highland litho-ceramics - Recently Updated Pages

Continous lines of clay

highlandlit — Sat, 17 Jul 2010 00:10:21 CDT

I’ve always enjoyed drawing with the left hand. There are some preconceived ideas about jerky movements and clumsiness, in practice it should be possible to reproduce flowing continuous lines, or any kind of lines to portray anything, (I haven’t done it yet.) After a year, maybe more of my hand being out of the cast, I decided to cheat myself a little, and stress the old injury by using a hammer, I didn't mention it to my therapist. I’d vowed never to pick up a tool ever again, but I have a problem, that is I can't keep myself from wanting to do things for myself. The things I do involved some construction in a garage, I was trying to help with some new framing...well the force and the stress causes the plate in my wrist to come loose and my arm got all swelled, I never liked dangerous construction work to begin with. Did I mention I broke the arm falling through the roof of a barn? This long explanation gives up why I mentioned drawing left handed. Now when I complain about my right wrist the doctor I see merely says that I should use my left as much as I can.

My first surgery involved the surgeon connecting the radius together after a break from a very bad fall, with a big plate and screws! Something that took the whole year, and more to start getting normal use from. During the pre-exam for another surgery, this time to remove that bad plate, (due to the new complication) my doctor suggested that I do more with my left hand, and when the doctor says something, no matter If it is just in passing, it means business. I'm relearning to throw, write, and draw, I especially enjoy the drawing that I do left-handed. From these drawings I gathered inspiration for early development of these new series of characters, that I'll be transfering onto clay.

While recovering from the second surgery I found that I could flatten sheets of clay, and started using different thickness of the flattened clay to produce ripples over a relief sculpted area, (I’ve always trusted the figure to retain my focus), and using the slightly arbitrary surface brings interest and significance for me; because of the arrangement, cooperation, and relationships, between transition form. And positive and negative spaces, have similarity to the overlap of glazes on pottery surface. You can image it is like drawing on a window pane, what happens with glazes can be very complex within the thin layer of melting silica.

These transitions and the dimension that can be portraited have always had my interest and are also a great challenge. For instance the thin sheet of glass which makes up the glaze surface of a pottery piece, when magnified will show the glass bubbles what are frozed back when the glaze was molten. Within this layer of glaze are many other layers made up of minerals, some take different position because of the molecular wt., and reflect light in different colors, as a prism would for its own wavelength. Easy to explain, but complicated to see happening.

picture album

highlandlit — Sat, 17 Jul 2010 00:06:49 CDT

THESE ARE RECENT WORK
New green pots, works in the progress.

”THE DECK STUDIO” Walla Walla, Washington
These are the recent works from the wood kiln.

MENDOCINO, SUMMER 2007
Salt fired vases.

Flat discs, University of Utah 2001
Thrown and altered

Sagger fired, and cone 6 pottery.
These are peices from before 2001.

