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)

Labor Day Artist Tour Wrap up

 

My studio on Tour day

Last weekend was the Labor Day Tour of Artists Studios in Yakima. I hadn't posted here for over a month, in large part because I was getting ready for this. (Though we also took a 3 week vacation and I took a total break for the first time in years!)

sign for our tour

My home studio was on the Tour, along with 5 other sites. At my house, Monika Lemmon, Chris Otten, and Kayo Nakamura showed their work this year, too. All four of us have been teaching studio art classes at YVC this year, with Monika teaching drawing online and in Grandview, Chris teaching photography online and in Yakima, and Monika teaching drawing, painting, and printmaking in Yakima.

Drawings by Monika Lemmon

Monika showed her drawings and paintings and had some prints for sale. Chris showed his photography, and you can tell he's the photographer, because his is the only work display that wasn't photographed (he took pictures of everyones work and I took pictures of mine).

Installation detail by Kayo Nakamura

Kayo was new to the tour this year. She is a versitile mixed media artists and at the show she had prints and drawings as well as sculpture and installation. We also got to see some of her video projects. 

My bulbs on display (see if you can find Kayo's addition)

It was great fun having these 3 artists at my studio because we all get along very well and we got to hang out and get to know each other better. Though the tour was a bit less busy than last year at my studio, we did a lot of laughing during the down times.

my bulbs with a Kayo sculpture joining in 

As with the past two years of tour shows, my daughter and her friends (Dezignosaur) also showed their jewelry. The older girls are now in high school and the younger in middle school which changes their dynamic a bit. They started making jewelry during the pandemic when they didn't have much school, but they are a lot busier than they used to be now.

thrown jewelry bowl

This year I made a lot of new functional work, including some jewelry display pieces for Dezignosaur.

jewelry display vase

My "throwing prescription" had me on the wheel a lot this summer. By default, and when I'm not thinking very hard, I naturally throw bowls, so I had a lot of bowls on display and for sale this year. Honestly, I might have had too many, as it was hard to fit them on on my shelves.

new bowls for the tour

All this throwing, and the required glazing that must follow, also explains my absence from this blog this summer. As Chris put it, I have four jobs (teaching, ceramics, the union, and being a band mom), so some stuff doesn't get done.

rainbow mugs and bowl 

Besides lots of functional stuff, I've been throwing sculptural forms using the wheel this summer, too. 

thrown wall sculptures

The sculptural forms take a bit more time after throwing. I throw them, but then have to alter or combine the thrown forms. 

thrown and altered sculpture

I made several standing sculptures, as well as some wall pieces that I intend to display at the Larson Gallery for our faculy show in January 2024. However, I also threw some sculptures that are a little more interactivem, where the bulbs can be picked up and moved around.

thrown and altered sculpture

One of these sculptures sold at my show. When the buyer came back to purchase the sculpture, he asked if he could swap out some of the bulbs for others (I had three sculptures with moveable bulbs and a few extra bulbs on the table as well). 

...with some of the bulbs removed

Today is my last day of summer, as convocation starts tomorrow at YVC. I've got a very full fall, but I hope to still be able to finish more work before the January show. With that in mind, I better post this and get to work.

another moveable bulb sculpture

Labor Day Artist’s Tour 2023

a couple of sculptures out of the bisque kiln this morning, with the brochure/mailer for the Tour

The Labor Day Weekend Artist's Tour in Yakima is coming up in less than two months! I want to invite anyone who is in the area to attend the tour. My home studio is on the tour and I will have lots of new functional pottery and sculpture, as well as new lawn sticks and hanging bulbs.

new lawn stick toppers waiting for glaze

I will also have the YVC studio faculty showing at my studio. Chris Otten, who teaches photography, and Monika Lemmon, who teaches drawing, were both at my studio last year, too. Kayo Nakamura, our new drawing, painting, and printmaking faculty will also be at my studio this year.

