Before and After Dust

 

some of the stacking pieces on a worktable in my studio in the days before the installation

Now that our faculty show, Dust, at Larson Gallery has been installed and has officially opened, I am experiencing that funny feeling of being done with a massive project that has consumed a great deal of my mental energy for quite some time. 

I began working on this show in earnest almost immediately after finding out that it would happen. Last May, during the Student Exhibition, several of us asked David Lynx, then Larson Gallery director, for an art faculty show. Though we have had individual pieces in the student show, we've never had a faculty show that allowed us to exhibit a body of work. David immediately said yes and almost immediately gave us a January 2024 date. We discussed locations in the gallery for half an hour and by the time we left the gallery, I was excited to start making new work!

my work in the gallery during installation

I started throwing my "stackers" aka tall pieces, which turned into the "Pseudo Equisetum" installations in the Dust show, almost immediately. In fact, I started throwing so quickly, that I didn't bother to think through the eventual plan enough to do some basic things like measure the way the pieces would eventually stack.

my stacking pieces in September, before glazing

By April, I already had my "throwing prescription" from my Occupational Therapist, so I was already in the habit of daily throwing. Once we decided on the show I changed what I was throwing (I was already looking for something more interesting and conceptually challenging than dishes). I produced a ton of work during the spring and into the summer and based in the quantity of pieces I was making and firing, was able to work through quite a few of the logistics of throwing, stacking, and sizing during that time. I ended up with a of pieces that didn't fit, as I worked through the measurements and design, but also a lot of pieces that did work.

stacking pieces and wall pieces on the floor during installation

During the summer, I also worked on other sculpture, including stand alone sculpture, and individual pieces for the other two installations in this show. I knew I wanted to revisit both a gridded wall installation and a more organic arrangement of unmatched forms. I wanted both to be heavily composed of new works, though the exact plan, especially for the organic wall installation, changed throughout the course of building, glazing, and installation.

Kekino Motes installed at Dust

I spent most of fall and winter break glazing, testing fit, firing, and building a few replacement parts for those that warped during drying or firing and for those that weren't measured to begin with. Classes restarted at YVC on January 2nd and I basically put a pause on most of my union work during the first two weeks of the quarter so I could get the work finished, packed, delivered and installed.

a far too heavy box of stacking pieces before I realized I needed to repack

I did most of my install myself on Wednesday, then Kate, in the gallery, finished installing the work on Thursday when I had to go to class. When I got home Friday evening, I unpacked my car (I had a bunch of boxes of packing material, as well as the pieces that didn't make it into the show).  Saturday morning I walked into my frosty home studio (there was literal frost on the inside of the window) and started unpacking and organizing the towels, bubble wrap, foam, and other materials I used for transporting the work to the gallery. I don't want to have to take two trips when the show comes down in February, and I'd like to be able to use my studio between now and then.

my studio Friday night

When I went looking for my paper installation template for the gridded installation, I found an older box of wall installation pieces packed away, some of which I used for the Dust installation. However, this box included work from a few years ago (some of which I think I never showed as an installation) as well as older pieces. Some of older pieces had small holes for hanging (because I learned something from those earlier installations). I opted not to install that older work in the gallery because the small holes made installation annoying. 

the older (small holed) pieces above our oven

While I was unloading at home, I decided to prevent myself from ever bringing this work to an installation again by installing it at home.  Some of it is now above our oven in the kitchen. I also opted not to show any of my peapods, just because I feel more distant from the creative process of making that work. I hung some of them above the door to my clay studio, in place of some bulbs that are in the Dust show. I have had this installation here for years, but I tend to change out the bulbs based on what I am making now or most recently, or what I choose to put in shows. This is the first time I've mixed in the other work with it.

the bulbs and peapods that didn't go to the show

This morning I finished putting away glaze brushes and tools I had been using in the studio and started getting out some of the pieces of unfinished projects I haven't had time to get to. Though arguably I should make some progress on some other work that has been on hold during the show install, I feel like the transition between a much anticipated show and a particular body of work is a good time to clean, refresh, and set up my studio so that I'm ready to work on the next idea.

very old pieces and a new piece that I considered trying to finish before Dust (I didn't get to it)

New Political Bulbs Installation at Boxx Gallery in Tieton

I have work in a show at Boxx Gallery this month. The sculpture show opens today, Saturday, April 6 with a reception Saturday from 11-4. The gallery is free and open to the public. And there will be snacks.

