Studio

People Make Things

This week has been a week worth of playing catch up in basically everything.


Brief and wondering thought: I was a bad grad student/teacher.

I let my emails get backed up. I know. Gasp right? I felt just the same, so I spent a good amount of my Friday afternoon sifting through the mass of unread inbox mail in both my personal and my school account. I'll just say that it was enough that I had to stop after a while and pick it back up Saturday morning. My brother also vacated my apartment this weekend, after staying with me for roughly two weeks time. (He is being stationed in a new location.)  Needless to say I needed to put my living quarters back in working order before I could get to work in the studio, because I hate coming home to: a messy couch, dirty dishes, unwashed and unfolded clothes, unkept bathroom, and most importantly an unmade everything.  (All of which my brother managed to do in the short time he was at my place.)

Strange as it is, my house is the complete opposite from my studio. In the studio I have used paper towels strung about every table top imaginable. The collection gets used later on in my pieces and in a way I feel like I'm saving the environment despite my excessive use of the "paper towel" in the first place. At least I reused it form more than just drying off my hands right?


Anyway this weeks blog post is going to be an artist overload.  Nothing much happened int he studio besides my largest piece surviving the bisque firing.  I'll be posting images of that here soon.  I did  however have the pleasure of getting to speak to a number of my professors this week in depth about my work, my artists statement, and some new influences to dive into.  So I am going to amass a few of them here just to see what kind of connections they can produce between one another.

First on the list is Aganetha Dyck, an artist recommended to me by Naomi Falk, the visiting juror for the undergrad Form and Content show this past week. Turns out we were on the same SECAC panel last October in Roanoke, and she's great friends with my ceramics professor Jeff.

"In North America, Europe and many other parts of the world, bee populations have plummeted 30-50% due to colony collapse disorder, a fact not lost on artist Aganetha Dyck who for years has been working with the industrious insects to create delicate sculptures using porcelain figurines, shoes, sports equipment, and other objects left in specially designed apiaries. As the weeks and months pass the ordinary objects are slowly transformed with the bees’ wax honeycomb. It’s almost impossible to look at final pieces without smiling in wonder, imagining the unwitting bees toiling away on a piece of art. And yet it’s our own ignorance of humanity’s connection to bees and nature that Dyck calls into question, two completely different life forms whose fate is inextricably intertwined." --Colossal

Next up is Martin Kilmas, also recommended to me by Naomi.  She said I should maybe look into drawing my sculptures, as a way to activate the wall space, not only with the ceramics on the wall, but perhaps large ink drawings or prints.

This next artist Jessica Stroller came recommended a few different ways, all within the same week. My friend Jessamy sent me an image on Instagram, then not a day later my professor sent me the same thing. 

My professor Jeff mentioned to me Chris Antemann, which then brought up Jessica Harrison.

Chris Antemann    Inspired by 18th C. porcelain figurines, Chris Antemann’s work employs a unity of design and concept to simultaneously examine and parody male and female relationship roles. Characters, themes and incidents build upon each other, effectively forming their own language that speaks about domestic rites, social etiquette, and taboos. Themes from the classics and the romantics are given a contemporary edge; elaborate dinner parties, picnic luncheons and ornamental gardens set the stage for her twisted tales to unfold.  The pieces Chris is making in the Meissen Art Campus use the literary technique of a frame narrative, a story within a story, to build relationships and create layers of information between the sculptural aspects and the painted surfaces. The main story is presented in the guise of the 18th century porcelain figurine as a context, which frames a parody or second narrative between the sculpted characters. Other stories and in many cases, the sources of inspiration for the piece are painted into the scene in elaborate detail.

Chris Antemann 

Inspired by 18th C. porcelain figurines, Chris Antemann’s work employs a unity of design and concept to simultaneously examine and parody male and female relationship roles. Characters, themes and incidents build upon each other, effectively forming their own language that speaks about domestic rites, social etiquette, and taboos. Themes from the classics and the romantics are given a contemporary edge; elaborate dinner parties, picnic luncheons and ornamental gardens set the stage for her twisted tales to unfold.

