Labor Day Weekend Open House & Tall Work in Progress

Coming up this Labor Day weekend, I will be hosting an open house at my home studio. My art colleagues at Yakima Valley College, Kayo Nakamura, Monika Lemmon, and Chris Otten will also have their work on display at my studio. 

This year's postcard, featuring work by me, Monika, Kayo, and Chris

Like last year, the show will run Saturday and Sunday 10-4 and Monday 10-12 at my house, 203 S. 8th Ave in Yakima, near Davis High School. Unlike last year, admission is free! The studio is on the ground level, but in back of the house, and visitors will have to walk across some grass and there is a small step into the studio itself. We'll also have work displayed in the yard.

me, Chris, Monika, and Kayo

My studio has been a part of the Yakima Artists' Studio Tour for the past 4 years, but this year we decided to separate ourselves from the tour for several reasons, including that we don't really want to charge folks to visit the studio. We are holding the open house on the same weekend and have offered to tell our visitors about the Tour, though we are taking care of our own advertising, such as it is, for this event.

finishing three parts of this large sculpture from last year (the cat thinks the paint water is her dish)

My goal with this event is to show off my studio and my work, as well as the work of my colleauges, and to chat with folks, socialize, and hang out with friends. I signed on to the tour back in 2021 for the same reasons, and because I like the idea of a weekend set aside for folks to visit different art studios in the area. I would like the tour to be free for visitors.

Dates and times are the same as last year, but we're no longer an official part of the tour 

Months or a year ahead of time, I always think that inviting people to come to my studio sounds easier than taking my work someplace else, but when it comes down to it, I'm not sure that's actually true. There's a lot of cleaning involved in opening my home studio to the public, and I need to stop making new work (or finishing old work) at least several days or a week ahead of time in order to clean and arrange the space to show work rather than make it.

clean windows, floor, and wheel, this only happens once a year!

On the other hand, it's not a bad idea to sometimes clean my studio. This is the only way the windows are going to get washed.

my large (complicated) sculpture started last year

I've spent most of my studio time this summer trying to finish work I made last year or in the spring. Honestly, I kind of hate finishing work. I like making things out of clay, but I don't like glazing nearly so much and this summer I learned that I pretty much hate painting--at least the way I was doing it.

ooh, that crack!

Last year I completed several tall multi-part sculptures, but the bottom parts cracked in the kiln. I suspect that they cracked because the clay body couldn't handle the size and weight of the clay. In May, I bought several different sculpture clay bodies to test my theory that the clay is at fault, but I haven't found the time to do make anything out of those clays (because I've been glazing and painting instead).

I usually fire the first layers of underglaze, then add a second layer and wipe it away from the raised textures

Because the bottoms cracked in the bisque or first underglazing firing, I didn't want to fire them again. My usual approach to sculptural surfaces is to layer underglazes, which, for me, means 3 firings. The cracks  were likely to get worse in subsequent firings, so I had determined to patch the cracks and use a cold finish (meaning an unfired finish, in this case paint and paper).

the repaired base with acrylic paint

Last summer I asked my painting colleagues for recommendations and during the year I purchased some acrylic and gouache paints and practiced using layering gouache over acrylic paint. This summer I finally got around to using the gouache on the most complicated of the large sculptures. It worked great for what I wanted, but it took forever and was somehow more tedious than my already far too tedious underglazing layering techniques.

the first layers of gouache on the sprigged surface

The tedium had a lot to do with my approach. Instead of using one or two colors of gouache over the blue acrylic, I decided to use eleventy-seven colors, which took eleventy-seven hours to apply, and then an additional infinity to wipe away.

the gouache partially wiped away from the sprigs

I finally finished the paint layers on all 3 of the parts of this textured stacking form, but I still haven't finished the piece, because the plan is to add paper layers over the blue sections. Honestly, by the time I finally finished the paint, I didn't want to look at this sculpture anymore.

the gouache nearly completed

Also, before the Labor Day open house, I really wanted to finish glazing the 100 bulbs I had made in the Spring. I've got the last batch in the kiln today, so my plan is to clear some space and get the paper done on this sculpture before the show. Which is why I've decided to take time out of my day to write a blog post...and mop the floor...and clean my email...and maybe I'll paint the kitchen today, too.

painting all done, pieces stacked (somehow it feels like it should be taller than this)

If you'd like to see this piece finished, stop by my studio on Labor Day weekend, there's, like, a really good chance it will be done by then.

Labor Day Artists Tour Wrap Up

A view of some outdoor sculpture and sculpture garden on Sunday 

This weekend was the 4th annual Yakima Artist's Studio Tour. My studio was again on the tour, and again this year, the other 3 studio art faculty at YVC (Chris Otten, Monika Lemmon, and Kayo Nakamura), as was my daughter's jewelery (Dezignosaur on Instagram).