Installation view of Political Bulbs

The gallery is located at 616 Maple Street in Tieton. I have installed my political bulbs for this show. I decided (at the last minute) to install them in a different arrangement than the grid I have done before. While I was installing, I realized I should install them in the shape of the United States, which is kind of how they ended up, but since I didn't decide this until partway through the process, it isn't really clear.

Installation view of Political Bulbs in Tieton

This show features my most recent political work. I showed these pieces in a grid in Hood River this summer, but I never managed to get great installed images. Maybe I'll remember to take some this month. This installation features both references to the flag, the congress building, and the constitution, but also some more blatantly offensive works.

ice cream or the poo emoji?

The gallery is open every Saturday this month from 11-4, and there will be another reception and associated events on April 27 for International Sculpture day.

I also have work up at Artebella Gallery, at 1111 W. Spruce Street in Yakima. Artebella is open Thursdays - Saturdays 10-4. (and by appointment). The gallery is free and open to the public.

Politics Bulbs, Year Two

 The impressed text is a swirling repetition of "Thoughts and Prayers." 

My intention for the upcoming Art a Day project for Columbia Center for the Arts was to make work for my Resist/Politics/Protest bulbs. I showed this work earlier this year and talked about it at NCECA. I also sold some of the pieces at the various shows. I was fairly happy with the work and felt it was important to keep going in this direction.

The signs say "yes," "no," and "maybe.

I thought making the pieces would feel important and cathartic, similar to last year, but so far I've found making this work to be excruciating. Last year I felt compelled to make this work; this year I am depressed to the point of inaction by the constant barrage of terrible news and my inability to do anything relevant or useful. I find myself questioning the work as I am making it or just after it has been completed. I haven't decided whether I should push through this mental block or give it up entirely.

A brick wall wraps across this piece.

I knew I wanted to make a wall piece and reference the various protests with signs on sticks. There are some images that I have some confidence in as both images and as references to important issues. I also wanted to keep some ambiguity in the work, or at least in some of it, so that viewers will see the issues, but not necessarily a one-sided perspective on it.

My plan is to add a rainbow of colors to the stripes on the face. The original idea was colorblindness, but I also like the idea that it will suggest LGBTQIA issues, and blindness thereto.

However, some of the issues don't lend themselves to multiple interpretations. There are some "issues" that seem blatantly, clearly, unambiguously wrong, hateful, racist, and evil. Strangely, I feel both confident and stupid addressing these issues. No one in their right mind is in favor of children in "cages," but the simple fact that it is so wrong makes me worry that it is a dog whistle being used to rally protestors or distract us from something.

I will add the text "I really don't care do u?" in white underglaze.

How could the first lady wear that coat with that message and not intent to insult, offend, or breed hatred and animosity? I saw a lot of references to it at the immigration protest I attended this weekend and I am having difficulty seeing how the coat could be accidental or unintentional.

 

The jail/cage will be covered with bars and the bottle and pacifier will be inside.

But the coat, like the image of children in jail, is a strong visual image. I'm confident in the pieces themselves, but have a sort of dread of some of the conversations that might arise from these pieces, or others where I've made more of a clear statement, letting my feelings color the imagery.

The stop sign says "Civility" and there are dead stick figures on the ground behind and under the kneeling figure.

As I write this blog post about these bulbs, I find myself writing about or at least referencing events, controversy and politics much more so than process, materials, and art making. Ironically, in the first draft of this blog post, I felt like curling up in a little ball of despair on the floor instead of finishing this work, but upon revising, I feel like I might have found a way through.

This is a bag of skittles and a can of iced tea. I am really unhappy with the lines in the iced tea.

This Art a Day project asks the artists to write about their work and their thoughts during the project. Maybe my way forward is to include a little biography of each piece in which I address the issues that are so upsetting to me. The work acts differently when each piece is alone, compared to when they are together, and with text, that might add another layer. I also might try to remind myself that not everyone seeing these pieces will know all the backstories, is that possible? I assume everyone knows about skittles and iced tea, about Melania's jacket and calls for civility, but maybe not, or maybe their take is different from what I know.

