Porcelain fox by Susan O'Byrne

I made a really quick flying visit to London to see Ceramic Art London this weekend. It was a little crazy because it involved getting up very early to get the only available cheap flight from Glasgow, and as a result I was walking around all day in a bit of a haze. Oh, to be young again, when sleep deprivation didn’t affect me…

My friend Susan O’Byrne was one of the exhibitors this year and I was really happy to see how excellent her work looked when installed. It was definitely different to every one else’s. Susan is inspired by dreams, dreaming, story books and story telling. The creatures she creates populate our imagination and the memories of our childhood. It is also an incredible technical feat – to create such large porcelain work. The sculptures are composed of thousands of pieces of individually mono-printed porcelain paper clay.  To see more of her work check out her website.  I’ve also been putting some images of Susan’s work in progress on this site for a while now, in the Glasgow Ceramics Studio album.

Susan O'Byrne, porcelain sculpture, about 90cm high

I’m really looking forward to going to Ceramic Art London this coming weekend. Although I’m not showing any work personally, my lovely friend from the Glasgow Ceramics Studio, Susan O’Byrne, is exhibiting her life-size lyrical printed porcelain sculptures. This work has to be seen to be believed, both in its scale, virtuosity and emotional impact. We’ve been watching Susan’s narrative sculptures take shape at the studio for many months now and are very excited to see them nearing completion. It is definitely promising to be a stand-out stall at the event.

Ceramic Art London is on in London (obviously) on the 26th, 27th and 28th of February.

JK Rowling lecture

Apart from being an Edinburgh local, JK Rowling is an author who’s work I really admire. In this video she addresses Harvard graduates in 2008.

Why did I post it here? She talks in a heartfelt and honest way about her life experience, and how failure – that is finding herself as a single mum with no job and living in poverty – affected her life – as did her first job working for Amnesty International.

Frances Stark “But what of Frances Stark, standing by itself, a naked name, bare as a ghost to whom one would like to lend a sheet?”

Well, hello! It’s been a long time. I’ve been very shy of the computer keyboard since I injured my right arm because I wasn’t mindful enough of how to use a keyboard properly. Now I’m beginning to return to computer use, a little at a time, even though I continue to struggle with RSI. It’s amazing how much something like that can affect your life.

On Thursday night (that was the 12th Feb) I went to a private view at the Centre for Contemporary Arts in Glasgow, Sauchiehall Street. The exhibition was of work in paper collage and drawing by Frances Stark, an artist from the USA.

I had a really marvelous time. The CCA is a great venue – a very welcoming, open and accessible space. They served us G&T’s instead of the usual wine – which would win anyone over, just by novelty value, I’m sure. Frances Stark is very clever and has a great sense of humour – not to mention a lot of patience, judging by the nature of the collages, which in many cases were INLAID. I think she’s a closet ceramicist really. I’ve been wondering what to make of the piles of paper, documents and receipts building up in my own life as well. Anyway, the show is well worth a look.

As far as my website is concerned, I’ve made a few changes. Since I’m no longer a student, the albums showing all the experimentation, processes and techniques I used towards my MPhil have been relegated to a less prominent position. They are, however, still available, should you wish to look at photographic documentation of the glaze testing techniques I used, screen printing ceramic transfers , mould making and slip casting, making pvc moulds, fixing a gas kiln, etc etc.

I have put more emphasis on my portfolio and finished work, and will be from now on working towards starting a ceramics business as an artist. Wish me luck!

Just wanted to add an acknowledgement, that since my last post Frank Lloyd Gallery responed to my query about Cindy Kolodziejski’s work and were very helpful. So, many thanks to the staff there!

I’ve been pondering about this piece by Cindy Kolodziejski:

"Clapping Monkey", 2000 by Cindy Kolodziejski

The image of this piece is a link from the “Contemporaries” part of the California Community Foundation website. Kolodziejski was one of their grant recipients. I love this piece because of the trompe l’oeil reflection – it creates a notional space for the object to exist in – and the viewer becomes a clapping monkey in this alternate universe(!)

