Big Art Small Space

 

I thought it was going to be easy to work big again. After all I had not done this type of large ceramic work for quite some time, 20 years or so. Still it is funny how one forgets the struggle. I have great stall tactics, cleaning, prepping boards and finding time and tables…This struggle with myself becomes the emotional component when I finally exhaust all possibilities and work…Me. My husband says why do it then? “It sounds like you do not want to.” Fear of failure? But then what could go wrong. For me what could go wrong usually does, so I plan for it… I am starting 10 months before the deadlines earth day 2018 April 21st to be exact. But then I have months of firings the clay, there is the winter studio shutdown, working outdoors and the summer heat, and my studio is small. Big Art in a small space.

Really small.  A table or two tables wide, a one car garage, to be exact - without the car. Even though the car can go in.  I have a great life partner he saves me. He built cupboards and hid all my stuff. Even from me…LOL.













I am the bull in the china shop…I drew a big cartoon I measured the wall, I thought about it I planned… this is spinning my wheels… basically exhausting myself. I envy those that draw all the time every day.   I do get bored with it… so I work in clay and I wait, wait to dry, wait for kilns, wait for firing, wait for temperature climb…


















I love making art, I guess I love thinking about it also…I want it to be a certain way, Big, impact. I want people to gasp, to say this is great. How was it done? What is it? How do you do that? I live for the work to speak to the viewer. To you…











Of course, the obstacle I put in my way would break any one, like falling and getting up, broken equipment at the last minute. But still it goes on…I set aside a vacation to start. I did it on a Sunday the last day…I had clay and boards and space but the tables were not big enough. My husband saved me he fixed the slab roller and helped me with tabled in his garage…I should have planned for it…I had forgotten how big big was…6 by 4…1/2 an inch thick 200 lbs of clay wet and heavy yet the image I have in mind can be light and fluffy…

I am a bull in the china shop. A Taurus with porcelain.  Literally that is my secret. A wet slab of sculptural clay and a light expressive coat of porcelain slip.  Luscious and lathered on…Let me give you a back ground. I am an abstract expressionist first, like Zen Buddhist brushwork an overall large brush work, splash of contrast to the gray clay…In paint I use gesso.  Understated, expressive painterly subtle texture, before the tile is cut and carved in to sections.  4 by 6 feet will never fit in the kiln…

I want the clay to have a voice, this part is the primal scream. I want the clay to look like it has not been touched Like it belongs where it if. A freshness that is caught in the welling up of the earth element.  The maker is just a vehicle a medium that was present at the beginning of a thought.  The clay speaks as I ask it repeatedly.  I want to know what it thinks,













 

My work is a question rather than a statement. I ask it to tell me what it needs.  A corner demands smoothness, an edge to be cut, refined or textured.  What does each work need? I see the changes from solid to open and tile. To glaze I covet each stage as the work changes and evolves I wait until it is finally finished and hung up not flat and covered in a wrapping of plastic.  It is no longer in the garage it is displayed in the gallery up and colorful for all to see and hear. No longer is the work hiding and in sections it is glassy and colorful, black and burned up, crackled with designer glazes, that dominate the scene.  Tiles that are dug up from the fire and ashes of the raku process.  They look like slate or stone. The work a thought frozen in time.   I always wonder how.  How did I find something that has fascinated me for life? It is Clay and Big Art in a small space.

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