dawnvachon

Chubby Mugs and Nubbins

2011-12-01T22:42:00.001-08:00

2011-11-27T01:55:00.001-08:00

fill your braingrapes!

http://rosenfieldcollection.com/

K&C LUV T&T

2011-11-16T00:42:00.001-08:00

This little project is currently on it's way to Sydney with a stranger named Sean. But I trust him more than I trust the standard post, so surely it'll arrive all right.
Of course i could pick at some things i'm not 100% about - but I won't. I'm just happy it is done and will be able to be given to the bride and groom on time.

Memorial Garden

2011-11-16T00:21:00.001-08:00

Discussions started nearly a year ago about facilitating the ceramics portion of this Memorial Garden at St Therese's Parish in Essendon, Vic. I was very pleased to see it all came together and was opened officially in early November with a gathering of Parish members and other people involved - and many delicious baked goods.

This photo shows part of one of the four wedges that surround the fountain. I was surprised with how smooth it all looked. I think the installer did a super job of hiding some of the inconsistencies of form (varying thicknesses and some warping).

For Blakey, to give as a wedding gift.

2011-11-02T01:24:00.000-07:00

Bowl chosen from bisque ware I had already made. Parameters from Blakey; add some red.

Soup Bowls for Casey

2011-11-02T01:18:00.000-07:00

Parameters; speckled clay, yellow inside, clear outside, soup bowl sized x 4.

K&CLUV

2011-10-13T20:28:00.000-07:00

I've been working on a commission for friends Thommy and Theresa - they will be giving it as a wedding prezzie. The guide lines are; four small dinner plates and four bowls, for everyday use, speckled clay, clear glaze inside, no glaze outside.
I'm almost there - having thrown, trimmed, fired, and sanded the above plus extras to allow for muck-ups and inconsistencies (8 plates and 6 bowls, as getting things all the same is not my forte).

Below is a photo of some of them in bisque state.

2011-10-04T03:33:00.000-07:00

There is a "Masterclass" at Northcote Pottery this Saturday with Phil Elson - and the topic is glazing. It should be a whole lot of nerdyfun - any Saturday workshop where you are meant to bring a dust-mask, scales, and a calculator has got to be fun, right?!

Home Stu-Stu!

2011-09-08T14:28:00.000-07:00

Hello. I am very pleased to say that I now have a home studio! The residency at the Incinerator is over, and conveniently I recently moved into a house with a shed off the side, which has been allotted mostly for me.

It's not air or water tight - being a sort of carport attached to the house on one side and next to the neighbors fence on the other. One end is a big gate, the other end is lattice with a gate into the back yard. I've used a bunch of thick plastic in an attempt to weather proof it some. There are areas in the studio that will stay dry and others that may not - things will be stored accordingly - ie, raw clay storage could be in a damp spot, work in progress and tools in dry spots. I've got some shelving, a canvas covered table and a recent e-bay 'winning'; a Venco wheel that is probably as old as me but so far runs very well!

I've set up a solar lighting. The wheel gets plugged in to an outlet just outside the shed. The sink consists of buckets; one for rinsing things that have clay on them (hands, tools - disposal can be in the garden, or recycled where possible), one for rinsing glaze covered things (tools, containers - thinking of letting it dry then disposing of the remnants in the trash?)

So far I'm loving being able to go out and check on things regularly. And since I'm not riding a half hour to get there, it is easy to spend short periods of spare time there. Of course the harder thing I think will be spending long chunks of time - as there will always be the lure of snacks, and other things that need doing in the house.

Btw, no kiln as of yet, I'll be bringing things to be fired at Northcote Pottery.