These hands will be bound with a zip tie after firing.

At the end of last week, I did decide to embrace that feeling of impotence and dread in the work itself, at least a little. This week I plan to try to work some more on these pieces. I went to a protest at my congressman's local office, calling for the reunification of families and there were some things there I saw and heard that I'd like to process for this work, if possible. But first I am going to finish the abstract bulbs because those make me feel ok, even energized, when I make them.

Washington Clay Arts Association "Bountiful" Show in Ellensburg

installing my work in Gallery One

This weekend lots of clay is happening in Ellensburg. I just got back from installing my Ericano bulb installation at Gallery One for the Washington Clay Arts Association juried exhibition, "Bountiful."

a detailed view of this installation in Seattle

The Bountiful exhibition opens Friday, June 1 with a reception from 5-7 and runs through June 30. Bountiful is in the second floor gallery space, while downstairs is another clay show, featuring work by the Dirty Canteen, a collective of military veteran artists. I read about work by three of these artists in the most recent issue of Studio Potter. One of the artists, Ash Kyrie, was at U-W Madison as an undergrad when I was earning my MFA there.

my planning grid on the wall, ready for drilling

The Bountiful show is a juried show of work by Washington state ceramic artists. I entered the show because the theme seemed a good fit for my installation work. Before I'd heard about the show, I had titled my most recent sculpture "Bounty."  Of course I forgot to bring Bounty to Ellensburg when I drove up today today.

"Bounty" (the piece I forgot to bring this time)

I drove up this afternoon after my office hours. I needed to be back in Yakima for something by 4pm, and this is a busy week with the holiday, the installation, raku firing tomorrow and the fast-approaching end of the quarter. I was paying careful attention to timing today and making sure I had everything with me to do the installation fairly quickly so I could get back in time. I brought my paper grid, pencil, ruler, level, tape, drill, drill bit, and L-screws. I confirmed ahead of time that I'd have access to a step stool. I dropped off the kid, went to work, left school basically on time, and got about halfway to Ellensburg before I realized I had packed everything for the installation, but not the second sculpture.

my work and other pieces partially installed

So, I installed the wall work and promised to bring the sculpture before the opening on Friday. The installation went fairly quickly--I had a little less space than usual (less height than I'm used to), so it took a moment to figure out how to reduce the installation, but once we'd figured out the location, I was able to hang the paper grids, drill the holes, and screw in all 80 L-screws in a little over an hour. I then brought in the boxes of bulbs and started hanging them. It took about an hour and a half to bring the stuff in, get set up, install, and bring stuff back out to my car. It was warm in the gallery space, so I remembered to take pictures early on in the process, then forgot entirely to take a picture of the finished product because I was anxious to get to a cooler area.

Part of this installation at Yakima Maker Space

If you'd like to see the work installed, or if you want to check out all the other ceramics in the gallery, join me on Friday from 5-7 for the reception. Friday is also the Ellensburg First Friday Art Walk. The Dirty Canteen artists are doing an artist talk at Gallery One on Saturday. The shows will be up through the end of June if you'd like to visit later.

Installation in Hood River: Art as Activism

Columbia Center for the Arts in Hood River

This weekend I drove down to Hood River, Oregon to install my Protest Bulbs at the Columbia Center for the Arts for the Raising our Voices: Art as Activism show. The show opens this Friday, March 2 with a reception from 6-8pm.

I took the work down on Saturday at the Yakima Maker Space so that I could take it down to the Hood River show. 

my Protest Bulbs for the Art as Activism show

This was the first opportunity I had to show all the protest bulbs at the same time (except the ones that sold last year at the Larson Gallery Membership show). 

installation view at Columbia Center for the Arts

I planned the shape and size of this particular arrangement when I got to Hood River on Sunday. I was the first person installing work for the new show while a lot of people picked up their work from the previous show. I was initially told to take up whatever space I needed, but later asked to shift my work over to leave more room for others.

installation view of the Protest bulbs

I was surprised to be asked to work around a light switch. I think this is my first time incorporating a light switch into the space. I ended up planning the spacing so that the light switch was in the very middle of a group of four bulbs, but later I got thinking it would be funny to have the light switch stand in for one of the bulbs in the grid.