The pieces Chris is making in the Meissen Art Campus use the literary technique of a frame narrative, a story within a story, to build relationships and create layers of information between the sculptural aspects and the painted surfaces. The main story is presented in the guise of the 18th century porcelain figurine as a context, which frames a parody or second narrative between the sculpted characters. Other stories and in many cases, the sources of inspiration for the piece are painted into the scene in elaborate detail.

Jessica Harrison was born in St Bees in 1982, Jessica moved to Scotland to study sculpture at Edinburgh College of Art in 2000, going on to do an MFA before completing a practice-led PhD in sculpture in 2013, funded by the Arts and Humanities Research Council. 

Working with a wide variety of materials from ceramics and marble to paint and digital collage, her practice explores the mechanics of perception and a fallibility of observation through an examination of the interaction between the visual and the tactile.

Her interest lies in how we handle, interpret and navigate materials, objects and space and how this process can define the shape of the body. The things she makes propose a re-imagining of these definitions, offering an alternative shape to our perception of things, using the simplicity of materials to explore the complexity of the sensory body.

Incorporeal Transformations

For the first time in a long time I took a weekend for myself, and stayed in Statesboro instead of venturing out into the great beyond for school, work, play, or educational purposes and actually accomplished a number of things on my to-do list. I managed to do laundry, grocery shop, and pay attention to my two cats-all of which needed to be done badly in terms of my home-life and the general maintenance that is required on ones part for keeping their living quarters, well, livable.


Studio time has been used to great success I must say, in that I have really up'ed my game this week in terms of work completed and started. It is midterm week at Southern, which means midterms were made, given, and graded. New projects were distributed ate discussed, and this next week will consist of due dates and critiques within my classrooms. That hasn't slowed my progress in the studio though. I am at about what I will say is the 95% completion of my largest piece in the making, and intend on finishing it off later today, along with a few smaller pieces I am working on.

Last Friday was the all faculty critique day, since then my presentation has been re-examined in our class group crit Monday and Tuesday. I appreciated the honesty of my classmates and what they had to say about my current work on when they got a chance to see it in person. Even though they saw the pieces in their "half baked state" because the kiln they were misfired and nothing fully fluxed, I feel they could still see somewhat my vision. The partially developed colors and the hazy white-wash over the five pieces wasn't talked about much to my relief, and instead we discussed the forms themselves, the craftsmanship, and their maximalist aesthetic.

My pieces after the misfire of the kiln. It did not reach temperature, so the pieces are covered in a hazy white wash, which is the clear glaze that did not flux fully.

We also talked about all my major influences in the work and where I was headed. I read off to them my topics of interest, which I have mentioned multiple times in previous blog posts, but my professor Derek brought up some new points I hadn't thought of. He mentioned that I should look into the more "surface" and "face value" topics that my work references. I brought up people like Hieronymus Bosch and Bernard Palissy, who are both from the 16th century as some of my historical influences and then all the new contemporary artists I referenced in last weeks blog ATL Vs NYC. Derek told me that my work has much more potential than just what I've been touching on and that bringing in some current politics such as the new EPA regulations as of 2017. I intend on discussing the topic further with him this week during my studio visit with him on Tuesday.

Wednesday was a day full of building, and back tracking in my notebook for past references, comments, and techniques. I have been trying very hard to make it a point to expand upon all the information given to me when someone references an artists, or a topic to me. Usually I would just go and look up whatever was said to me and then read a bit on it and move on, but now I try and relate it all. Seems like it would be obvious to have done this in the first place but in all honestly I wasn't starting to connect all the bigger ideas until recently, with the help of my current theory class, Art in the Age of Networks taught by Jason Hoelscher.

This is where the title of this blog post comes into play, sorta.

