Snow Day!

In front of the Arvada Ceramic Arts Guild (I joined in October):The snow made for a slow opening weekend of our holiday show, but I still had fun with it this morning. Making a snowman is a great workout! We're considering having a closing party near the end of the show to make up for the lull. If you're in the area, let me know if you'd like to be on our mailing list. We're also on Facebook - search Arvada Ceramic Arts Guild.

Interview: potter Lucy Fagella

Finally we have another ceramic artist's interview. I've been busy with working, moving, and traveling, and I haven't made time to find artists to interview. So I was excited to get Lucy's email last week. I've followed her blog for a while anyway and she's a wonderfully skilled potter. Take a look for yourself. I still plan to continue the artists interviews as long as I hear from them, but if I'm m.i.a. from my blog, I'm in the studio - it's that time of the year!


Vital statistics (name, age, location, link to website/blog)?
Lucy Fagella, 45, Greenfield, Ma. luciapottery.com, lucyfagellapottery.wordpress

Where do you work in clay?
Greenfield, Massachusetts, renovated barn.

Do you have another job?
I teach adults pottery from my studio. I consider this part of my being a potter. Teaching keeps a great flow going to my work. The questions asked by students are a constant reminder of how the non potter, or beginner potter views pottery. That is important from the business side of selling work to the public. It reminds me not to get too caught up in just what I want to make as an artist, but to incorporate the potential customers wants and or needs for their daily rituals of using handmade objects.

Are your studio and occupation decisions made by choice or necessity? Please explain.
Most are by choice, some of the objects I make, or the amount of classes I teach are sometimes made from necessity... paying the bills!

How do you budget your time (in the studio and out - family, errands, etc)?
Mornings/afternoons from 8am-2/3pm is studio time five days a week no matter what. Then it's exercise of some sort, bike, ski, walk, or watch a soccer/basketball/baseball game of my two sons. Classes are three nights a week. Some Saturday's I may fire a kiln, do a Farmers Market once a month. Sundays are off... need one day completely away from the studio.

How concerned are you about environmental issues? Does this affect your work?
I am very concerned about the way a make a living and how it effects the environment... every time I fire the kiln! I really don't think being a potter is an environmentally friendly occupation. But there are offsets... like buying handmade, local, and the fact that I don't get in a car everyday and drive for miles to get to work.

What do you do when you're having a bad day in the studio?
I stop, do one of the many other tasks that need doing, like web stuff or blog stuff, or pay bills. Or like right now answer your interview, (as my back is killing me and need a break from throwing and trimming!) If all else fails, I get on my bike and ride!

Do you create art in other mediums?
Not any more, my hands are too tired from being a potter. My first love was drawing, and printmaking.

Where do you sell your work?
I sell at some shops. From my website. Many Urn companies carry my line of cremation urns, so many of my sales come from that. I have been wanting to open up an Etsy shop... hopefully very soon.

How did you approach those venues about selling your work?
Shops... I just brought samples of my work. The Urn companies came to me, and asked to represent me.

If you could change one property of clay, what would it be? (from potter John Bauman in the second Monday survey)
Make it so it would not have to be fired... wave a magic wand and poof, food safe, durable pottery, with no fossil fuels used in the process!

Change in weather, new love for tea bowls

Being the first cold day of the season, I had a lightbulb moment with my morning cuppa tea. Instead of the usual mug, I instinctively chose the non-handled tea bowl to warm my hands. I used to shun handles because I was terrible at making them - most beginners are - and at the time I preferred non-handled cups anyway... maybe that's just an excuse since I didn't like making handles & I hadn't found many mugs that I liked. In the past year I fell in love with mugs, but I have a newfound appreciation for tea bowls - it's all in the season. On cold days like today mugs might be used more for cold beverages, but a warm cup feels comforting cupped in the hands, more intimate. I can picture me sitting on the couch after a long day at work, wrapped in a blanket, watching the cats run around while imagining different pots form in my head, drinking a toasty cuppa tea. Though I enjoy the long days and outer warmth of summer, I welcome the change in seasons, with the inner warmth of tea, and wearing long-sleeved shirts.

I can't remember the last time I made a tea bowl... if ever. I make many cups, though none I would describe as a "tea bowl." In fact I don't know what it means for a tea bowl to be a tea bowl, except that I have seen enough labeled so that I understand the general form of one. Please, educate me on the history of the tea bowl if you can. Meanwhile, here are some beautiful yunomis (tea bowls that are generally more tall than wide) from one of my favorite artists, Kristen Kieffer:

Interview...?

