Utilitarian Clay Symposium Recap: The Conclusion

I am just going to present the remainder of my photos from the Symposium for your viewing pleasure. Most of these were taken in the Past Presenters exhibition, with a few final-day studio photos. Next on the agenda I’ll post about my experience at the Forrest Lesch-Middelton demo in Plano, TX last weekend. But for now, please enjoy the following photos!

A teapot by Mark Shapiro and an Aysha Peltz jar. I am the proud owner of this jar, which I don’t expect in the mail until mid-November.

A place setting by William Broullard. I found the design of this set particularly beautiful.

Check out this gorgeous Suze Lindsey candelabra.

Free-form pots come so easily to Nick Joerling, or so it seems. This incredible ceramic object was easily 2-3′ in length.

Two pitchers with totally unique surface treatments. Cynthia Bringle (if memory serves) incised her buff surface while Sarah Jaeger employed color and pattern.

One of Ellen Shankin’s glorious teapots.

Another acquisition for my budding collection, a Diane Rosenmiller berry bowl.

An elaborate, highly decorated jar by Michael Corney.

Atmospheric fired Bernadette Curran cup with a sake set by Ayumi Horie, incised through white slip to create drawings.

The Peter Beasecker heavy slab plate comes from a line of work called “string series.” I studied under Peter in college at SMU. I definitely like the adjacent nested vessels, but I can’t recall the artist and my margin cut off the label.  :/

Lorna Meaden watering pot with a large Linda Sikora jar in the background.

A. Blair Clemo plaster molds for pressing sprigs from which to handbuild vessels.

Some leather hard partial and complete demo pots on Blair Clemo’s table.

Leather hard Shawn Spangler pouring pot.

Greenware assortment of cups by Shawn Spangler.

Monica Ripley, about to demo her method of slip manipulation for her cut-rim plates.

A tureen body form by Blair Clemo, probably sprinkled with corn starch to inhibit sticking between lid and flange.

At the Saturday night party, my good friend and fellow SMU alum Brooks and I had to get a photo to commemorate the occasion. I found this silk dress at Buffalo Exchange, and as soon as I saw the blue and white Chinese pottery print I knew it would look perfect for the event. I had a fabulous time at the Symposium, and my studio work is still reeling from a fresh and much more ambitious approach.

UC VI Symposium Recap: Part 2

I’m not going to wax quite as poetic about the photos today because I’m about to get crisp for a Fishbone concert in Dallas with my hubbind this evening. So here we go.

Some mind-blowing Blair Cleamo pots.

A. Blair Clemo showed me a revelation in making: hand-molded sprigs cast in plaster, then press-molded and re-applied into form molds to develop walls with thrown parts. Plus, he’s a deep thinking individual with whom I had some great, meaningful converstion. Bonus!

Close-up of the mighty tureen.

Ornamentation lovers, eat your heart out.

Cup with individual saggar by a Texas artist.

George Bowes had this piece on display in the past presenters exhibition. I have one of his super fancy ornately glazed mugs, which I almost never am generous enough to share. 😉

Precision embodied in pottery.

Love the forms, love the glaze, love the layered strap handles, and adore the big, fat glaze droplets. Shawn Spangler wins at functional potree influenced by masterful ancient Chinese pieces. He’s also a damn fine thrower, an articulate communicator, and a nice guy to boot.

The other case of Spangler’s vessels.

Computer-rendering from…

These objects.

A wall platter of considerable size.

Jennifer Allen already occupies a space in my pantheon of personal influence. This fat-rimmed platter features her signature engobe, lovely color choices, and one of the many post-war or Edo-era patterns.

More great work from a UC VI presenter.

I had seen Doug Peltzman‘s work before, and really enjoyed his discourse and process during demonstration. These really are another version of lovely. I think it’s valuable to see the variety of successful ventures in functional ware, to emphasize how important your own vision is in the face of the difficult challenges inherent in making functional objects.

A teapot, sugar jar, and tumbler.

And with that I’m wrapping up another installment. I can’t wait to get back on the wheel tomorrow!

Utilitarian Clay Recap: Part 1

I flew back into DFW last Sunday from the Utilitarian Clay symposium at Arrowmont in Gatlinburg, TN. Held at 4 year intervals, this event marks a major event in the vessel-oriented clay community. My past professor Peter Beasecker and Bill Griffith spearheaded the event and coordinate it to this day. Between rotating morning and afternoon artist demonstrations by invited presenters, 6 independent exhibitions, numerous engaging attendees, tasty meals, and meaningful discussion I managed to snap a woefully inadequate amount of photos. I can’t begin to verbalize the excitement, influence, and significance of the experience; I recommend it highly. This was my 2nd go-around, since I attended in 2008 as well.

I don’t necessarily feel like I need to explain why I like these pieces, but I will touch on a few key highlights. The images and forms have a solid relationship, beautiful craftsmanship, and appear cohesive, all of which demonstrate the merit of this work. Kip O’Krongly was one of the symposium presenters, a wonderful choice for a last-minute addition.

Angry canary salt and pepper set.

These bad boys get carved by hand, an hours-long process. The result captures the morose expression of the canary left to die in the mines, a manifestation of the artist’s exploration of agricultural, livestock, and food-production based methods.

Part of Molly Hatch’s presented work.

Stellar design and classic U.S. pottery forms are a sort of trademark for Molly Hatch, who has also been brought on by Anthropologie to do design work. I wholeheartedly support the sheer awesome-ness of this development, but doubt I’ll ever be graced by such a situation, plus I’m still considering how I might react. At any rate I enjoy these pots quite a lot.

Shoko Teruyama platter, aerial view.

Although Shoko Teruyama could not attend as a presenter, some incredible pots remained on display during the symposium. The elaborate and strange images covering the pots demand some extended perusal, which I engaged in. Drawing on pots definitely falls into a category near and dear to my heart.

Some more elegant Teruyama pieces.

The faintly Egyptian qualities of the oblong vessel in the above right photo and the canopic-style jar on her home page have a sort of childhood-delight appeal for me. As a little bitty girl, my favorite version of Cinderella in picture-book format was The Egyptian Cinderella by Shirley Climo and illustrated by Ruth Heller, based on an early recorded version of the story about a girl named Rhodopis. I admit to still being somewhat mesmerized by the graphic stylization of Egyptian art, which probably has a lot to do with my love of drawing in a frieze-like style to this day.

A massive flower brick.

A rainbow of gorgeous bowls by Monica Ripley.

Elegance and simplicity with gloriously textured loose slip decoration adorn many of presenter Monica Ripley’s pots. These bowls don’t boast that particular element, but the range of sexy hues inside of the vessels begged to be documented. I admit to already owning quite of few of Monica’s pots, and her salad plate is usually the one I reach for in the cabinet first.

 

A duet installation by Gwendolyn Yoppolo.

To emphasize the connectivity of the bi-lobed two person tea cup set, presenter Gwendolyn Yoppolo knitted all of the yarn elements. Experiencing the piece with James Connell had a delightful quality while at the same time causing me to confront a sort of discomfort with the intimacy of the piece. Interesting stuff. I already really love the crystalline glazes and silky smooth clay body in her mostly-handbuilt pots, too.

Sunshine Cobb jars.

Sunshine Cobb demonstrated her spontaneous yet sophisticated process, with some candy-coated finished pieces on display a stone’s throw from the studio door. Again a set of different and wholly superior work, with lovely little breaks in the slip exposing red clay and a glorious line of glaze halo.

That’s all for the first installment. I did still take a bunch of photos, so watch for continuing editions of the symposium recap.