Opportunity

highlandlit — Sat, 17 Jul 2010 00:05:22 CDT

My technical accomplishment will involve the blending and design work with the physical properties of new glazes I've been calculating, and I hope they may approach a seamless appearance for compositions, involving figurative images, and blocks of color. While recovering from the second surgery on my wrist., I discovered that flattening sheets of clay didn't bother me as much as working with a downward pushing force required for centering on the potters wheel, and I started using different thickness of flattened clay to produce ripples over some suggestion of a volume, likely a figurative or life like image. I'm intrigued by the transition, and have always considered the overlapping area of a glazed ceramic pot to be a place where I should observe, as an area of spatial potential.	Staying on this page, I'm working on 20 large pieces for hanging, I'm happy about these recent pieces, and I'm watching how they will work together in a show. Textural composition, and the design of wood-fired elements have always been captivating to an audience. The surfaces are charged with visual interest and aesthetic vocabulary. It is very important to me, that I envision how my work will interact with their surrounding. I considered them all as individuals, unique, and pay particular attention to how each will occupy its own space. I can get that kind of perspective by making many sketches of changing scale, and lighting, before I even begin working on a piece of clay.	I want to devote myself to this ambitious project whole heartedly, it is hard to drop it and interruptions haven't been useful at all, this is why I ask for your interest in this quest with me so I can combine needed resources along with research and results I've been fortunate to gain. I have focused on the areas which can develop the transition of colors and textures so they'll help me develop what my ceramic vessels will communicate. I've incorporated many element series, because of the space available in a kiln, a firing series is between 16-22 pieces that concentrate with a single idea). Each of these is a product of it's own spark, none are added on as an after thought, or reworked copys of old work. It isn't a contradiction for me to say that I incorporate elements of another series, and that each work is a product of its own inspiration, a beginning and a finish. I always try to connect some elements though, I have set up as points where my work can find its center. That way I enjoy the perks of having a routine to follow (the technical skill needed to turn vessels is filled by routine and repetition, but that frees my work, rather than confining it), the work enable that which is subjective, to show through, in my art.
I'm very happy with how these new works are finally coming out. I've worked through difficulties, and all kind of tough conditions with ease. The financial requirements for my work has been one obstacle, and I'm learning as I go along, to continue creatively. I can't forget all the contributions from teachers and friends, and many very knowledgeable people. So far my research has taken many kiln firings, and the pragmatic parts which apply to my work seem to melt into the time intensive processes. I'm very happy that I'm exhibiting concerns toward what is unique and creative artistically. So far what I owe for sustaining me all along, is the sheer amazement that I have for this material, its processes, chemistry, and beauty. It's truthfully been a breeze for me to go on day after day. That amazement, and a sense of humor are what get me up in the mornings, and keep me awake late into the night. Clay is a tactile material, and expresses character about its own nature, I think that it needs to be touched and lifted, to enjoy the volume and balance, much different that a completely visual experience. I always feel that no matter my personal situation, whether I'm happy, or angry, or searching for a new inspiration, that I could always keep working and often find support. It's a material that can speak of, flexibility, strengths and weaknesses, and it presents the artist with those natural limits. How the artist reaches this challange, communicates many things about the artist too.	Type your photo caption or credit here.	Type your photo caption or credit here.
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salada (as in from one ear and out the other)

highlandlit — Fri, 16 Jul 2010 23:49:59 CDT

Everyone has a day when they find something new or discover one trick that produces, then after a short time the magic is gone. This has happened to me frequently in my ceramic studio, because in a moment I'd alter a glaze recipe and what I've done at that time is so obvious that I wouldn't have thought I could forget it.
As in having a brilliant glaze but forgetting to write the firing schedule or the glaze recipe down. Thinking all the time that there is no way in a million years forget how it's done. The rude awakening may be that that moment can vanish in smoke. Coming soon to this page some of my successes and documentation of how to reach the same.

d

highlandlit — Fri, 16 Jul 2010 23:44:34 CDT

I just wanted some Coco.

highlandlit — Fri, 16 Jul 2010 23:42:58 CDT

I'm writing again about my broken arm. I'm still pretty inconvenienced by the whole thing. All the things
I can't do will cause too much thinking for one sitting. I can't brush my hair, or make pencil drawings, right now I need help with about everything. I'm equipped with a hot wax bath, big enough for my whole wrist, and plenty of crushed ice in the fridge, for cold wraps. I have to say I'm in a bit of a rush, and admit to continously giving therapy to my arm, alternating hot and cold; hot to relax and help with pain, and then ice pack will centralize the blood flow, and reduce swelling, then hot again for more stretching. When I first started, the people at the therapy center gave me exact exercise instructions. I’m lucky to have had the advice, and I didn't lose those routines when the gears started changing. There are changing conditions that can definitely be felt in the bones, when the tissues start to redistribute themselves. I think of it as the changing of gears, as in first to second, then third, I can feel the sensations and pain more, at the same time I also want to reduce my pain killers (I hate taking all the drugs). There is all that complex design in the bones of the wrist and hand. It is where the majority of different bones are in proportion to the rest of the body. When nerves get pinched together it feels like dry bones rubbing together.
It really hurts. Sorry about these silly block ads, I wish I could get rid of them.

In my rush to get as much distance as I could I knew I'd risk feeling some pain. There was no way that the folks at the recovery center can be expected to do all the recovery work. It has to be the commitment of the patient, my commitment. When it starts to make a difference, it starts to hurt more, that is what I'd expect. It's a good pain though, that's all I can say about it, I wanted to recover quickly, even if that's what it costs. The bones cut together, before there is a chance for the muscles. and other tissues to begin filling in again. So I practice my best judgement and if I think that I'm reaching some kind of plateau I take it easy, for a day or two and work on something else.