Tuesdays are for ceramic artists interviews... but I haven't heard from any artists this week! So if you'd like to be featured here this week or next, take a look at this post for all the questions and my email address: ceramic artists interview. I'm always open to new questions.

p.s. Are you on Twitter? I post updates from my blog & other interesting ceramics links I find: ceramicerin on Twitter

Green teacher

Today was my first day of teaching at the local pottery center, & I think it went pretty well. Not stellar, but not bad. For one thing I'm a novice teacher - I've taught kids at a summer camp handbuilding with clay. That's about the extent of it, and now I have two entirely different classes: adult clay building - a mix of hand building & throwing - & kids throwing.

The adult class consists of old-timers who have taken that same class together for months, perhaps years, and they all had an idea of what they wanted to do, they all had projects they were already working on. They're quite sociable and it seems they take the class simply for fun, to enjoy the company of their classmates, and to have someone to answer this classic question when they see something interesting in a picture: "How did they do that?" I can usually answer those questions, but for the remainder of the class, I'm not entirely sure what I should be teaching with everyone going in different directions. So I started out demonstrating how to make pots footed, similar to these works by Willi Eggerman & Tara Wilson, then socialized & answered sporadic questions the remainder of class, wondering how else to make myself useful as most of the students seemed to be fine with their current projects. Next week I plan to teach more on throwing, but of the two classes, it's the true beginners that I'm more concerned about...

Kids are a whole nother animal. I have a difficult time as it is enunciating precisely what I'm doing as I throw a pot, but to get an 11-year-old to simply center clay is a challenge. Any advice in this area is more than welcome. Do I need to watch every video I can of beginning pottery and teach all my friends & family to throw in order to become a good teacher? I'm sure that wouldn't hurt... so what videos would you recommend I check out from the local library?

Interview: Paul Nielsen

Vital statistics (name, age, location, link to website/blog)?
My name is Paul Nielsen. I'm 32, I think, and currently live in Grand Island, Nebraska. My wife and I just moved back to Nebraska from Northwest Arkansas. I blog at TheAestheticElevator.com, and my in-progress artist website is pcNielsen.com

Where do you work in clay?
We're currently living in a loft over my father's antique store. My studio, which I've only been in a month since moving (and most of that time was spent unpacking and organizing), is in the basement of the building. I have a lot more space than my previous garage studio, but not having any windows might get to me after a while. I actually hope to do some sculpting en plein air, especially when storm season rolls around next year. Prairie thunderstorms are a significant theme in my work.

Do you have another job?
I do indeed. Despite graduating with a studio art degree in 2001, it's only been in the past three years or so that I've begun pursuing sculpture as a career. Since graduating I've worked in a coffee shop, remodeled houses and worked as a marketer/designer for a religious nonprofit. I still do the last two things on that list. It's difficult for me to imagine anyone being able to dive right into a career in the plastic arts without a day-job subsidized period of transition, so to speak.

Are your studio and occupation decisions made by choice or necessity? Please explain.
I'm not all that sure how to answer this question. In all likelihood there is a combination of both choice and necessity in my decisions that relate to all aspects of life. Do I wish I had more disposable income? Sure. Would I like a large studio with windows and a soda kiln? Of course. Am I thankful for what I have at the moment? Absolutely.

How do you budget your time (in the studio and out - family, errands, etc)?
While I'm probably more administratively gifted than the stereotypical artist, I am not very good at keeping a schedule. It's best for me to have a regular time in the studio, preferably on a daily basis. I use a calendar to plan both long-term and short-term. This helps me finish projects; I'm the kind of person who normally has ten different things going on at the same time, and bringing a work to completion can get put off at times.

The other things in life just sort of float around — in a semi-organized fashion — the minimum two or three hours a day I hope to spend on artwork. And it might be worth noting that my schedule varies depending on the time of year. I'm less motivated in darker winter months (it didn't help that my garage studio of the past three years wasn't heated either).

Why do you make pots (or sculptures)?
First off, creating objects — working with my hands — is something I'm just plain wired to do. If I'm not able to be doing it for some reason or another, I go stir crazy. I focus on clay because I love its character as a medium. I love the process from dirt to fire. I love the way clay responds to my hands when I manipulate it. I love the finishes.