To the stu!

more +/- type work

2011-08-26T05:14:00.000-07:00

+/- (more photos)

2011-08-05T01:03:00.000-07:00

Pavers on Display

2011-08-05T00:45:00.001-07:00

Here are some of the Memorial Garden Pavers - they were displayed in the foyer of the Incinerator while my show was on. I felt it was appropriate to show something from the project that has been such a large part of the residency.
Actually just when I thought the rolling, underglaze painting, and firing of the tiles/pavers was all done, we learned that one of the dates submitted with the design was wrong - so that is now being re-done as the very first thing being made in my shed.

2011-08-04T05:19:00.001-07:00

you just have to check this out.

love.

http://www.theandersonbailey.com/anderson_morris_bailey/title.html

2011-07-17T04:18:00.000-07:00

general update

2011-07-10T16:11:00.001-07:00

Alrighty, my show is currently up and running at the Incinerator until the 24th of July. (Photos to come). I thought we were quite organized ahead of time, but somehow managed to leave the lighting, hole-in-wall-fixing, numbering and price lists, and organizing drinks until the last couple of hours before the opening - that was a little bit stressful.

Aside from the first attendees coming in while the finishing touches were being put on, the opening went well, with most of my time unexpectedly being spent processing sales (there is still one piece available) and doing my best to mingle.

Now I can relax just a little bit and focus fully on getting the Memorial Garden project completed. I've got to go and pick up yet another tub of "bud green" underglaze on my way to the studio today, and hopefully get another dozen tiles finished and into the kiln.

out.

show prep

2011-06-17T23:58:00.000-07:00

There is a small mountain of trimmings in my studio. And a tangent I'm on; tabs.

+/-

2011-06-17T15:35:00.000-07:00

The dates and times are set for my show at the Incinerator! Wooo!

It runs from Wednesday July 6 to Sunday July 24th. The opening is the night of the 6th from 6pm until 8pm. Regular gallery hours are Wed to Sun 11am to 4pm. Come by and see some of what I have been up to for the past year.

There will be lots of serving platters and bowls, mainly thrown and altered.

180 Holmes Road, Moonee Ponds, Vic.

I would like to add the disclaimer that this show won't be as 'resolved' as I would like it to be, and I hereby put some blame on the ol' broken wrist that kept me out of action for 3 months (Just as I was started to work on show stuff). I'm doing my best with the time that I have.

studio shot

2011-05-27T04:19:00.000-07:00

I've been working with the process of throwing forms then cutting away to leave platters with handles. Also tried leaving a couple as sort-of-bowls - less convinced on those ones. I'm planning on taking it a little further over the next few weeks and hopefully have something worth showing by then. Didgits crossed.

Artcycle

2011-05-27T03:53:00.000-07:00

There is a sculpture show on at the mo at the Incinerator. Themes of environmentalism and/or sustainability is the requirement. Someone in one of my classes made the comment that they aren't sure how going into the woods and cutting out a piece of the forest floor is environmentally sound or sustainable - but it is stunning. Here are a couple of sneaky snaps of my favorite piece at the show, by Alexandre Prado.

Applications for AIR at IAC

2011-05-25T23:56:00.000-07:00

The following is some information directly from the Incinerator Arts Complex (with a few of my additions in brackets). My residency is coming to a close at the end of June. I believe the next AIR is to start July or August.

I recommend the position to someone who doesn't otherwise have anywhere to do their work, and to someone who is happy working on their own (the space has not been very active for the past year, although it may pick-up as there is a new curator on board).

Phone / Fax: 8325 1750

Website: Incinerator@mvcc.vic.gov.au

Address: 80 Holmes Road Moonee Ponds 3039

Gallery Hours: Wednesday – Sunday

11am - 4pm

Ceramic Artist in Residence Program

Proposal Information and Application

Artist Selection Criteria

Council will endeavour to offer use of the studio spaces to ceramic artists demonstrating

a need for support, balanced against the need to regularly turn over studio use to

ensure that as many artists benefit from the spaces available.

In this context, the main criteria for artists using the studio space will be:

• Residents based within the City of Moonee Valley, however, the Incinerator Arts

Complex will also accept applications from artists residing in the surrounding

municipalities who can demonstrate a commitment to the community in the local area.