the poster for this year's tour

I've done this tour for the past two years. The tour is great fit for me, because folks can come to my studio, see my new work, and I don't have to cart it all somewhere else for a show. I can also hang out with my friends during the tour and I can take several days to clean up, rather than trying to set up in just one day. I'm looking forward to this year's tour, since I won't be finishing up radiation that week, like I was last year!

this year's tour brochure (inside)

Tickets are $10 each and you can purchase those tickets from me. I have them at home now and can get them to folks during the summer. I recommend purchasing tickets ahead of time so that you can get a booklet (and so we know we have enough). You can also purchase them at the studios on the day of the tour.

new bowls from my last cone 6 firing

There are more than 30 artists on the tour this year, at 6 locations. Visitors can come to any of the studios on Saturday, Sunday, or Monday (Labor Day), or spread their visits over multiple days. Saturday and Sunday the tour runs 10-4, Monday 10-12. Artists at all locations have work for sale. The artists' work spans a wide range of media and price levels. 

stacking sculptures in progress

I've been doing lots of new work this spring and summer and I'm excited to share. My daughter and her friends will again have their jewelry for sale again. I'm not sure how many of my stacking pieces (the new work I've been playing with for the faculty show in January), but I plan to glaze and fire about 50 more pieces of pottery before September!

bowls from the last two firings

I hope to see you in September. Please let me know if you'd like to purchase a ticket from me, and/or if you'd like me to send you a brochure for the event. I plan to send those out today (once I find my mailing list).

bulbs and lawn sticks waiting for more underglaze

 

Spring and Early Summer Studio Frenzy

newly glazed dishes laid out for photographing, inventory, and quality checks

It's been a minute since I last wrote about, well, anything. The end of the spring quarter and start of fall have been super busy and I've been spending so much time in the studio since classes ended (and even before that, really), that I wanted to put all that energy into that work, rather than writing about it.

a thrown sculpture I started in spring

I supposed the correlary is that today I feel more like writing than working (so far). 

Work waiting to be glazed, shoved out of the way while I make more

My throwing prescription is part of the reason that I've been in the studio so much. The other part is a couple of shows that I am looking forward to. First there is the Labor Day Artists Studio Tour in my home studio over Labor Day weekend. I've done this one the last two years and plan to invite the YVC art studio faculty to show at my place. That's Chris Otten (photography), Kayo Nakamura (our new full-time drawing/painting/printmaking instructor), and Monika Lemmon (drawing). 

bowls in the process of being glazed

The Labor Day weekend show is, for me at least, a chill way to invite folks to see my work and my studio. I don't have to move a bunch of stuff or set up a tent and I can be sure to be near a fan, shade, and cold drinks the whole time. All I need to do is clean my studio, which, admitteldy, is going to be harder this year.

stacked forms and some awards, as well as some mugs under plastic on my storage shelves

The next show I'm excited about is the Yakima Valley College faculty show at Larson Gallery. This will be in January of 2024. The gallery is huge and as soon as we confirmed that it will happen, I got really excited about a new body of work. 

the fired stacking pieces, last week, when I checked for fit and size 

I want to make these tall skinny stacked forms. As soon as the show was confirmed in April, I started throwing some pieces to be stacked. Most of them are simple round forms with flanges inside, measured (usually) to stack with others.

newly throwing stacking set with flanges

When I first started them in April, I was working on throwing just 30 minutes a day, in between class and grading and union work. I also didn't have a fully fleshed out plan about how these would work, so I threw a lot of short segment.

short stacking sets before firing

Once classes were over (the union work never stops, apparently), I got them all out and measured them and discovered I had quite a few unmatched sizes, so the batch from last week and this week is an attempt to match sizes. 

thrown parts of a multipart form in progress

I also started throwing taller pieces by attaching two thrown pieces once they had dried up a bit. I've never been someone who throws particularly large. My teaching demos are often fairly small both because I teach a lot of beginning throwing classes and because I am not allowed to keep anything I make on campus, and on campus is my main throwing time during the year.

a multipart form on the wheel (trying to show height, but I think I needed a tripod)

This throwing prescription, ironically, has got me throwing more often and with more challenging forms than I probably ever have before. It's kind of amazing how teaching people to throw (which is, granted, only 1/3 or less of my actual teaching job) requires less throwing than 30 minutes a day.