Most of my work is sculptural. I'm more drawn to handbuilding than throwing, however I did build myself a kickwheel last year and hope to use it regularly in the future. I always have hopes of spending time on functional objects, however being an artist with a day job — and thus a limited amount of studio time — I usually end up just working on my sculpture.

How concerned are you about environmental issues?
I try and live a sustainable lifestyle: Recycle whenever possible, dream of someday living off of the grid (probably with solar power, maybe wind), salvage and reuse and don't be wasteful in the first place etc etc. This is largely informed by my faith in an attempt to be a good steward of God's creation. I prefer the word sustainable which implies, in my mind, a broader and more complete view of humanity, culture and environment than politically charged (and thus less productive) terminology like "green" or "environmentally friendly." I'm very cynical when it comes to politics in general.

Does this affect your work?
This comes through in my artwork mainly via my use of found objects or salvaged materials. More and more I've become alarmed at how wasteful American culture is, in a myriad of ways. Reusing objects and materials is a subtle way for my sculpture to communicate my dislike for our consumerist culture.

What do you do when you're having a bad day in the studio?
Most likely hit the trails on my bicycle. Or blog, or call friends to play Settlers of Catan (or some other German board game).

Do you create art in other mediums?
I focus on clay but refer to myself as a mixed media sculptor. I use a lot of wood and incorporate a variety of other natural materials and found objects; fabric and gemstones make somewhat regular appearances. I'm not, however, fond of synthetic stuff. You probably won't find plastic in any of my works.

Where do you sell your work?
At the moment you can purchase my sculpture in the Local Flair gallery in Siloam Springs, Arkansas, or by sending me a message via pcNielsen.com. I tried Etsy.com for a while, but with no success.

How did you approach those venues about selling your work?
I was approached by the person who started Local Flair. We knew each other before she founded the gallery. Sad, but true, who you know often factors into your success as an artist.

Do you have any questions you want to ask other ceramic artists, or artists in general?
Do you have a soda kiln I can borrow?

Interview: Carole Epp

Welcome back to the weekly ceramic artists interview! I didn't hear from anyone for the past couple weeks and I was too busy to keep you posted anyway. The interviews will now be posted on Tuesdays. If you'd like to be up next week, here's the post with questions and my email. Thank you Carole for stepping up this week... I've been chatting a little bit with her on Twitter, but I just recently took a better look at her work. It's beautiful! It looks well crafted and creative, and I hope to see it in person someday. What do you think?

Vital statistics (name, age, location, link to website/blog)?
Carole Epp, 31, Saskatoon Sk, Canada
Caroleepp.com
Musingaboutmud.blogspot.com
Caroleepp.etsy.com
Caroleeppceramics.etsy.com



Where do you work in clay?
We converted our garage unto a studio. Had to insulate and heat it to get me through the minus 30 winters, but it does the trick. A dream studio really considering the living room and basement studios I’ve had in the past. The garage has been a bit taken over by my husband’s project motorbikes, but that means I have company late at night when I work.

Do you have another job?
My other job is my 18 month old. I was for a while trying to balance studio work, child raising and working here and there at the local craft council and teaching evening courses, but it was too much. My priorities are my family and my own practice, selfish as that sounds (or maybe just feels to me as I love to be more involved with the community) I miss teaching, my students were fantastic and I get a lot out of teaching. Oh and I’ve also taken up sewing in the last 2 years, it’s not a job per say, but I get obsessed pretty easily so it does take up a sizable chunk of my time.

Are your studio and occupation decisions made by choice or necessity? Please explain.
Right now we’re in a position where we have (as a family) decided that it makes sense for me to be focusing on my artist practice rather than a “real” job (although the latter would actually come with a paycheck…). The further I get from my college safety net the more vulnerable I feel and the more challenging it is to push your work, and make the connections you need to get ahead. I feel that taking any sort of break from exhibiting or making work would mean a difficult road to get back to where ever it is that I am now with my career. I feel the set back might be too overwhelming. Plus focusing on my studio practice means I’m at home to raise my kid, which is important to me. I’d rather that than him be in daycare raised by others. It means that my studio time is quite limited to naps and late nights, but you learn to value those moments way more and to be hyper productive when those moments present themselves. It’s always been important for both my husband and I that we follow our dreams and not live a life that will cause regret later on. If I gave up art for a better paying job, I’d live with regret. I’m lucky I have a very supportive husband and family, not everyone is so lucky.