I don't remember exactly how long I've been concerned with athletic form, I guess as a high school sophomore while swimming for the team, maybe younger. These days I'm increasingly aware through physical training, and advice from therapists. Overdoing it with a set of muscles can set me back for a week in my work-out-schedule. In my youth I didn't care. Why should I care about the warm-up or stretching session; I'm older, and it seem so much more important, maybe the most important thing there is for alleviating pains.

I'm also an advocate for working out balanced. What working out balanced means is basically when someone has an injury the tendency is to favor one side, this causes lots of problems especially when this would be crucial during the recovery time for the injury, and what you need the most, is for growth, and healing to resume normally, not crooked. For instance, if you would learn to ride a horse, and you didn't begin balanced, as far as posture, then all the muscles that developed would work to pull a rider off balance which makes the riding more difficult for the horse and the rider. Balance is developed through practicing proper form, and allowing a natural flow of energy.

When you take a pain reliever what happens is the drug blocks signals the body sends to the brain, that warn about wear, or damage. Since I'm just getting started with this I hate to hurt new tissues and muscle, if I can't feel then how would I know? When I go to my therapist they are impressed when I can say that I've cut down to twice a day, or even once, it's a given that some weeks are more difficult than others, my resolve isn't made of steel. One of the main reasons for cutting down is that, I'm weak and can't stand pain, chronic pain, I want to take care of the real problem as much as possible. And I've been taking these pills for so long now. Other side effects, I'm having to think of my stomach now, I never liked pills in the first place, and I'm sure that 800mg of ibuprofen for more than a year is enough to melt holes in me.

Maybe this is a good time to remind that I used all the physical activities that I'd had done previously, like swimming to encourage my recovery. Doing something familiar, makes it less complicated to keep working on the arm. In my art work I always come back to the routine, it gives me a foundation to work from, and centers my ambition.

I've started some new ceramic pieces:

The meat about my recent work was first explored when I was in college. The dynamic interaction between flat colors was my first chance looking at the subjectivity concerns, when one color interacts with another, and the feeling that they create when I'm working with designs. Many tangent approaches have come into my studies since, sometimes the ideas, and experimentation have extended way beyond what I could have even imagined, but always return to this idea of a dynamic between areas of color, and the designs I use.

My focus for Art is to find a new city, My subject mater often turn to city scapes, buildings and the metropolitan. Buildings on the horizon, and the texture and distance of a withdrawing plane, have all been topics for ceramics. I can contribute, the work I have done has come from what I see, and not from anything beyond reach. I draw what I see, the art in things, as seen in every day events; things that are often passed by without looking. And I'd emphasize that is more clear in my work than ever before. My reasoning, (why art?) it's about subjectivity in my works. Using visual images that I live among and I'm observing day in and out, bring that character to my work, and I trust myself at this point to be able to go with that direction, and with my emotions.

I've always felt that I could relate to things fine, in a city, so I began early on traveling, and taking notes as I went along. Those things did much to inspire what I use for artistic material. I've been on the move a lot so, I get a lot of information to sort through. Sometimes it helps to see with a renewed perspective, and finding a different point of view. By moving I intend to re-establish similar routines like I've been using everyday in clay. Galleries...http://katvonac.blogspot.com/M.D. Arts.

So great to be home

highlandlit — Fri, 16 Jul 2010 23:39:16 CDT

I'm not sure how to open in, I want to describe the thought that has gone into some of my recent work. Simple is the key here so I'll just jump right in.
Being able to observe cycles, (those pesky things which occur and seem to over and over), is an advantage for we humans, and what I consider basically unique to us on our advanced level. Observing is the way to organize things in our surroundings, and it's a blessing, imagine how it might be to make the same mistakes forever not realizing if there is a better way?