• Show an ability to work collaboratively with The Incinerator Arts Complex as well as

City of Moonee Valley, the other occupants and users of the venue and the wider

community.

• Artists whose work is innovative and explorative.

• Artists that can tutor ceramic workshops for adults and/or children as part of their

residency.

• Artists who could run a community firing service as part of their residency with income

being divided between the venue and the artists.

Studio spaces

Size: 4.92m x 3.78m

Flooring: Concrete

Utilities: Water is accessible in the studio. (sinks with clay trap) Power outlets.

Equipment supplied: Top and Front loading electric 1300'c kilns (actually, one fires to 1300 and the other to 1100) and electric wheel. (plus a work table and a little bit of shelving)

Who makes up the selection advisory committee?

Applications are assessed by a committee of representatives from Moonee Valley

Councils Arts and Cultural staff, artist from the preceding year’s program and industry

representative. The committee makes recommendations to Incinerator Arts Complex

based on the strength of each artist or group’s response to the application criteria. The

committee does not offer feedback to artists.

Artist in Residence 2011 to 2012 Application

How to apply

The application must include the following information and respond to questions:

• Provide the artist’s name, contact details and Curriculum Vitae (please attach to

cover page).

• Provide a 500-word artist statement or rationale of the work (please attach to

cover page).

• Two current referees.

• Attach visual examples of work demonstrating current work, with a couple of

examples of past work; photographs, slides, digital images are all acceptable.

Please ensure common programs are used so the selection committee is able to

easily view your examples e.g. CD-ROM, PowerPoint, DVD. Please note: Web

links can only be offered as additional information. Ensure that photos are

clearly numbered and labelled with your name. Preferred image format is j.peg.

Do not send original as the City of Moonee Valley does not take responsibility for

their loss or damage.

• 2 A4 sheets with the answers to the following questions

1. What do you hope to achieve artistically through this residency and

exhibition? How will it contribute to developing your practice?

2. What is your driving artistic motivation for this residency? (for

example, experiment with new art form, explore a line of enquiry,

test artistic collaboration, etc)

3. How will this residency contribute to developing the arts in Moonee

Valley ?

Please feel free to contact us to arrange a time to visit the studios.

When and where to apply

Via Mail:

Artist in Residence Program

Incinerator Arts Complex

PO Box 126

Moonee Ponds VIC 3039

Hand delivered to:

Incinerator Arts Complex

180 Holmes Road

Moonee Ponds VIC 3039

John Doe

2011-04-28T03:17:00.001-07:00

Hello!

Two and a half months ago, as I was cycling home from the IAC studio where I was teaching a hand building class to a lovely group of ladies, I was struck from behind by a car that was travelling at 60 km/hr and clearly not paying attention. Now normally I wouldn't post photos of myself here - but in this particular case, I think it is important to raise awareness where ever possible.

Unfortunately I had to cancel the class, which was only in it's second week. : ( Sorry students!

The fractured and sprained wrists have kept me from pursuing my own ceramic work - but it has left me with more time for facilitating a memorial garden project with a group local to the Incinerator. The idea for this project is that members of the group attend a workshop at the studio where they learn to translate their ideas (of a memorial for a lost loved one) onto a clay paver (bisque or raw). Eventually the pavers will be used around a fountain as part of the landscape design. There is a lot of interest in the project, but many people have asked instead of doing it themselves, that I make the memorial for them. Now I don't mind doing it - but it is a bit disappointing that more people don't want to get their hands dirty.

The first workshop was last Saturday, and although the participants took longer to complete their pavers than I had expected - they did a pretty awesome job. Here's a photo is of some of the pavers before glaze firing, and one of a participant working away.

More to come on this as it progresses.