How do you budget your time (in the studio and out - family, errands, etc)?
I work on my son’s schedule, he’s the boss. When he naps I work, sometimes he gives me 20 minutes, some times 3 hours. I try to get up a bit before him in the morning to have a cup of tea in peace and get some on line (twitter, blog, etsy) or computer (proposals, emails, writing, photoshopping pictures, etc) work done. Errands get done with the boy in tow during the day, work again during nap time, family time with my husband after work until my boy goes to bed and then more work. Sometimes I try to steal more time in the studio on the weekends. But honestly what I’ve just said is my ideal and it likely sounds like I get into the studio more that I really do. Being a stay at home mom means taking care of the home as well, and sometimes (often) things like clean laundry are more important that my studio work. Sad but true. If I was in the studio everyday when he napped or was in bed I’d live in a mess.

Why do you make pots (or sculptures)?
I make both. Why? Sometimes I think because I’m insane, sometimes I think because there is so much interesting processes in ceramics that inspire me and give visual voice to my ideas that I can’t be limited to a single output. But to the larger question, why do I make art – I make art to feel less alone, I make art because it is a form of communication with others, of understanding and of shared experience. It can bring joy, it compels thinking and productive change and because I’m at heart an idealist that believes we can change the world and my art is a simple action against the rise of indifference I see around me. It is my voice when I’m speechless, it allows my intuitive soul to speak, it allows me an outlet from my frustration, my anger, my love and ideals.

How concerned are you about environmental issues? Does this affect your work?
Highly concerned. It does affect my work in terms of subject matter as well as part of the reason I make the work I do as I often address environmental concerns such as over-consumption, disposability and new research and technologies such as those that affect our food and water supplies. I’m also trying to learn as much as I can to make my practice; firing, materials, recycling methods more effective. I’m no saint, I have lots of room to improve, but each day I’m aware and trying to work on it.

What do you do when you're having a bad day in the studio?
Right now any day in the studio is a good day, a blessing really as those studio days are few and far between. I daydream about the days to come when my little guy is in preschool…

Do you create art in other mediums?
I sew and do a lot of photography, but I wouldn’t say they’re an art to me. It’s a creative outlet but they’re more just arenas in which I dabble or play without expectation or pressure to create anything more than intuitive or visually pleasing surfaces and imagery. It’s strange but they are so completely separate from my clay practice. It’s a good thing, just interesting to contemplate why that is.

Where do you sell your work?
Commercial galleries mainly, plus this year I’ve opened online shops for my work. But as with most things they require more work that I initially realized and to adequately wear the hat of fantastic marketer and promoter for my online shops is something I just don’t have the time for, so they’re not a very profitable venue. I write grants to try to get my sculptural work made, when this is successful it covers the cost of production as well as subsistence so selling the work after that is icing on the cake.

How did you approach those venues about selling your work?
I write a lot of proposals to galleries. I send lots of emails too. Even at times an email regarding something else to a gallery with a simple link to my website at the bottom has opened doors for me. I spend a fair amount of time looking at the sort of work different galleries show so that if I spend the time to write and send them a proposal it fits their mandate and their aesthetic.

Do you have any questions you want to ask other ceramic artists, or artists in general?
Millions of questions…but right now I’m most stressed about trying to make a living and help support my family so I’m always just looking for advice on how to better run the business side of things. I guess I’m also curious if I’m the only insane one that misses college critiques sessions? I’d love some good honest feedback on my work, but never seem to find it. We’re all so supportive of each other in this community (which I’m not knocking, it’s a good thing) but sometimes the truth is a good thing as well to help us grow, as artists and as a craft medium in contemporary visual and material culture.

NEW question: If you could change one property of clay, what would it be? (optional question; from potter John Bauman in the second Monday survey)
Is this like “if you could have one super power what would it be?” hmmm… I’d like a clay body that could read my mind and have the ability to alter it’s form on it’s own so that when I lie in bed sleeplessly at night envisioning all the pieces I want to make but lack the time to make, the clay would be out there in the studio magically turning itself into the sculptures of my mind…wait on second thought, I’d miss the haptic interaction too much, I love to get elbow deep in the muck, I love the challenges the material presents. I love the questions even more so than I love the answers. I don’t know that I’d change anything.