Whether it is a cycle of nature like passing seasons, or cycles in our own personal relationships. We learn to adjust, and even anticipate them, so we'll adapt. Plainly life itself is a cycle which is enjoyable by the moment. Being able to focus on a cycle gives perspective, whether it’s from a childhood memory, or whistling a symphony, there is beauty in how things fit together. Definitely I'm inspired by following the steps, and observing. It's a big concept for me, and I'm continuously thinking about how I'm connected, how I view my art world and my ceramic work compared to my regular monotony and chaos. I'm not sure if I could call it mundane, but it has something to do with paying the bills, or picking up the dry cleaning, making time for a trip to town, and etc. But these and many other routines and cycles reveal clues within them that affect my point of view, and the life experience. So I want to create I adjust observe readjust and basically try to keep it real, my future, and more broadly life in general, is the product, (am I right?)

I respond to things that happen outside of the routine, when something seems out of place I take special notice. I'm normally ready to listen for anything out of the ordinary. I put all this into my clay work moments of realization and the high and low points are reflected through subject matter. I’m finding that I work in clay because it is my friend; I work with clay when I’m happy, or angry, I can work with it when I just seek the answers to personal questions. I’ve always known, because of clay properties and processes that I’d be able to keep working in my artistic pursuit. What I most cherish is that something beyond myself, my labors, my life, something can emerge on its own, from a distant place to communicate some greater meaning. The "Purpose beyond the definition of the piece", and it answers for my labors, and all my own persistence. There is emotion, all kinds of different feelings, for the most part I'd say it's simple, what I struggle to explain just happens for someone; like if you have a bowl, and you like how it feels, love the color, and won't use any other. Just that simple!

My goal is to open a dialog that enables my art to speak with it’s own voice, in this way I don’t feel that it is a contradiction in terms to say things like (I’m returning to my first inspiration) or that a series of new pieces gets a start (from an earlier work), that may have failed once or be reworked. I want my works to reflect high standards of artistic thought and material quality, and feel that it would be a great service to me, and opportunity all around, if I could have a chance to be involved in your program.

I’d like to be considered for a session, and be able to contribute to this program. I contribute my time wholeheartedly, and work full time to get my work presented in a professional manner. Working with clay has always given me a chance to come to know my material, although there is always something new I can learn, I a m gaining an appreciation for the character and cycles of clay. In ceramics there are so many different areas to explore, technically it can be very complex. I want this time to be able to improve and have outside suggestions. My trying to continue these personal process is in line with the objective goals of renewal and observation, a study of our personal place within our surroundings and environment. I respect my own talents towards making of art, and want to maintain the full commitment, my constant awareness is essential.

I get a lot of energy from found objects that can help with my own perspective,and I’ve put a lot of time into discovering materials; sometimes I’ll go and dig raw materials, or research common household products to use during an experimental sagger firing. The spontaneity of alternative firings is fantastic, a great way to express much about the clay itself.

I love so much being able to pick up a pot, the weight and balance of a clay vessel is so much a part of it for me. So through the exploration and observation of the raw materials I gain a recognition of character of each clay piece I make. Everything about it should work in a unifying way; from the materials, the process, the firing, and designs. My artistic endeavor is to employ the variations of surface which overlap I’m trying to make a way for these areas to express, and accentuate the clay surface. Most of what observe from my surroundings go into what I draw on, but I like drawing just what I see. When clay speaks for itself from beyond the humble marks and hopeful brushstrokes, it is more acceptable, more believable, and presented better than preconceived ideals and prejudices, which are often how real life is viewed.

__WORKING TOWARD PREVENTION.

highlandlit — Fri, 16 Jul 2010 23:23:12 CDT

I'm setting up here because, I want discussion; it's so important for recovering bone fractures to

stick with their physical therapy, and not suffer the loss of function, and range of motion.
Please remember, to leave your advice or personal experiences.

The title, training to build strength, and avoid a life of chronic pain. Maintaining good range of motion, and promotinggood circulation, is key to normal, and long usage of ones joints and muscles.
I recently fractured my wrist and it seems worthless, I can't wait to get into my physical therapy. So as you could guess, I'm setting goals for myself early. My goals are to get reacquainted with all the things I so desperately hang on to in my life. I'm a potter, I make things out of ceramics on a potters wheel, so I get into that, and a list of other things that I normally take for granted, swimming for example, drawing, ceramic, combing my hair, not to mention I need to re-learn to type, (maybe write my name). I've started right in with ceramics, throwing to help my recovery along. I'm also going to the public pool for some aquatics training, I've done swimming in the past, and have a theory that doing an activity which is already a routine helps add to my resolve. This site serves as a place where can list experiences, and what I'd consider success or failure concerning My recovery, and anything related.