the piece on the floor is too tall for my shelves and wihin 1/4" of the height limit of my kiln

I realized the other day that my throwing skills have improved just since March. At least my skills or strength for throwing or combining to make tall forms.

my favorite textured surfaces take a lot of time

I am still more excited about the individual forms that have more going on, but combining forms sculpturally after throwing and working on complex surfaces both slow down the process a lot. My goal right now is really to make enough of the stacking forms for them to make an impact visually or spatially. I am trading off some of the complexity for some of the size and quantity.

even attaching things to the side takes more time than a vertical stack

Additionally, my high production means that I've got a significant amount of glazing that needs to happen and then I need to figure out where to put all this stuff, either while waiting for glaze, or after firing. 

bowls being glazed (and then stacked because I don't have enough surface for not stacking

I ended up pulling out a card table for glazing space since the functional forms have multiplied so much. The ones that have been fired I'm hoping to sell on the Labor Day weekend show or in galleries locally. I believe my brother already put in a hold on some. 

my glazing space is usually the workbench by the window, but I added a card table this summer

Starting the throwing prescription helped get me kick started into summer studio mode early this year, but it also has been somehow freeing. I know I have to throw something for 30 minutes a day and I'm nearing saturation on functional forms, so I finally got a chance the other day to throw some forms that I wanted to try for a sculptural form based on some diagrams of the lymphatic system I saw in the room during a Lymphedema appointment. 

my lymphedema inspired sculpture in progress

I was also able to throw some items on request from my daughter, as well as some forms I'd been meaning to try, like a citrus juicer form I'd never tried before and some displays for earrings for my daughter's projects. 

pierced bowls for hanging earrings

After two or three rounds of glazing functional forms, this week I got excited about getting some glazing done on some sculptural forms I had started during the spring.

sculpture in progress from spring

This week I've had trouble finding the time and energy. I had some medical appointments (oncology and blood work and shots) this week and they've put me on something new (because, apparently, you aren't supposed to have 8-12 hot flashes a day, who knew!). We had union stuff scheduled this week as well as some unscheduled concerns about folks not getting paid correctly.  

one of the first thrown forms for my throwing prescription

Meanwhile, my daughter was supposed to go to Louisville for TSA (Technology Student Association) Nationals, but her and the 22 others with her got stuck in the Denver airport for 2 days (~22 hours before they finally got a hotel!) because United had staffing problems and (I think) because the Northeast had weather or smoke. They ended up flying the kids home yesterday instead of sending them on to Louisville and the kid is obviously super disappointed.

thrown and textured sculpture in progress

I was almost suprised how much it impacted me. Apparently I worry, but having her stuck in a different city and I can't do anything about it doesn't make for restful nights and calm days (also, see above, 8-12 hot flashes in 85 degree weather). I know I didn't need to worry, but my body didnt hear that message. Yesterday, with her on the ground in Seattle and after 4 in a row union meetings, I literally lay down on my face on the computer room floor for 30 minutes to ease my pounding head. 

My June trip to Clay Art Center necessitated by the need for more clay and more kiln shelves

I feel like I've been all over the place in what I'm working on in the studio this summer, and also this post. The other thing we did this week was replace the aluminum barrel of my pug mill with a stainless steel one, a surprisingly labor intensive process. But that's a topic for another day.

my studio assistant daughter texturing a small form

For today, I'm glad to have my studio helper back, even though I also feel super terrible for her having to miss nationals. She's sleeping now after a trip that included all the worst parts about air travel (excessive turbulence, long delays, unboarding because of those delays, trying to sleep in an airport, trying to arrange for alternate flights--with a group of middle- and high-school students who were required to stay with their advisor, long --like 8 hour!-- customer service lines, food vouchers that didn't work, and finally lost luggage) without any of the good parts (like getting to your intended destination).  On the plus side, she said that its better in some ways to be in this situation with a big group because some people can always stay with the luggage while others walk around or, apparently, race on the moving sidewalk.