In class we have been reading articles all relating to system aesthetics and the network analogy to the artworld and the artworld discourse, that we as students of art play a role in. Even though I am just scratching the surface of the theories within the artworld and how they are all inner related to one another I still find the theory itself fascinating to say the least. Every essay we read is a new brain busting explosion of ideas, and concepts that opens up a whole new set of "adjacent possibilities" in the grand scheme "effectuations" (all these quotation-ed words are new things that I am just beginning to understand, so bare with me). Things like "Incorporeal Transformations", which is Deleuze and Guattari’s philosophical account of expression and content in “The Geology of Morals” and “Postulates of Linguistic” chapters of their book A Thousand Plateaus. It is from my understanding the idea of change without actual change occurring-- just a change based off of implication, context, and language. This along with the collective assemblages of enunciation in language can then open up new understandings to art related things such as a vitrine. Which is what I am writing my argument driven paper on for the class, as well as hopefully later presenting a small version at Southerns Graduate Research Symposium, and then the full developed version of the paper at SECAC in October in their panel regarding the use of a vitrine and it's implied context.

So what does all this theory talk have to do with my artwork then? If I am getting hung up on the language of things, how does my art then relate back to it all? Well I am learning that it is all in the way you talk about things that ends up making the art work successful or not. Of course the artist statement is just a small part of the "whole" of being an artist, but how you talk about the work in general is also key. Knowing the discourse, or all the presuppositions (PSP's) about the work in question places you within the three art world ontologies, and lets your opinion actually matter. By knowing what my work is, and is not, I can explain better to my audience what is it I am making, and most importantly why. For me, the articles we have been reading, the presentations I have been preparing for is all just part of the bigger game, again, as a "whole".

Knowing the bigger context provides the content for the work. This I am learning to be fact, and I feel like my work is developing along the same speed of understanding, the more I read and write about my work.

In terms of new developments within my research practice for influencing artists, and artworks I have been back tracking and looking into old references. After spending most of my Saturday prepping for this weeks overhaul in the studio by making/doing all of the following:

  • 150 triangle test tiles for glaze tests
  • testing new materials/textures for possibly making my work "lighter in weight"
  • new glaze tests at lower temperatures at cone 04, instead of cone 6
  • developing a new gallon of casting slip slightly different from my original formula
  • making a half batch of my porcelain dunking slip, to cast more fabric
  • hunting and gathering $56.00 of ceramic plates, teacups, mugs, saucers, and bowls from goodwill
  • re-firing my "half-baked pieces" to cone 6, only to realize most of my bright colors burned out
  • finishing up my large piece to 95% completion
  • casting a whole new set of molds (about 15 different molds)
  • started on 3 new smaller pieces (two frogs, and an owl)
  • tweaked my artists statement and the specific terminology used

I really haven't looked too deeply into a new artist, because I spent so much of my time actually making in the studio along with digging into the theory of incorporeal transformations by reading additional material by Deleuze and Guattari. I needed it though. I needed to just work and try to generate my own, internal influence this week.

Sometimes I feel like even though all the reading and research I do is all beneficial to my work, finding that balance between working and reading has been hard for me. I tend to go all in on something. Either I read for hours on end, or a work. I'm not too good at doing one or the other, if it isn't obvious in my blog posts (They are much longer than the required length and cover much more than they need to.) But this is just how I am, and how I have been working since I got here (to grad school). Everything is written down, and researched to the point where I feel at least comfortable with the topics.

Fresh out the re-fire. My piece with some of the colors washed out, because of the high heat.

My professor Jeff keeps telling me that as long as I keep working the answers to what the work is about will come, in time. So I just keep putting in the hours and hope that eventually I'll get some kind of "ahh-ha" moment. I feel that I am close. I think after I sit down and actually have a solid meeting with my chair for my thesis committee, and get some of my "facts" laid out about my work I will be in an even better place than I am now.

Plans for next week are to dive into working on a new piece incorporating more negative space into the work, as well as less weight. I am also having to make new sculptures from cloth, string, fabric, and cardboard, just so I can then break them for use in my current work.  All that materials research I did two semesters ago, to make my "fabric" sculptures, has now become a part of the process for the new works seen here. I also have all my 30hr MFA Candidacy Review artwork up on my website now, so look for that final upload so you can see the jumping off point from last semester to what I am doing now.