(Add any thing you can, or think someone else would like, easy; (ex.) I've noticed that there is new feeling in some damaged nerve strand and it's a sign of healing, a welcome kind of painful. also, (ex.) might be putting down a list of ways to promote blood circulation, and prevent scaring. See how quick that is, any contributions are appreciated.)

I've been working out in the swimming pool doing laps with the kick board, one day I was feeling so confident that I set out to swim a 600 yard medley with two sets of butterfly broken into 50 yards at a turn (I don't swim butterfly very consistantly), I fill in what's left over with a lap of breaststroke. That's pretty wimpy but I'm working my way to a 1650, and a good stretch work-out. To my surprise there were huge lumps up my arm and into my arm pit, like giant welts when I got out of the pool. They stayed on for a few days. I went to the doctors that week for an exam. The welts weren't actually painful but they were caused by a tendon irritation, some of the metal plate in my wrist had come loose and needed to be removed.
So it's back to the drawing board, another surgery and recovery, pain medication and all that. Well after it's all said and done, it wasn't really as painful as the first time. I'm back in physical therapy, and back to my own routines and making more improvement. Stretching is stil strenous but I'm still sticking with it.

I wanted to point out that If I can help illustrate how important stretching muscles and tendons is to recovering normal use, it's valuable just by itself. For myself, when I discovered that I could turn, that was the best thing that might have happened to me. Because I used my hands extensively making ceramics before I broke it, I have strong hand muscles and tendons, and by picking familiar things I'm already showing good promise.

Since I feel that I owe my health to many people in the medical field and it's a gift to have their help and that of the Walla Walla YMCA, for taking such good care of me and my special inquiries, they're all really great. Well I'm making ceramic things and Well I'll try to post some pictures of people when I can give them something for thanks.

I feel like promoting my ceramics for sale. I'm posting some of the most recent works that I've done since that day and I'm trying to link to my catalog page. Please if this is at all interesting to you, have a look or you could contact me and commission some work for yourself. Tell someone who you know that might be interested, I'm including a recent e-mail address below, and like I said please visit my new web page. And thanks to all the folks that helped me so generously, they're greatly appreciated
http://www.artmajeur.com/artcontest, or e-mail Artconlist@yahoo.com.

'Anyone who has a chance feel free to add information about yourself, or experiences. Please notice the Pages, and not the horrible ad that's been tacked on. I'm trying to keep entries in close order, and been trying to get the extra time to put in new pages.

Since the application

highlandlit — Mon, 28 Jun 2010 01:10:01 CDT

It was right here
I’ve been working some since I submitted my application. I think that what I’ve come up with is interesting and I wanted to share. It would have been nice to have the picture of my kiln, but I didn’t take my camera on the last trip back, so I forgot to take a picture of it. I promise one soon so you can see what it looks like.
I've been adjusting my artist statement a little, and trying to keep things updated, I’m on the right track with my most recent pieces. I’ve included some pictures; with the right emphasis I know I can get this kind of grouping to communicate.
In my recent ceramic peices, they have good things in common; it’s a small victory by itself, but shows lots of potential. Previously I intended to make every shape and brushstroke all from a new experience not something repeated, of course that's not possible, but promised not to produce from reworked and unsuccessful attempts. I'm being more relaxed and comfortable with what what I make but if you can believe me I'm still working with the same discipline in mind. I don't view it as a contradiction to say that I avoid the restatement of my own expectations. (is that a contradiction my discipline is how I avoid my the weightiness of my own expectations?) Where I can, I wanted to remove unsettled complicated disruptions that come from a chaotic life. And clear space for listening to the character and nature of the clay.
I’m getting flat looking consistent colors, so I can use them as foreground and background, with the figurative images that I want to ultimately produce.
It may be difficult to see something has come together in these latest pieces but it just has to be accentuated and emphasized a little, it is very obvious to me when I’ve been working and looking all the time. Still these speak subtlety of the surrounding which inspire them; they represent something as a group, it is a departure, but it can all be tied back chronologically.

IN ADDITION TO MY STATEMENT HERE ARE SOME FROM OTHER ARTISTS OF 3-D ART.