Susan Robey show at Craft Vic

2011-02-12T03:09:00.000-08:00

I've yet to see it in person - but this show looks quite magical in the images. Check out the Craft Victoria website for a load more photos.
Paperclay you reckon?

Speaking of architecture and ceramics - has there been more of a crossover lately than usual? In 2010 there was a show at Pan Gallery (at Northcote Pottery, Melbourne) which showed some work by Ann Ferguson - a whole bunch of miniature houses were on display as well as trees and grass and the like (see below).

And then there is Alison Tang, (whose Internet presence I cannot find) who had a show at the Potters Guild of BC back in 2008 - I remember it because my school mate Juliana bought one of her small house sculptures and was very very enthusiastic about it.

Then there's thoroughly amazing life size tree fort by Jeremy Hatch - check out his site. Seriously amazing, (and technical!) work.

Actually the list is endless. More examples keep popping into my head. Including houses made out of clay (proper big houses meant for living in)- which has been happening since the beginning of time.

serving platters

2011-02-11T16:46:00.001-08:00

"tabs" thrown and altered

thrown and altered (with foot ring)

thrown and altered

slab built. big one is about two feet long.

bowls....

2011-01-20T23:22:00.000-08:00

Two bowls for T and T of Sydney - two delighful characters. Not quite full noodle-soup capacity.

And some bowls made back in November.

surprise craft-time at family xmas afternoon

2011-01-20T23:15:00.000-08:00

FAIL

2011-01-15T03:50:00.000-08:00

I've been figuring on ways to to get the effects of one clay on the outside and another on the other side. Clearly sandwiching/rolling the two slabs together does not work in the case of these two stoneware clays. This cup died during drying while the saucer held it's own until it was bisque fired - then did the same. Wa wa.

Tumblers Tumbling and Other New Work

2010-12-02T02:59:00.000-08:00

The tumblers are slab-built and the others are thrown. Still with the JB3 and a mix of home-made glazes and store-bought ones, and some commercial underglaze.

2010-12-02T02:45:00.000-08:00

In the new year I will be assisting with the ceramic portion of a project to make a memorial garden (at a church near IAC). Details are still to be decided - but so far I know that the group would like to make ceramic plaques to commemorate people from the community who have died, which may then be embedded into a path in the garden. I've made up a couple of example plaques so that the project coordinator can get an idea of what this clay-stuff is and what could be possible. John Doe is still drying out.

A Circus of Mugs

2010-11-26T03:53:00.001-08:00

Funny how photo-doc-ing makes me feel like I've done more.

2010-11-15T02:46:00.000-08:00

Markets and such

2010-11-07T13:11:00.000-08:00

Been busy with various tasks in the studio lately. Organizing for the handbuilding class that I am teaching (first time teaching such a class = lots of prep work). Work on community projects such as the one in the previous post, and a new one which will involve facilitating the making of memorial plaques for a church garden in the area.
And then there is my own work - two streams (currently doing lots of glaze testing for both) - the involved and resolved vessels which I intend to make before the year is out (very little progress so far) and the bits and pieces that I am generally making for other people. I've got requests from friends to fulfill as well as working towards a market at the beginning of December.
This will be my first market, not school related. I'm considering it a bit of a "practice round" as I've picked one that won't necessarily be ideal as far as target audience goes, but it is ultra convenient and very casual for reduced stresses. The Fitzroy Market is a fairly new monthly market and it is located about a block from my house. It is meant to be a 'community market' and so there is a mish mash of stuff - plants, vintage clothes, garage sale types, jewelry, cards, handkerchiefs with hand painted little birds, fruit and veg, coffee, etc. Lately the majority of the stalls are second hand/vintage clothes. We shall see what happens! Here are some in progress slab-built plates. JB3 with underglazes.

Happy Birthday Ros!