The sculputre path marks the route into the shed, backyard, and studio

Since it was all the same folks as last year, we tried to keep the good stuff from last year while making improvements. After the show last year I wrote down some ideas for things to do this year, but I didn't actually look at the whole list until the Thursday before the tour.

My studio on the first day of the show

A few changes or improvements I was able to implement this year (or keep from last year) included not putting out quite as much stuff as I sometimes do. I have a tendancy to worry that I don't have enough, so I dig out more and more. This year I put out the best functional work, but hid some pieces that weren't my favorites. I also didn't bother to unbox some work that was in the Dust faculty show earlier this year at Larson Gallery.

berry bowls

Something I found amusing was that during the show, someone asked me for a berry bowl in a color I didn't have on display. I had one stashed under the table, as I wasn't as happy with the interaction of the glaze and surface texture in that one. Since I had it nearby, though, I was able to bring it out for her. She didn't mind the color irregularlities, so I sold it to her at a discount.

berry bowls as pincushion heads

I had also boxed up, separately, some items that were damanged. At the end of the first day, Kayo and I were brainstorming about pieces that incorporated ceramics and mixed media, so stook a few of the pieces that were intact, but not great for food and turned them into pincushions/pin storage with heads.

my ceramic sculpture with Kayo's doll hands

The show ended up evolving over time, with more work showing up on the second day, especially from Kayo. The sculpture garden along the side of the house is a permanent part of the yard (since last year's show), but I added things to it for the show, as did Kayo.

Kayo's and my work hanging out in the rock garden together

I also had to replace some things that people ended up buying from the rock garden area. One person asked to buy a piece that had been out all year.

the shed being delivered (by a really neat truck)

A day or two before the show, the space for the show changed considerably. We had purchased a shed and weren't sure if it would be delivered before or after the Tour. As it happened, it was delivered right before and we decided to leave it empty for a few days in case anyone wanted to use it for art.

Kayo's work installed in the shed

As it happened, Kayo had a fabric piece that was just the right height for the interior of the empty shed. It was installed Sunday and was a delightful addition and surprise for anyone who attended both days.

Kayo's light up baby in the shed

As the show went on that day, she added a few more friends and surprises to both the interior of the shed and the rock garden and other spaces.

Chris's photo with googly eyes

Towards the end of the first day, as it was getting very hot outside and some of us were getting tired and maybe a bit silly, the googly eyes came out, creating a considerable change in the mood of some of the photographs and paintings.

Monika's painting with googly eyes

One of the delightful things about a group show like this, and more particularly, this particular group of people, is that while I was inside chatting with visitors to the show, changes were happening outside, so I didn't know about the googly eyes until I came out and saw Monika's largest painting, transformed.

Monika's work without googly eyes

I like doing this tour because I like having people come to my house to look at my beautiful studio and see my work. I also really like talking to folks about the art, about art making, about YVC, and more. 

Chris's skull with googly eyes

This year the four of us made a concerted effort to advertise to YVC faculty, staff, and administrators before the end of Spring quarter, since many faculty aren't on campus in summer.

my work and Kayo's on the porch of the shed

I also wanted the show to be fairly low stakes for everyone, since preparing work for a show can be stressful and all 4 of us teach full time, just had a big show in January, and don't always choose to make work that is particularly commercial. I kept reminding myself and everyone that the goal was showing our work, hanging out with nice people, and talking to more nice people, which I think we accomplished.

close up of Kayo's work

While people were visiting, we could often get into interesting and lively conversations. I found some of the particularly refreshing, both visits with people I know, but don't see all that often, and people I met this year at the show. One of my favorite surprise conversations was with a elementary educator who was asking for advice about setting up a home studio and finding time to make her own work. It was such a refreshing conversation that it made me feel much more excited for the start of the fall quarter.

Monika, Chris, and Kayo enjoying the weather before it gets super hot

During the lulls in the day, when visitors weren't around, the four of us, as well as our families, had time to chat and even make more work. For some of the time, Monika was drawing and Kayo was making cards with Chris advising on the text for the cards. She sold most of the cards, but when she had the whole stack, it was really funny to read through the whole set. 

Kayos drawings, mixed media, and cards on display

Overall, for me, the show was a welcome transition between summer (when I try to spend most of my time and energy in the studio, making work--or doing family stuff) and fall (when I need to prepare and teach my classes--not to mention my union duties, which never actually stop). 

Monika's work in the foreground, with Chris and Kayo's tables behind

Today, the day after the show, I did union work, of course, but also finished putting away the work and signs and other stuff from the show. My studio is now incredibly clean and I have whole shelves of space free for the next time I can carve out some time and energy for the studio.