Statement: Art to me is a way of life, without it I would get bored quick. Currently I am a process oriented artist. I enjoy taking risks and experimenting with all art media. I tend to lean towards 3 dimensional work but continue to change and grow in many different directions. I explore many different topics and themes. Maybe someday I will chose one direction but I somehow doubt it.
Biography: I have been creating art since I can remember. I am currently finishing my last semester of my B.F.A at Georgia State University in Atlanta Georgia, in Art Education. I plan to teach our future artists, workers and leaders while continuing my own art creations.
Statement: I MUST CREATE - my business is to create, it doesn’t matter what you do. Create Something! Then it's you--in the world. My hope for you is that you may find the pride in the processes put into my work as well as find pleasure and peace in the pieces you so choose.
Biography:
I am a creator of beautiful things, equally good with a fountain pen and a paint brush. An educator by profession, designer by career. A fast driver, fast walker and fast talker. A passionate warrior for the people, obsessed with learning, inspiration and expression. A woman made through the selfless service of society. I like to smile and am a fairly laid back type of person who enjoys everyday little things. I have a keen eye for detail. Stable, steady, and true ~~ at times to the pt of being brutally honest. I'd describe myself as being innovative, driven & a genuinely unique person. Becoming accomplished, I have aspirations; they ensure my determination and keep the fire in my eyes burning. I am grateful for many things also able to understand many truths.

Biography:
Always learning and challenging myself to improve, I accept criticism welcoming it graciously. I am a recent graduate of New York State University at Oswego and before that attended Cayuga Community College. I am a goal setter - go getter with a will that will find a way. I usually have two or three jobs going at once staying active and busy. Currently work in Social Service, as an Art Consultant, and Talent for promoting products and events. My ultimate goal is to become an art teacher. Until then, I learn and teach what I can as well as try to find new sources of inspiration that keep driving my determination persevering onward...

Free spirited and fun-loving, my feet are well grounded while my head is in the clouds. I have no problem showing people who I am, flaws and all.
For me, there couldn't be any other way. It's too stressful to live an inauthentic life. I'm very comfortable with myself. And because of this, am able to live an exciting, interesting, and challenging life.

Form and Stretching

highlandlit — Mon, 28 Jun 2010 01:00:14 CDT

I don’t remember for how long I’ve been concerned with athletic form, I guess as a high school sophomore while swimming for the team probably younger. These days I’m increasingly aware through physical training and advice from therapists. Overdoing it with a set of muscles can set me behind for weeks in my work-out schedule; for instance, in youth what care did I have for a warm-up or stretching, now I’m older it is the most important thing for alleviating pains. Well since the work I had on my wrist the different kinds of pain are magnified … the muscles almost vanished in my wrist and forearm.and I can feel my radius under my skin.

Balance of all the close parts of my arm and wrist is going to be major, sometimes I have to compensate, switch off one set of muscles, maybe even the whole side, (take days off) it's a judgement call…so stretching and warm up, working out balanced, are all part of dealing with the pain of recovery. I don’t like pain but after a year of healing my therapist is so impressed when I can report I’m reducing my use of ibuprofen. It has been the lesser of evils to take so many pills even though I don’t like pills. Now it's the right time to start thinking about my stomach. My metabolism is mostly shot and I'm so used to the current path, it's time to quit them and look at a diet plan.

e

highlandlit — Sun, 25 Apr 2010 19:33:21 CDT

After becoming interested in clay turning at a young age, and discovering an ability for excelling in clay, a lives work begins. Developing my interest with clay, and it’s potential for expressing things of the world, the character of the material, and simply the gift when something is starting to work. "Love for the material, and its many mysteries, brought Me to develop technically, and a little of my own talent, to recognize a visual balance in ceramic forms".
As a college freshman, registering for classes, and art in ceramics, was my first priority. Even before my first semester I spent the summer working in the new art labs, Professor Elsner shared the basics for three dimensional representation in sculpture. And professor, Alan Bennett helped me to develop a visual sense, character in the work I'd produce, and a technical skill to express ideas through clay. I really owe much thanks to him for the patience and the lessons he shared to teach me. The adventures that I've made of unifying pottery shapes, and vibrant colors, animated characters, and different ceramic surfaces. They will always continue to be, my endeavor for a quality and Creativity.