installation view at Columbia Center for the Arts

The work is up now through the end of the month. I'll be presenting about the work in Pittsburg for the NCECA Conference in a few weeks. Then I hope to get some time to work on some new ideas this spring and summer. I should have another installation happening in Hood River in August, but I want the work to be all new. I was initially planning to make abstract work, but I haven't quite decided. The idea behind the August show is that everyone makes a piece a day for 30 days. 

the full installation, with light switch, in Hood River

Nasty Woman Exhibition at Yakima Maker Space

Resist Bulb in progress

Come see my NEW work in the Nasty Woman show this coming Saturday, January 20, 2018 at Yakima Maker Space. The opening starts at 6pm and there will be live music and TWO interactive art pieces. I have no idea what they are, but can't wait to find out. One of the interactive pieces will be done by my talented friend, Kelly McKnight.

I have an installation of 30 Resist Bulbs in the exhibition, the composition similar to my last installation at YMS, but with a very different subject and intent. Some of these new Protest/Resist/Patriot Bulbs (I've been playing with titles) were shown previously at Larson Gallery for the Membership Exhibition, but some are new, including several with the First Amendment text stamped onto them.

First Amendment bulbs being darkened with oil (I had some trouble with the surface color)

I worked on the bulbs during the summer, with an eye to this exhibition at Yakima Maker's Space in January. The exhibition coincides with the one year anniversary of the Women's March. This year Yakima will hold another Women's March on January 20. I'll see you there before the YMS Nasty Woman show.

Gerrymandering 

I started making the bulbs last year for this Nasty Woman exhibition, but also in reaction to the current administration and the divisive political climate we now live in every day. I felt, for the first time, really, that I couldn't not address current events in my work, which has usually remained abstract, inspired by nature, and fairly apolitical.

Incarceration

I started these pieces because I felt I had to--for me--but three opportunities have come along this year because of these pieces. I had spoken with Eunsil Kim, the curator and organizer of the YMS Nasty Woman show early last year. Over the summer, while discussing plans for a different show down in Hood River at the Columbia Center for the Arts, I was invited to show these pieces in CCA's Art as Activism show coming up this March (I install in Oregon the day after the YMS show closes).

#SayHerName Sandra Bland

The third opportunity came as a bit of a surprise. I applied to talk about these works, and, in particular the urge to transition from abstract to narrative work given the current political climate, in a short presentation at the NCECA (National Council on Education for the Ceramic Arts) Conference in Pittsburg.

Flint Water

And here I am, writing about the showing of the work, but skimming over the content of the work. Content, especially content that is not meant to be wholly open to interpretation, is something I haven't had to address much in talking or writing about my work, as it has pretty much always been abstract, ambiguous, and personal, not to mention not my main source of income. 

Russia

These bulbs are ambiguous up to a point, but taken together my intent is certainly to make people think about a particular set of issues, most of which have I have strong views about. Some of the topics, like gerrymandering, dirty water in Flint, pollution and police violence come across fairly unambiguously just in a single image. Others, I have designed to be unambiguous, by showing the Monopoly man hoarding money and by collecting some of 45's less impressive tweets and statements in one place.

Tweets

I also have bulbs in this collection that are simply images of symbols of our country that are worth preserving and considering in our calls to action, such as the flag, the first amendment, and the Capitol Building. 

US Flag

There has been fairly little publicity about the Nasty Woman show (PSA, be careful Googling this show) at Yakima Maker Space and one theory was that the YMS wanted to avoid controversy because of the tone of this show. (I suspect lack of paid staffing is the more likely culprit for the missing advertising.) However, I've found more than one person discussing the exhibition by downplaying the controversy and politics and focusing on the raising up of women's voices. True, some of the work is not explicitly political, but I think mine is fairly clear, at least if one spends any time with the work.

First Amendment, Trapped

As you can tell by my writing about it, I'm still working out what it means to begin making political work now, but I am hoping that by the time I have these two shows done and am ready to present at the NCECA Conference, I'll have a more comprehensive view of the work and its reception. Help me out: come talk to me about the work at the YMS opening this coming Saturday. Or, you know, reply here or on Facebook. I'd actually love to hear from people (ahem, not from Trolls).

Installation view of part of the earlier iteration of this work at Larson Gallery