My studio after I put away the tour stuff

My plan for the next two weeks is to stay out of the studio and try to relax a bit before the quarter starts, but I also moved the four works in progress down to the main work table and lower shelves so I can get those done when I do get back into the studio.

 

Labor Day Studio Tour 2024

You are cordially invited to join me at my home studio for the upcoming Labor Day weekend (August 31-September 2) for the 3rd annual Labor Day Weekend Artist's Studio Tour. This year's Tour features 8 locations and more than 30 artists.

The tour is Saturday August 31 and Sunday, September 1 from 10-4, with a shorter visit/pickup time on Monday, September 2 from 10-12.  Tickets are $10 and one ticket gets you into all 8 locations and all 3 days, meaning you can pack all the visits into one day, or take your time visiting all the studios throughout the weekend.

Tickets can be purchased at any of the studios or ahead of time by any of the artists, so let me know if you'd like a ticket, or just show up and we'll have one for you. Tickets come with a full color booklet that includes pictures and statements from the artists and a map of the locations on the tour. 

This year, just like last year, I am hosting the Yakima Valley College studio art faculty at my house. I will have pottery and ceramic sculptures on display and for sale, as well as work by Monika Lemmon, Chris Otten, and Kayo Nakamura.

I also expect that my daughter will have handmade jewelry created by her and friends under the name "Dezignosaur." 

I've spent a lot of my summer in the studio working, as well as a lot of time before and after last year's Tour getting ready for the Dust Faculty Exhibition at Larson Gallery, so I personally plan to have both new and older work. I don't know if I'll be able to finish all of my summer projects, so some might be works in progress during the Tour.

I hope to have a batch of functional thrown pieces fired in time for the tour. I've also been working on large scale sculpture that probably won't all be done.

I hope you will come visit us during the show, whether to pick up some pieces for yourself or as gifts, or just to chat with us and see my studio and our work. 

Please let me know if you have questions about the tour or would like to buy tickets. You can also check out the Artebella Gallery website for more information, pictures, and the locations of all the studios on the tour.

Coiling Big

works in sections drying in my studio

This summer I decided I wanted to build large. I think my stacker pieces from last year that I threw on the wheel were a big part of what I was thinking about when I got back into the studio this summer.

base of the first big coiled piece from this summer

The stacker pieces from last year were a great challenge and I liked making the big pieces, but coiling big is so much easier than throwing. Making these was just enjoyable and relaxing.

second section of the first sculpture in progress

I started with a coil at the outer edge of the widest bat I had and just continued coiling. My original plan was to create a three section tall piece where each section was just short enough to fit in my kiln (each about 25" tall). But I misjudged the angle of the base piece and ended up narrower than planned at the transition to the next section.

second section from the top

The wide base gave me plenty of space for adding my large bell pepper sprigs, and large hole cutter impressions. I've used these sprigs in limited appliations because of their size, but they were a good fit here.

green pepper sprigs

The first sculpture was fun, so I started a second and third at the same time. I was also throwing daily at this point and finishing a human bust to use to display 3D design work. I figured I had plenty of time, because time in the summer is wibby wobbly.

first sculpture drying

For the second piece, I decided to expand the base past the edges of my bat (because I didn't have one that was large enough). This added a bit of a challenge, as I was concerned that the curve at the bottom would tend to sag or split, but it appears to be fine.

based of second sculpture

As this piece got taller, I decided to split it into two sections. At this point, I realized that this was starting to look like a Navajo wedding vase, which wasn't my intention.

second sculpture with split

In an attempt to pull the composition away from the wedding vase form, I added some twist to the base and the next two sections. I was fairly happy with how the twists look, but as I applied the surface texture, the pressure and the added moisture started to cause some weakness near the twists, so I removed them for drying.

second sections of second sculpture with twists

I did give myself a bit of a break in that one of the third piece has holes in it instead of sprigs. My plan is to make elements later to attach to the holes. The advantage of this approach is that I can take my time on them and not have to match the drying of all the elements.

Third sculpture (two sections) in progress

The structure of this piece is pretty simple on the bottom. I had gotten a wider bat for this piece which allowed a wider start with a slow transition into the second level, and then I got silly and started pushing the limits by adding angles that were more complicated than necessary. 

two sections of third sculpture and one of the second, drying

After measuring the connection, I took the top part off. The curve in the second part was too abrupt to hold up the wet clay above it without cracking. Since I always planned to build in sections, I'm hoping the top section will hold after firing.

waiting for firings

I made things even more complicated for myself by putting a deadline on both of these forms. I needed to get these pieces done before leaving on a family trip, but I also needed to get some glazing done. When we get back, I am looking forward to spending some time on some new taller projects without a time constraint.