As a potter must first center the clay to begin, a starting point is first to center my ideas and focus to the properties of clay, and unite design elements which allow the ceramics to speak, (a magical moment,when the separate parts work together), about origin and hands, the tactile nature of materials, and the flames which make clay into a lasting permanent object. The recent pieces are new paths developing for myself and my ceramics, some are hanging and standing works, some traditional shapes and some altered.

“ The space which a pottery piece of mine will occupy is very much a concern to me. Sometimes I will try to imagine an open area and try to draw the ceramic peice in the area with cahnging light. I get the shape from what develops, from the light and dark, from the space, relationships in color and distance, and from my feelings for area. I want to make sure that my works will interegate well with the space they will occupy.”

Ceramic works are greatly influenced by the flame and the effects of heat and kiln atmosphere. Landscapes and seascapes are commonly part of the story subject, they're a reference to the illusion of space and I try to get this to complement the round shapes. tactile material, along with artifacts and natural objects, get used to paint a layer of activity and action. Characters within the micro thin layers of glaze can at times produce narration for the prism of colors and overlaying of glazes, give the substance to work with the illusion of three dimensional space on the surface, that is the goal to draw the viewer, and create involvement between the audience. The interactions that a three dimensional project has with an environment through the surface, form, color etc. are the splashes of life, the ephemeral quality, the surprises which breathe life into the works, the balance between material, sources, and rich characterizations. This happens something which is a subconscious and of a passing moment, rich in potential.

The meat about my recent pieces, (I first found in college), is the dynamic interaction between flat colors, a chance to look with subjectivity. I'm trying to use the flat color that I get with glazes to have a dynamic effect, and interact with the pottery forms that I produce. When I look at a landscape, I can see to the horizon, or the shadows, looking around the sides for clues about the whole dimensions, and I can show that kind of details with glazes, for the viewer an inter-scape of area between the forms, and the negative space. And generating some interaction with the viewer holds the interest. My very early color plate explorations were done in the spirit and passion of someone attacking a canvas inspired by the brilliant colors of the landscape, colors reproduced in the colors of glaze tests at school.

MD. gallery listings

highlandlit — Sun, 25 Apr 2010 19:17:51 CDT

Gallery Listings:

African Art Museum of Maryland
5430 Vantage Road
Columbia 410-730-7105

American Visionary Museum
800 Key Highway Baltimore
410-244-1900

Antreasian Gallery
1111 W 36th St Baltimore, MD 21211
410-235-4420 Art Gallery of Fells Point
1716 Thames St Baltimore
410-3271272 The Art Garage
218 Main St
Reistertown
410-751-9259

Artists Gallery
10227 Wincopin
Circle Columbia
410-740-8249 Baltimore Clayworks Gallery
5706 Smith Ave Baltimore
410-578-1919

Baltimore Hebrew Congregation
Hoffberger Gallery 7401 Park Ht
410-764-1587 Baltimore School of Arts
Alzacar Gallery 712 Cathedral St
410-347-1478

Bendann Art Galleries
834 Kenilworth Dr Towson
410-825-0585

C.Grimaldi's Gallery
523 N Charles St Baltimore
410-539-1080 Cheap Chic Interiors
828 W 36th St Baltimore
410-662-8383 The Columbia Art Center
6100 Foreland Columbia
410-730-0075

Contemporary Museum
300 N Holiday St Baltimore
410-333-8600

Dundalk Campus Art Gallery
7200 Sollers Point Baltimore
410-285-9619 Eubie Blake Gallery
34 Market Place Baltimore
410-625-3113 Gallery E
349 W Camden St (Sports)
410-547-6220 Gomez Gallery
3600 Clipper Road #100
410-662-9510 Goucher College
Rosenberg Gallery
410-337-6333

Grand Style Gallery
Village of Cross Keys
66 Village Square
Baltimore, MD 21210
410-323-3100 Email Holt Gallery
102 McCormick Ave
410-882-2483

Maryland Art Place
8 Market Place Suite 100
410-962-8565

Maryland Historical Society
201 W Monument St
410-685-3750

Maryland Institute
Mount Royal Ave
410-225-2300

Montage Gallery
925 S Charles St
410725-1125

OXOXO Gallery
1617 Sulgrave Ave
410-466-9696 Resurgam Gallery
910 S Charles St
410-962-0513 School 33 Art Center
1427 Light St Baltimore
410-396-4641