Here's to being half way through the semester already!

ATL vs NYC

Two blogs in one day! Who would have thought! This particular blog is going to be the actual blog recap for the week, like standard in terms of my usual blog posts. Rewind and Explain, the blog before this was the recap for New York and really for me was just a collection of the places I went now online in a solidified place so that I can come back to it later and do more research. This weeks 'Atlanta Weekend" is the culmination of a weeks worth of stress, chaos, and a bit of a crazy harebrained idea on my part for what happened this week in the studio.


This weekend I made my way up to Atlanta to stop in at my fav galley in town as well as drop off one of my pieces for a small pop up down in Midtown called Materials and Craft. It may just be one of my small ceramic mugs I made earlier in the semester, but it's still worth it to me to make the trip up here and kill multiple birds with multiple stones. And here's why...

First of all, Atlanta is a relatively close (to my current location near Savannah), huge hub for the art world, coming in behind New York and then Miami in terms of places to network in the USA. It is easy for me to come visit because most of my high school, and undergrad friends now call the city home. Plus I am familiar enough that it isn't a huge expenditure every time I visit.

Second, the galleries up here are right on par with places in Miami and New York. For one, I have noticed that a number of dealers that I saw in Art basel, and just last weekend in New York, have galleries in Atlanta too. Why? I am not sure but it is something that I plan on asking my professors why I see them next week.

Third and most importantly- it's the closest place to where I am at right now that I could see myself actually living and working in. I mean technically New York would be a dream big or go home kind of deal, but Atlanta is actually attainable in terms of financial reason too. It's not out of my price range right out of grad school. So maybe I can treat Atlanta like a stepping stone and jump to NYC after getting in the door in the ATL. Or---do both?


As for this week in the studio I really pushed the envelope to get things done. Friday was our first all faculty critique of the semester, meaning we needed to all have work down and ready to show for the past two months worth of time we'd been on classes. I hustled and came back from New York with a strong idea of what I wanted to present the faculty so I hit the ground running glazed my work in an orderly, painterly style. The final five pieces I intended to present were in the kiln on Tuesday for the final glaze firing and I was set. Or so I thought. Unfortunately, the problems with the kilns (if you have been following my blogs I have mentioned the issue before) are still rearing their ugly heads, and I ended up not presenting any work at all. You read that correctly, I, Courtney Ryan, did not present any work. Not presenting work, is not-I repeat, is not, something that I do. It was hard for me to present at the critique the way I did, and I don't intend to rehash the order of events here because it is irrelevant in terms of my blog post. Just know that I really had a hard time doing the presentation that I did and I really hope that I don't have to do it again. I felt like I let my fellow students down, like I was taking a pass on the critique for not showing. But more so, I was sad at myself. Which is why coming to Atlanta this weekend to get away from the studio and just put my work out there in a different kind of way was needed.

As for artists I am into this week- I had intended to talk about Annabeth Rosen, whom I have seen now in three different cities...New York, Miami, and now Atlanta. Zemer Peled and my Instagram relationship of following her work as it progresses in relation to my own skills and techniques. Xu Zhen and his use of the icing piping for his paintings, which I saw in New York and it inspired me to get larger frosting tips for my own ceramic pieces. And lastly Hieronymus Bosch and his maximalist aesthetic, which visiting artist Claire Ashely re-mentioned to me last week during the studio visit I had with her.

Below are some images of these artists work and I think that the visuals alone show their influence on my pieces, which are seen, bisqued (the first firing in the kin) and unglazed above.

Here is also a clip from Zemer's website, showing how she works in the studio. I relate to her work the most out of the artist I have talked about today just because she is such a personable artist, despite her fame. (And for her obsessive tendencies, which can be seen in this clip.)

