New Drawing

I’ve been making this type of format, studies of vessel shapes, for some time, accumulating a collection of many different variations of this theme. This new drawing tries to do more activation of the background than what usually occurs. A framing device is placed behind each vessel and this device creates some interesting background shapes. Without overstating the obvious, a lot of very interesting shapes and layers are created. There are a couple of areas when a hatched series of lines is created that make an interesting spatial transition.

I have found it interesting that, especially when seen in photographs, that the white background shapes, each being different and strong, are the first things that one sees in looking at the drawing. After the initial glance, the vessels become evident. The vessels, as in all of the series, try to be unique without any repetition of their shapes. There is a lot of lateral and diagonal movement in the drawing through the background shapes, even though the vessels are fairly still and stolid.

The drawing is 28” x 20”. Media are markers and pencil. I didn’t erase a lot of the exploratory pencil drawing in this piece. In some of these drawings, the aim is to make a very clean, un-aided by pencil, spontaneous creation of the vessel shapes. In this drawing, the aim is to be a little looser and hint a little about the process. The Title “4 x 8” is a lazy, handy way of documenting the number of objects in the grid.

Again, this, like so many of my pieces, would be interesting to see as wallpaper or as other types of patterned utilitarian papers.

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Another Small Suite

An interesting problem associated with waste blocks is that, after they are completed, the finished blocks have been so reduced that very little recognizable information remains to print. They definitely have very little reference to the finished print. I have been using the finished blocks as starting information for large prints, arbitrarily overlapping these images on sheets of paper that produce interesting, almost abstract, textures and patterns. Some unifying paper stencil image then gets printed on top of this information to produce a final image.

This small series is called “Huddled Masses”. Its name derives from the crowd of superimposed faces. I didn’t make this series as a response to the current border situation in Mexico but current events obviously can influence the directions and intent of any artwork. Had I tried to make a specific Border artwork, I’m certain that it would be heavy handed. This group of prints definitely is more formal and less charged with any specific reference to any particular current event. The formal elements in these prints support the concept of waves of humanity.

The prints vary in size but could generally be called 30” x 22”. The background papers vary in color and the prints vary in the way they are visually framed on the page. Maybe a Suite is the wrong word for these prints, because of many dissimilarities, but they also share a lot of information.

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FACE CUPS

I recently finished a commission, set of face cups. These are relatively small, handleless cups that have a face on each side. They are @ 3” high and 1.5 inches across. They are handbuilt, high fired porcelain. They are glazed black on the interior and have spots of color on each of the features. Each piece is unique and fun to use.

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Suite of prints

As usual, I am not regular about taking photos of work and documenting pieces. I have a number of backlogged prints that will shortly be added to this blog. The first is a suite of mono / trace prints called “Doubles”.

The theme for these prints is a juxtaposition of two imagined vases/vessels. The paper is grey, @ 22” x 18”. The color scheme is limited (black, red and blue). My focus was to make unique images of vases, without repeating any, focusing on the negative space between the two vases. The technique I use is similar throughout - stencils, drawing etc. There are instances of an “orange peel” effect on some of the pieces that have more passes through the press.

The satisfying part about looking at the suite of prints is that one can see the variations of images, shapes, spaces and techniques. Every element found in each print relates to all of the other pieces in the suite. The technique of trace printing allows “ghosts” of earlier prints - most specifically in the backgrounds - to appear in later prints, creating another reason why each print in the suite holds together.

New Print

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.

A Trip to the Fuller Museum

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.

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New Print

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.

Random Image

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.

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In Progress

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.

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Back to Work 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.

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LIAEP

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.

Getting Back to Normal

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

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Happy Pottery Trail Participants

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's New Porcelain Sgraffito Vases

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:

Work in Progress

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

These pieces will soon be high-fired and ready in time for the Asparagus Valley Pottery Trail at the end of this month. More to come !

New flower in the Most Recent Imaginary Vase

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.

this is the 3D side. The height must be at least 30”.

This is the 2D side. Certain aspects of this piece suggest how to make the next Vases, such as making them in more sections. I have tried this before without success. This time I have a better sense of how to do this.

More Studio Shots

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.

One side of the flower part of the piece

I am “holding” the flower part in place because I don’t trust its being in place yet. It was built separately and was propped up during the building process. I also should be careful about the narrow neck supporting the flower until the piece is bisqued.

Studio Shots

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.

This is a good view of all of Fran’s tools and the many shavings that are left from the sgraffito process

The imagery on the vase reminds me of the details and complexity found in our large wall piece made for the Fuller museum in Brockton. This is where the Fertile Grounds exhibit will soon be opening.

https://fullercraft.org/fertile-ground-hilltown-6-and-the-asparagus-valley-pottery-trail/

New Platter

“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.

“Landbirds at Sea with Laundry”, porcelain, @ 20” x 9” x 1”