2010-10-18T19:25:00.000-07:00

I recently took on a project to facilitate the making of this here piece at a birthday party. Pictured is the birthday girl Ros and her daughter, Ruki. Here we were at my studio space finishing up a few blanks that were left. At the party, each guest was asked to form and decorate a tile to fit into the design (a spiralling sun), preferably with words or imagry that represented Ros or the persons relationship with Ros.
I was nervous about dealing with 50 people on the night - but as it turned out most of them were lovely, interesting people.

044 I WANT TO ROAM

2010-10-12T04:09:00.000-07:00

I came across this little fellow a few days ago. It was lying on the footpath on Greeves near Smith street (Melbourne). Immediately drawn to all things clay and some things street art I picked it up and took it for a roam down to the mini garden at the bottom of our apartment building. As it seems to be made of raw clay, and it rained A LOT this evening - I will be curious to see if it is a pile of slake in the morning - and if there is a GPS inside . . . . or maybe it'll have gone on another journey. Anyway, pats on the back to the artist - you've got me imagining all sorts of scenarios.

kids these days

2010-09-19T15:34:00.000-07:00

I've been firing kid's work from classes taught by a lady named Mandy, who hires space at the Incinerator to run her classes from. Some of this stuff makes me smile from ear to ear. My apologies to the young (unknown to me) artists for not including their names here.

its like christmas, but my belly doesn't hurt as much

2010-08-24T03:52:00.000-07:00

The first glaze tests are out of the kiln. I'm excited to see that the ilmenite in the clay has worked how I was hoping it would. The glazes I'm not super excited about - some of them will serve a purpose for the time being. The clear as a liner glaze, the white to accept overglaze applications, the 'tomato red' for contrast and the 'chun style', although seemingly unreliable, to add texture. All bought as powder from Northcote Pottery, except the white which is a 'Shino style' glaze made up by Connie (who has a studio/teaches at N P).

This is the 'shino style' over JB3 with speckles and brushed over from left to right - copper carb, rutile, red iron oxide, cobalt carb, chrome.

This is the 'tomato red' on JB3, brushed over same as above. I particularly like the pewter ring around the chrome.

These are the 'chun stlye' over JB3 with speckles. Oh man I love the speckle. The tile on the left was fired higher up in the kiln than the one on the right. It was fired to 1285 degrees using a computer rather than cones.

2010-08-15T01:48:00.000-07:00

A day after my last post I was hit by a car whilst riding home from the stu stu studio- and due to healing and my bicycle being in the shop I haven't been out to the studio in a couple of weeks. I took transit there today and it all started very well; a pleasant train journey, a catch up with Kate who works at the IAC, some raining sunshine, a successful bisque firing to unload......

I did up some test tiles with the four glazes that I have (3 bought in powder form, one made by a lovely artist who works out of Northcote Pottery). The picutred tiles also have copper carb, rutile, red iron oxide, cobalt carb and chrome brushed over. Then I did a tester vessel - dipped it in one glaze, brushed wax resist (liquid emulsion) onto the outside and....BLERG!.... the resist started cracking and pealing off. I thought this could be a reaction to the particular glaze (as had happened with one glaze back in Canada) so i tried it on two other glazes. no dice. very frustrating as wax resist is probably the most important glaze application tool that i use. The one that I have is labelled "CB220 wax resist". Anyone have any ideas or tips about this? I suppose I may have to go the hot wax method (I have used it before and it can be handy how it comes away in large pieces, but this is not always ideal).

Fill yer slab-built image bank.

2010-08-02T04:48:00.000-07:00

Thinking all of the time about handbuilding, since i'll be teaching a class on the topic at the ol' IAC starting in October - came across some absolutely delightful soft slab work by Margaret Bohls. Check it out for sure.

Also a bit of a fan of these bottles made by Susan Wills with the assistance of some licence plates.

Grayson Perry

2010-07-24T05:09:00.000-07:00

Sneak

2010-07-21T23:38:00.000-07:00

There are other artists here! A new thing has started at the IAC at the request of these ladies - the 'artists forum' - they drop in and use some space to do their own thing. Perhaps some mingling is in order.

