. The linocut was made from an older print. I am modifying the block to create an entirely different print. The picture included is of the linocut in progress.
Clay projects also have started. i just began an imaginary vase. This one has been difficult to start, already cut down a couple of times. We shall see that happens today in the studio.
Beginnings are tough but, even though it is Mother’s Day, we spent the day in the studio. This was not such a difficult decision because it is cold outside has been raining all day long, making any thought of gardening or yard chores impossible.
Pictured below are images of both Fran’s and my work - a loving cup vase from Fran and a collection of small cups from me. Fran’s piece is a new shape. It came about while making a bunch of cups - there were not too many left after our sale. My piece is coming from a commission. A grandfather is getting a collection of face cups for his nieces and nephews and grandchildren. he already bought some a wants some more. I made more than he wanted so he can choose which ones he wants.
It is interesting to look at clay being worked on at such completely different steps of the finishing process. I will smooth mine down a lot more and Fran’s is already almost completely finished.
I am very happy to announce that I just received a grant from the LIAEP Foundation to assist in Fran’s and my upcoming November residency at the Chateau Orquevaux. The Lighton International Artists Exchange Program is the “LIAEP” in this entry’s heading.
LIAEP was very generous to my request. Also, I am very happy to be included with a very distinguished and talented group of people who also received support.
Thank you LIAEP.
This morning was spent taking down the “salesroom studio” and reassembling the “Studio studio”. As always, taking down was easier than putting up but, because we had to clean everything up as we converted the studio to a salesroom, the studio looks brand new.
We want to thank for all of the input, help and participation we had from our guest potter, Alan Willoughby and his wife Linda. It was a great weekend to work together successfully. Asparagusvalleypottertrail.com
We are getting ready for the sale and Trail in all of the major and mundane ways we can do. Here is a picture of the two of us holding signs. One can choose one or the other pair::
Francine got these two new vases out in time for the Asparagus Valley Pottery Trail. The skinnier piece is 13” in height, the stouter (but still elegant) piece is @12”.
Here are some views and details of each piece:
Even though the clay is beige in color and the black isn’t as intense as it is going to be, the pieces drying on the ware give a pretty good idea of what they will look like when they are fired.
No April Fools Day images
I was dissatisfied with the flower made for the latest imaginary Vase, so i made another one that was closer to the original print that inspired it. This is a quick photo of the change. I am happy that I took the trouble to re-think this piece.
Here are a couple of pieces of me putting the finishing details of a new “Imaginary Vase”. (#5?) I may make a new flower part for this piece. Its not that I don’t like the one I am working on but (although it is difficult to explain) I want to create something that resembles the original drawing/print I made for this piece. The current flower will be used on another piece or a re-working of this piece later.
Here’s a picture of Francine working on an elegant vase. There is still a lot of finishing up to do - fine tuning a piece takes as much time as making it - but this complicated piece will be worth the effort.
“Landbirds at Sea with Laundry” is a new platter. It is similar to a number of other platters that use this theme but the figures and elements are a little smaller, making the environment in which this drama unfolds seem larger. The glazed elements were more generously applied, creating a raised surface.
Pictured below is a new Triptych, “Birds and Laundry”, destined for the Fuller Museum’s Fertile Ground exhibit in April. The painted glazes in this piece are significantly “raised”, having a very clean, 3D look.
I am showing three new pieces that were recently photographed by John Polak in his studio a few days ago. I am showing them as “front and Back” images becasue the pieces are so complicated and difficult to understand just by seeing one side.
I have already shown the first in this series and it looks remarkably tame and simple compared to these three “Imaginary Vases”. Someone remarked the other day that, because I am making them successfully out of ceramics they are no longer imaginary. That may be so but I still enjoy referencing the drawings and prints that preceeded these ceramic pieces.
We continue top et ready for the upcoming Fertile ground exhibitat the Fuller Museum. Some new work, intended for the exhibit will be photographed today by John Polak today. We will post the images after the session.
Fertile Ground: Hilltown 6 and the Asparagus Valley Pottery Trail
April 13, 2019 – June 30, 2019
Reception Saturday, April 13, 2019, 4:00 – 7:00 pm
It takes a while to make these pieces so I am surprised that I am able to show two new pieces not too long after the last blog entry. These both continue the theme of the Imaginary Vase and they are getting more complicated in construction and form. Both pieces were shot in the studio and do not have the advantage of good lighting but these were taken for documentation purposes and a comparison to the finished pieces later.
They are more or less the same size as the first piece (25” tall). These two pieces were made using a white stoneware clay and it was a little difficult getting used to working in another clay body. But I soon figured it out.
The first two images are front and back of #3, and the second two images are front and back of #4.