Film by Eric Minh Swenson. Zemer Peled utilizes a process of creation and destruction to make sculptures consisting of thousands of handcrafted porcelain shards resulting in works that can be read in relation to art historical tradition, outsider art, and natural phenomena. The sculpture’s narrative impulses lean to encounters with the otherworldly—like complex topiaries marking a not-so-distant land--yet they remain distinctly tied to earth’s patterns. This conflation of the foreign and familiar creates a frenzied dislocation in the work. Inspired by migratory habits of birds, a sweep of feathers, and cycles of change, the works spiral outwardly in rhythmic patterns, interpreting not only the dynamism of nature, but also the startling strangeness of a life lived in transition. Using white and colored porcelains, Peled transforms sharp slivers of porcelain into feathers, petals, leaves, and spines that describe objects of unknowable origins: seductive but untrustworthy. The forms are complexly ordered from the inside out, often bulging or spilling over with textures both delicate and severe. In some works, large scale-like ceramic pieces appear airy, delicate, and fluffy, as if one's breath might break it. In others, Peled's fragments are geometric barbs that mysteriously take on an alluring form - offering a sense of softness despite a sharp actuality. The forms are never static; the visual dance of sharp ceramic parts conveys a sense of constant movement. Like a murmuration of starlings, the sculptures appear to shift shapes as you move around them, an identity becoming and unbecoming in front of you. The act of making for Peled is a feat of endurance, improvisation, and adaptation with the aim to embody a fleeting but fundamental feeling of mystery. The construction of her sculpture parallels negotiations any outsider makes in encountering a new world as they delicately construct a self that is both adaptable and resilient. Peled (b. 1983) was born and raised in a Kibbutz in the northern part of Israel. After completing her BFA from the Bezalel Academy of Art and Design (Jerusalem), she earned her MA at the Royal College of Art (UK). In recent years, her work has been exhibited internationally, including such venues as Sotheby's and Saatchi Gallery (London), Eretz Israel Museum (Tel Aviv), and the Orangerie du Senate (Paris), among others. The artist currently lives and works in Long Beach, CA. 
 For more info on Eric Minh Swenson visit his website at thuvanarts.com. His art films can be seen at thuvanarts.com/take1 Eric Minh Swenson also covers the international art scene and his writings and photo essays can be seen at Huffington Post Arts : http://m.huffpost.com/us/author/eric-minh-swenson/

 

 

 

New to New York

This week marks a special time in my life, in that I will be traveling to New York City for the first time. It has been called the city that never sleeps, at least so I've been told by every main stream media outlet that references the place. But for me it's going to be a non stop, go go go kind of adventure looking at art, going to a super art conference, and eating everything I can get my hands on. Jessamy (my grad school battle buddy) and I are going up there this Friday, Saturday, and Sunday for the annual CAA conference, which is summed up as:

The College Art Association Annual Conference is the largest international gathering of professionals in the visual arts. The program is filled with opportunities to join more than 250 stimulating sessions and meetings on a wide range of topics on art scholarship and practice; to engage in in-depth discussions on new scholarship, innovative art, and issues in the arts today; and to connect with colleagues from across the country and around the world.
— CAA

We will be staying at an old international student youth hostel in the Upper West Side of Manhattan, two blocks out from Central Park and only a short subway ride to the conference center and all things New York. What I am most looking forward to aside from going to NYC, is the conference itself. CAA is the largest art conference currently, and I feel like I have been climbing the ladder up to this point. Although I am not presenting at this conference, I hope to do so in the future. This year I applied for a number of things at CAA, but it was all revolving around simply attending the event. I applied for the graduate travel grant which allows students from far away access to the conference with a travel stipend, and lodging, as well as complimentary conference admission. Unfortunately however I was not awarded that grant, but I was offered a position to work the conference by Katie Aspey, the Director of Programs at CAA. She was very helpful in attempting to get me involved in working the event, but after some talk with my professors they advised that this first go around I should just attend the conference and explore the city. Ms. Aspey gave me a rain check for next year's conference so theres hope for the future in getting more involved like I have at SLSA and SECAC. As for the conference, Jessamy and I will be using the new and improved CAA-Pay as you Wish day passes for the conference. Which gets us in for the day and lets us not be so locking into the full registration of the conference cost, even at the discounted student rate.