Brr

2010-07-21T23:31:00.000-07:00

With outside temperatures hovering around 13 degrees, I've taken to throwing with a heater on either side, sometimes using a towel to direct heat to my person. In other news, I really like throwing with a mirror - it means i can keep my back straighter and still see the profile of what i'm throwing.

2010-07-15T16:00:00.000-07:00

Does anyone remember the Barbapapas? I made this jug and thought of them.

IAC continues....

2010-07-09T02:26:00.000-07:00

Here's an image of the exterior of the incinerator, courtesy of the City of Moonee Valleys website.
AAAnd, I ordered in some goods from Potters Equipment - it arrived yesterday. Not quite as exciting as the christmasfeeling of opening a kiln, but still pretty super-duper.
After much pondering I decided to go with a white (porcelaneous?) stoneware body that I haven't used before. Clayworks JB3. After many years of not firing above cone 6 (about 1220) I'm moving up to cone 9/10 (about 1280). Oxidation. My initial thoughts were to stick with cone 6 because it is comparatively energy efficient and i have a lot of cone 6 glaze recipes that i like. The more I looked into it the more it just started to seem like too much at once. A bunch of the raw materials are different as they come from different sources, and the names are mixed up - frit numbers for example, plus i would have to order in all of the materials and buy a bunch of equipment like scales and sieves and whatnot. Oh how I was missing the luxury of the fully stocked school glaze lab! and Leon! So I've decided to go with cone9/10 because it is more popular here and you can get off-the-shelf glazes, which i will do to start off with and then slowly start testing recipes after i adjust to new clay, etc. Sorry for the lack of proper sentences.

Alrighty then,

2010-07-09T01:40:00.000-07:00

It was suggested by the lovely MOtown that I blog about my new found experience as Artist in Residence.... so here goes...

A volunteer-mate spotted an ad in the free gallery-listings-type mini-mag called 'trouble' that was asking for applications from ceramic artist for the position of Artist-in-Residence. Well the info was passed along and, being quite excited about the possibility, and having never heard of the place, I began researching. Turns out that the Incinerator Arts Complex is a venture of the City of Moonee Valley and has only been in operation for about 5 years. It is located in a building that used to be a garbage incinerator, a pretty neat one. There is a lot of gallery space, some mixed-use/performance type happenings, and an office or two. The ceramic specific AIR program came about because someone donated a bunch of money to go towards buying and maintaining kilns. So the IAC acquired two seemingly nice kilns, ventilation system, a clay trap for the sink and a wheel. From what I can gather there have been some other AIR on and off for the past 5 years, with a gap of a number of months between the last one and me (due to staffing issues at Moonee Valley I think).
The application process was pretty standard; CV, 500 word artist's statement, two current referees, visual examples of work (they asked for mostly recent work - but i included about half work from 4th year uni and about half from the 2 years since), and two pages worth of essay answers to questions such as 'what do you hope to achieve artistically from this residency?' etc. A couple of weeks after the due date for the applications I got a call for an interview. I thought i totally bombed it. I biked the 10km there and failed to consider that the cardigan i was wearing smells like wetdog when its moist. So that was on my mind, but also the fellow who was conducting the interview talked a lot more than i expected - after about 20mins of him talking about the structure of arts contingent of the city, he suggested 'tell us a bit about yourself'. My first thought was 'didn't you read that thick stack of an application sitting on the table in front of you?' but ended up doing a bit of a ramble about my current transitional phase. oops.
Ah well, the other applicants must have rambled more senselessly. Or maybe there weren't any other applicants. hmmm.
A week later I got a call offering me the position to start on July 1st. (or 5th, as it turned out)
It is probably not a typical residency. Well I don't know actually. But I know I'm not a famous artist and they aren't paying millions of dollars to be there. Here's the deal. One year long, finishing with a show in their gallery space. I pay 44 dollars per week for rental of space and equipment (for those not from Melbourne - this is quite a good deal considering the amount of space and the fact that I've got kilns and a wheel and sinks and shelving, etc, etc,). Eventually I will be teaching adult ed type classes and be paid 50 dollars per hour. I will run the community kiln firing service and split any income 50/50 with IAC. That's all I can think of right now.
I'll put some photos up of the space. It's not very homey yet (unless messy=homey), but I'll get there.