What I’m curious about though is what is on the other side? Does anyone know? Kolodziejski often sets up a narrative in her work by painting two seperate but conceptually linked images on each face of her piece. The handle and spout would serve as a dividing line. I can’t find an image of the other side of this piece on the internet and I can’t get in touch with the artist. She doesn’t have a website. At the moment she’s represented by Frank Lloyd Gallery, but they haven’t responded as yet to my enquiry and it’s been a while since I asked.

I’m thinking maybe I should call them… Anyway, if anyone can enlighten me, I would be most greatful.

In our ceramics reading group led by Dr. Patsy Hely at the ANU SOA, we talked about a chapter from Richard Sennett’s book “The Craftsman”. I found this reading fascinating, as I thought anyone interested in the working process and the idea of craftsman- or craftswomanship might. (Sennett says that the ending -man in the title refers to human – as in our species – as opposed to denoting gender).

Here it is, now available in paperback on Amazon UK.

Sennett is a sociologist and as such refers to many sociological studies in the text, but also to philosophical and psychological sources. He was a student of the philosopher Hannah Arendt, who in turn was a student of Martin Heidegger.

“The Craftsman” is written in a very clear, flowing and readable format, maybe due to the author also being a public intellectual, and well practiced in speaking and presenting concepts without being needlessly obscure or verbose. In the book Sennett explores what it means to be a craftsperson.  As examples he cites not just artists but people from across all fields (including computer programming and the NHS) who like to do work well for its own sake and who combine – in his words -  “hand and head” and “problem solving with problem finding”. He leads an insightful discussion about what inspires people to take pride in their work and how this affects the economy as well as the individual’s feeling of self worth, what shapes larger society’s views and reactions to craftspersonship, and why this type of work is unique and valuable to society.

Richard Sennett has a very good website which you will find a link to here. He also was interviewed on BBC4, together with Turner Prize winning ceramic artist Grayson Perry on a program titled “Thinking Allowed”. The interview aired in February 2008 and is no longer available on the BBC4 website, but here is a link to it on Richard Sennett’s website.

“Yet what profoundly links Bachelard’s philosophy of knowledge to his poetics of the imagination, his scientific epistemology to his study of psychic phenomena, is his concern with how creative thought comes into being”. Joan Ockman, Harvard Design Magazine, Fall 1998, Issue 6.

I’ve been reading “The Poetics of Space” as part of my theory research. Yesterday I came across this book review for it, which I think is one of the best book reviews I’ve ever seen, for any book. At the time of writing (1998), Joan Ockman was a teacher of history and theory at the Columbia University Graduate School of Architecture, Planning and Preservation, so it’s written from an architectural perspective. It downloads as a PDF.

Hold Vessel 1

I’ve been mesmerized by the work of Lynette Wallworth. A solo show of hers opens today at the Anne & Gordon Samstag Museum. I would love to be able to attend.

Lynette’s work is about the complexities of human interconnection with our environment. She produces interactive installations. In this one, pictured above, the viewer activates space by capturing an image “inside” a glass bowl. (Bowls made by Emma Varga, Australia).

Why is this so fascinating to me? It’s a combination of the virtual and the haptic experience. A crossing over between the two dimensional and three dimensional worlds that includes allusions to containment and space.

Follow this link to the Forma website to see what it’s all about.

Here is Hold: Vessel 2 on YouTube.

Here is Lynette Wallford talking about her work, on the. Lincoln Center for the Performing Arts, NY, USA Website

Something that’s been hovering on the edge of my mind for quite a while now. I accidentally came across it just now and thought I’d post this link to their very nice website. I love the logo too!

I’ve previously travelled very far to go to ceramics conferences. This one, ironically, is right on my old door step. It promises to be a good one. Marek Cecula, one of my favourite artists is a speaker.