Lately I have been reading up on things to do in the city and places to see as well as artists who might have shows going on that I have to put on my to do list. What has been extremely helpful has been the New Yorkers "Goings On About Town" column online. You can actually click through what sort of things you want to see and the art column is fantastically jam packed with the current things to do and see in the city. Galleries such as the Gagosian Gallery on 24th Street, The Pace Gallery downtown, Matthew Marks Gallery, and the Sean Kelly Gallery are a few on my list of maybe swinging into and seeing what exhibitions in a top tier gallery are like in person. In particular the Gagosian is having a showing of a new Mark Tansey work called "Reverb" which he completed just early this year. I really enjoyed learning about Tansey in class with Julie McGuire, and the theoretical reasoning behind his work has always interested me. His work deals with:

Each of Tansey’s paintings is a visual and metaphorical adventure in the nature and implications of perception, meaning, and interpretation in art. Working with the conventions and structures of figurative painting, he creates visual corollaries for sometimes arcane literary, philosophical, historical, and mathematical concepts. His exhaustive knowledge of art history accumulates in paintings through a time-intensive process. Images are mined from a vast trove of primary and secondary sources assembled over decades—magazine, journal and newspaper clippings, as well as his own photographs—which he submits to an intensive process of manipulation. The strictly duotone paintings have a precise photographic quality reminiscent of scientific illustration, achieved by applying gesso then washing, brushing and scraping paint into it.
— Gagosian

Next up lets talk about museums. New York is the stomping ground for good art and some of the best museums around are located in the big city. On our list of places to see are The Met, the MoMA, the Whitney, and the Guggenheim. If there were any bigger names in the art world this blog couldn't handle them all at once. Old school Velasquez paintings art housed in the Met, but then right down the hall new works by up and coming artists flood the walls. Down the road in The Metropolitan Museum of Art there is an exhibition on Maiolica, Italian Renaissance Ceramics by Timothy Wilson, which I know some of the ceramic students would love to hear about since they just completed their very own maiolica project last semester.


As for a quick update on whats happening in my studio...here's the deal...I have no idea, well, yes I do. I put up on my wall about 725printer points worth of color images of all sorts of things. Let me just leave you with some images of what has been happening, and I'll explain more later. For the rest of the day I am going to Savannah to grade assignments, read heavy theory articles for homework, and probably have some kind of fancy dinner.

Terminals in Art

Greetings from East Alabama, to all those who follow my blog and are interested in my travels! I decided quite irrationally to leave Statesboro for the weekend and drive to my hometown of Columbus, GA which is on the opposite side of the state about three and a half hours away. However, by the time I reach my sleeping arrangements out at my mothers in Salem, AL its a long haul of four hours and fifteen minutes...including a snack/rest stop along the way. I am delaying my return to Statesboro as long as possible since it'll be back to reality come Monday morning, so for my blogging purposes this week I am writing on a sketchy portable wifi connection in the woods, and then will continue at my fav local coffee shop in downtown Columbus, Fountain City Coffee.

Julian behind the bar at Fountain City in Columbus, GA

For starters this past week has been pretty spectacular. Monday and Tuesday the first critique of the semester within the graduate department went underway and needless to say the roast was not as "hot" as I expected. I am trying out a new style of making that incorporates all my past research into one collective piece, and am attempting the defy gravity as best I can. Since January, I have used class-studio time attempting to develop my artist statement in a way that makes it reflect my work and vice versa. Needless to say this is quite difficult and is probably the single most bothersome thing to deal with as a studio artist. When a new method of making comes into play, the statement must change as well to reflect this new style which is proving irksome indeed.

Let me break it down my past semesters and what all has happened within my studio so you can understand my current studio situation a bit better.

Semester 1, I came to Southern wanting to do basically what I had left off doing in undergrad which was welding and making large sculptural works.  After I graduated undergrad in '13 I spent two years trying to get into a graduate program any and everywhere. I traveled, read abundantly, and felt like every application fee was just a waste of money because the work I was making outside the university system wasn't what I wanted to be doing. I was making mixed media paintings (I know right...me...painting...ha!) It was all I could get my hands on materials wise so I called the body of work Making it By, By Any Means Necessary, which is what is seen below.