'Pasta Bowls' for Adam and Jess

2010-05-27T05:35:00.000-07:00

A couple of lovely people requested some pasta bowls - basically I made the usual bowl shape but wider and shallow - could have exagerated that more I reckon. Since they have a new pup in the family I made a bowl for him too. This is a really gritty clay that i can't remember the name of - something something buff - with a shino glaze that the lovely Connie of Northcolte Pottery made up for me. Ox fired to stoneware temps.

CUps!

2010-04-16T00:27:00.000-07:00

These cups were made using the same pattern as used for the cups below ('little cups') - but after cutting out the shapes, I distorted them by rolling again with a pin, then assembled as usual. Works in progress - here's to hoping they stay together during firing and that the distorting won't make them shrink in every which way and implode.

Little Cups

2010-04-15T18:51:00.000-07:00

Here are some slab-built little porcelaneous cups. They are the perfect size for a shot of espresso and about the same amount of soymilk. Made in my living room and fired at Northcote Pottery, not in Northcote.

I heart Glazing

2009-11-15T21:47:00.000-08:00

I find myself again making work at a community centre type place where there are a number of glazes provided. This facility has an ample selection of blues, greens and browns. Cobalt, copper, and iron. They are fine - but i'de like to mix it up a bit with a bright purple, or a super thick matte.
Gotta push it further.

Bridge Over Mossy Waters

2009-08-22T18:37:00.000-07:00

Here's a little five minute excercise I did the other day. A mini raw clay bridge between two bricks on the side of the street.

i feel like a hobbyist

2009-08-01T21:24:00.000-07:00

I've been doing a little bit of handbuilding at home and a little bit of throwing up at Northcote Pottery. I say that I feel like a hobbyist because I am using brush on glaze (and not doing much work). I'm sure I must be learning something now that I won't realize or use until later.
I have been enjoying figureing out what types of graphics/imagery/pattern I like. For example, the 'brick cloud' - I like the contradiction of rectangles making up a soft organic shape and of things heavy, regular and manufactured floating and shifting.
Here are some snapshots, taken very unprofessionally, on my couch.

Al2O32SiO22H2O

2009-08-01T20:55:00.000-07:00

I just realized that i haven't posted any photos from a show way back in August of 2008. It was a group show at Plank gallery in Vancouver. The theme was raw and clay and the participants were myself, Marianne Chenard, Juliana Greaves and Claire Henry. I think we all enjoyed the experience and having our final pieces be unfired as the technical considereations were much different, as were the concepts. I was able to build the large ladder that wouldn't have fit in any kiln that i had access to, and likely would have cracked in a firing anyway. Claire was able to build her piece (of many tiny pieces) directly onto the wall. Marianne and Juliana combined efforts and made sink and tiles - usually fired ceramic objects - and presented them dry and with a leaky faucet slowly erroding right through them.

Park Passtimes

2009-03-11T01:33:00.000-07:00

Second hand yarn, found sticks, and a couple of hours.

step ladder to watering hole..

2009-02-12T17:33:00.000-08:00

alley miniatures

2008-12-17T00:30:00.000-08:00

Alright, so I've recently relocated to Melbourne, Australia. I've gone from having access to a glaze lab, electric kilns, wheels, and extruders to having access to a store where i can buy clay, and perhaps fire pieces for $5.50/Kg - about 15 minutes away by bicycle, uphill. This has caused a drastic change in work. Although I was interested in miniatures before, now working small is a practical necessity. Also, I haven't been firing the pieces - for a reasons or two beyond the most obvious. At this point they are sketches, not completely thought out as far as style or location goes. Also, I am enjoying the fact that they might only be around for a day before a rain comes and washes them away - perhaps someone will see one, perhaps not - lots to sort out "contheptually".