Losing access to a studio space with tools and equipment made me harshly reassess my craft and purpose during those two years. So upon arrival at GSU, I landed in an enormous open room to myself, with limitless directions in art I could take--- I felt completely lost. The solution? Do what you know-weld, paint, sculpt. That whole semester I spent it making crap. Literally, it was some of the worst work I feel I have ever made looking back at them. They had purpose for the moment and they opened me up to new possibilities for me down the road. In terms of their depth theoretically, historically, and their placement in a contemporary art world context: what a bunch of total crap. I count them as stepping stones to what happened next.

Semester 2, I had no where to go for Christmas break so I just lived in the studio while the rest of the town vacated to bigger and better things. This is when I feel back into clay. I had spent the whole first semester working in the ceramics studio as the graduate assistant and had been making things here and there on the side, but I decided give it a shot and work in the material I had worked in a majority of my undergrad, all of high school, and even so far back as sixth grade when I took my first ceramics class. That semester I developed new techniques with clay, fabrics, and clay bodies. It really was an eye opening semester of research and development.

Semester 3, was the moment of all out turmoil. It was my 30hr review, in which I had to make work to survive, literally. This semester I pushed the processes I had worked on further and further and made more relatable work to what my artist statement had been hinting at. I was getting closer to where I am now and I really felt like the introduction of casting ceramics, as well as using wheel thrown pieces, and hand built parts made my work better. I was pulling out all the stops for my defense and in the end I passed allowing me to get to where I am now.

Semester 4, the semester of "last chance experiments" before the final year of thesis work begins. I am combining all my past experiences in the studio into one complete work. Expanding off the pedestal, onto the floor and the wall. Removing work form the obvious context and putting it into a more developed and understandable realm. I finally feel like my pieces are starting to get to the meat and potatoes of my statement, but I've got plenty more research to do. The last actual class I am taking aside from studio time and thesis work this semester, Art in Systems taught by Jason Hoelscher has opened me up to so many new things in the discourse of art. In the class we read articles, papers, magazine posts, and even some of his personal conference papers on topics spanning the art world. I really enjoy it, and believe it's making my work stronger than it's ever been, which is why I choose Hoelscher as my Thesis Chair for the next year. Having him help me push my ideas further is really going to challenge me and I look forward to the outcome.


Thats where I am at; it's been a long haul, much like my drive out here to Columbus but worth the trouble. We had an visiting artist Alicia LaChance come down from St. Louis to talk briefly about her work in the exhibition in the Contemporary Gallery at GSU, Flatbed Picture Planes as well as do individual visits with us graduate students. She was beyond inspiring, mostly because of the support she showed me throughout our talk in my studio. I showed her what I was currently working on (soon to be finished for you viewing pleasure), as well as past work and my website. We talked about future plans and what sort of things I needed to get into during my last year. The Craft Alliance Center for Art and Design was the biggest thing she turned me on to. After hearing about my residencies in Ireland, and some of my recent shows she insisted I reach out to them and make a connection. I've looking into their page and what they stand for in the arts and I have to say I am really interested in what could happen. It's one of the many things to dig into on my list of things to well, dig into!

Alicia Lachance

She also mentioned an artist to me named Kahlil Robert Irving. LaChance mentioned him mostly I believe for his use of materials, as well as his fellowships and exposure in the art world. After looking into his page and reading a few articles on him I can see why she made the connection. his website describes his work as:

Kahlil Robert Irving creates installations and sculptures that collage pattern color, complex forms, and recognizable objects relating to different signs and symbols from his cultural and social environment.
— Kahlil Irving

I intend to keep in tough with Alicia in the future just in case I am ever up in St. Louis and want to grab a coffee and a small pick me up of kind words and harsh criticism. It's always nice when a visiting artist makes a real connection with us graduate students. Makes the future of "what do we do after we graduate" so much better feeling. Aside from that, it's been a busy week of planning travel, trips, and adventures.