This image is of a mini ladder reaching from ground to drainage pipe, in a back alley in Melbourne. Ladders are loaded items - they symbolize the race for prosperity (climb the corporate ladder), they carry superstition (walking under a ladder is bad luck), they are tools, they raise a person up... In the miniature they combine any of the previous ideas with the little people - the ignored, forgotten, or minority, (or the magical, if you prefer to think lightly).
Right?

West Point Grey/Summer work

2008-08-09T00:23:00.000-07:00

These are some mugs and bowls that i've been working on at west point grey. It has been fun working mostly with their stock glazes and mixing in a few of my own as well.

while studio-sitting at Jasnart

2008-08-09T00:14:00.000-07:00

I'm studio-sitting/shop-keeping part-time at a studio/shop on Granville Island while Jasna, the artist, is away on a residency. It is grrreat to have a space to work, and because the facilities are limited and different from what i'm used to, i find myself working quite differently - handbuilding and low firing. These are pendants.

RRR

2008-08-08T23:59:00.000-07:00

I think tire swings are interesting.

Their purpose shifts drastically from car-part to toy.

They are reminiscent of summers when we were 6 years old. By making mini tire-swings and hanging them in public places i hope to make a few people smile.

I've started with a couple of low traffic places, like this one here. It is along a path at Jericho Park. Eventually I will place them in different sorts of environments.

Emily Carr Undergraduate Exhibit '08

2008-05-23T17:13:00.000-07:00

2008-04-19T21:36:00.000-07:00

work from my final term at ECIAD

2008-04-19T21:31:00.000-07:00

This is currently my favorite cup, although i've a kiln to unload tomorrow! It is spin-able and has some gold on the bottom.

2008-03-05T19:00:00.001-08:00

2008-03-05T18:43:00.000-08:00

I've made a few realization lately - you'd think they would have been obvious to me earlier! a) most of the 'viewers' of my work are friends and fellow ceramicists, not abstract mean people - so there is not much sense in trying to trick, when i could be delighting. b) I also haven't been making objects that i really like. Much of my work from the last term has been quite clean and cold. Spring is here and it's time to warm up - even allow myself to (drum roll) decorate!
These little cups i think would do well with liqueur in them. There is a pivot point on the bottom so they can swivel around some.

Geva 410

2007-12-30T13:54:00.001-08:00

Spin bowl Sept 07

2007-12-30T13:51:00.000-08:00

Reamers Oct 07

2007-12-30T13:49:00.001-08:00

honeydew Nov 07

2007-12-30T13:47:00.001-08:00

Nov 07

2007-12-30T13:39:00.001-08:00

lemonade set, dec 07

Geva 410 work, Sept to Dec 2007

2007-12-30T13:22:00.000-08:00

For my studio work (geva) at ECIAD i have been working with issues of functionality, movement, display and still life and others. I began the term by making bowls that spin (well, people spin them, they don't spin themselves), then i made some rocking plates and bowls. Next I began trying to deal more with the underside of the pieces, by not making undersides at all, but another side with another use. Although I was very interested in the objects and object making, it was pointed out to me that the context in which i displayed them did nothing. This is when i began looking at a lot of still lives, both 2D and 3D versions. You may notice influences of Juan Sanchez Cotan or Tam Irving. I attempted to integrate shelves and tables but i thought with some of the shelf pieces that i was moving too far away from utility. The last piece that i was working on during the term was the lemonade set, where i was trying to include formal and visual aspects of the still life, but still retain the quirky utilitarianism that i enjoy. These pieces were made on the wheel, sometimes throwing out of a mold.