This summer the graduate department will be taking a trip to Germany for a study abroad extravaganza. I am in the works planning the itinerary, where we are staying, and what we are doing with my Professor and fellow grad student Jessamy and Cyndy-and what a rush it is! Kassel, Germany for the Documenta 2017. Venice, Italy for the Venice Biennale 2017. And Berlin, Germany because well it's Berlin and why not?! Thats just a small two week stent of my eight week adventure. I'll be in Ireland again for five weeks for the EC Waterford, Ireland program as the resident, and then I'm taking a personal six day trip around Europe while I wait for my Germany trip to start. Edinburg, Scotland, London, England, and Ireland all over again is on the to do list with my step mom who is coming over to take part in the shenanigans with me.

As for me I am going to enjoy the rest of my Sunday with some light reading in my Networks book for class, as well as maybe take part in some Super Bowl festivities. I don't follow football, but apparently it's kind of a big deal that some team as made it this far. In my attempts to be well rounded, I guess I should know a little something about whats happening outside my "world".

 

End of Year Studio Plans

Seeing as this may be my second to last blog post that I will have for this semester in school, I wanted to cover some end of the year studio plans.  First things first, I've got to go bigger.  All of my sculptures have been about the size of a toddler, but they are usually smaller.  They max out about about 3 feet tall and 1.5 feet wide and they contain little space.  Bottom line, I must go larger next semester. 

I have also found a very useful material for creating bases and larger pieces and thats corrugated cardboard.  It creates such a unique and unexpected texture once fired that I believe it will make for some interesting works down the line.  I also transformed a stuffed teddybear into a forever ceramic piece.  It's solid, with sharp glass hairs all over its body and hollow eyes.  I didn't want to display it for my critique this past Friday, but after some persistent words from my professors I put it on the shelf anyway.  What a mistake that was.  Everyone only talked about the bear, and I really wanted feedback on the other works ... such as the cardboard, the blued towers, the lace, and the terrycloth.  I'll know better next time though I suppose.  I did learn from this critique however that the the bears are not the direction I want to go in.  It was an experiment in transformation, and I found out that I can indeed do it.  But it is not what I want to do.  I enjoy creating the landscape-like sculptures from clothes, and binding them up to contain and restrain them.  This is also something I have to work on over the summer.

Summer.  Not to be melodramatic but I've been in school for an entire year now and summer is only two weeks away.  Where is the time going? Two semesters down and only four more to go.  This summer I'll be in Ireland for six weeks and I really hope that being away from the studio that amount of time will open up some doors for me mentally.  I have revised and revised my artist statement with little luck.  What I have now I feel most sure about, but after my critique I can see that what I think about the work is still not what it's actually portraying.  So yet again I am back to square one.  Theres a number of galleries I intend on visiting while in Ireland and I believe this will help me get some answers to the questions about my work I've got swimming around up in my brain.

As soon as schools out I am planning on going to Atlanta for a bit of a mini vacation away from Statesboro.  While there I want to revisit the Marcia Wood Gallery to check out artist Kim Piotrowski and her solo show called Field and Territory which is on display from March 31st to April 30th, 2016.  I wanted to go to the opening reception of this show but school wouldn't allow for it.  I do plan on attending the next opening in May though since school will be out.  I've looked at her paintings online and I have a postcard of Ravel 2015 but I think having the opportunity to talk about them in person will be good.  As for other artists I have been researching lately, Ill be honest I slacked off a bit as soon as critique rolled around.  Some of my professors gave me artists and philosophers to look into, and I've gathered the sources to read but have yet to actually read them.  All in time I suppose.

I think that is about it for this weeks post.  Nothing fantastic happened besides a critique and I went to another conference.  This time a Research Symposium at Georgia Southern where I presented my research on Visual Data in Glazing a study of ceramic glazes for student use.  It was a successful presentation and I have a number of questions at the end of my talk regarding glazing and how it works.  Other than that, it's winding down and things are getting tight on the time line!

Creative Commons License
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.