Slayton House Gallery
10451 Twin Rivers Road
410-730-3987

St John's College
Mitchell Gallery
410-626-2556 Steven Scott Gallery
515 N Charles St
410-752-6218

Temple Oheb Shalom
7310 Park Heights Ave
410-358-0105

The Pearl Gallery
826 W 36th St Baltimore
410-467-2260

Towson University (Arts)
Osler and Cross Campus
410-830-2787 UMBC
1000 Hilltop Circle
410-455-2270

UM College Park
Adelphi Road
301-985-7822

Hirshhorn Museum & Sculpture Garden
202-357-2700 Strathmore Hall Arts Center
10701 Rockville Pike
301-530-0540

Corcoran Gallery of Art
500 17th St NW Wash DC
202-639-1700 Rock Creek Gallery
2401 Tilden St NW
202-244-2482

Washington Projects for the Arts
625 E St NW DC
202-639-1714

Studio 24E
710 N. Hammonds Ferry Road
Linthicum, MD 21090
410-609-2112 Canton Gallery
2935 O'Donnell Street
Baltimore, MD 21224
410.342.6176

ARTFX Gallery
Annapolis, MD

Gallery ID 8
2007 Fleet Street
Baltimore, MD
(410) 276 - 8190
Fells Point Area

Armenian Art

Water Color Dream

L'ArT-Ist Gallerie

Ant/Not Terminal Gallery

The Pearl Gallery

Hobart Galleries

Art Direct Gallery

ArTrujillo Studio Gallery
301 E. Lake St. Suite 01
Minneapolis, MN 55408

Boulder City Art Guild Gallery
1305 Arizona Street
Hotel Plaza
Boulder City, Nevada 89005

ModernSculpture.com
Museum Quality Painting, Sculpture & Water
1-877-576-ARTS

Fine Scandinavian European Paintings and Shipmodels

Art Collective
1620 Central Ave. NE
Mpls, MN 55413
612 788 8613

Custom Made Art .com Gallery
1556 Shore Club Dr.
st. Clair Shores, MI 48080
586.214.7252

Legacy Motors Art Gallery
1415 Dayton Street
Chicago, IL 60622

Galery Gora
460 St Catherine West, suite #305
Montreal, QC H3B 1A7
Canada
514.879.9694
email: art@gallerygora.com

Art Under Ground Studio
on the AVENUE in Hampden
side entrance or through The Pearl Gallery
826 W 36th Street
Baltimore, MD 21211
410 800 4230
Email Welcome

GALLERY IMPERATO
921 E. FORT AVE. STE 120
BALTIMORE, MD 21230
WWW.GALLERYIMPERATO.COM
443.257.4166

Add Your Gallery

Working from "the everyday".

highlandlit — Wed, 21 Apr 2010 23:05:10 CDT

Comparing the ceramic work to cycles, I want my project to focus on cycles in a very broad term. In past works I’ve had time to explore and I used the freedom to explore to the extreme in my college courses. Looking at the cycles that appear to me, throughout my work so far supplies a thread which holds my past work together. Observing and understanding the world around and the part I might play, that’s a basis for intelligence, and part of the human condition. I want my project to focus on cycles on a very broad term.

I benefit from cycles of throwing clay, I set out my water, I have basic tools, I prepare clay and then center, open and pull a cylinder. All these steps I can move through, like listening to my conservation with the clay. I want my work to reflect and communicate in a way that is as easy and simple as having a favorite hat, a favorite mug and reflect on what might have to see in our future.

I’m asking for a residency because your place is unique. Being able to work there will help me be close to the interesting materials which I’m considering in my project; (the leaves and trees, the sea horizon, and elements right from the earth), unique to this area of the northwest, my surroundings always have a big part in my recent pieces. Definitely some inspiration is owed to following steps and observing, these cycles reveal clues within, that can affect my point of view, my future, and more broadly affect life in general. I’m finding that I work in clay because it is my friend; I work with clay when I’m happy, or when I angry, I can work with it when I just seek the answers to personal questions. I’ve always known, because of clay properties and processes that I’d be able to keep working in my artistic pursuit; the tactile nature of clay is so great for expression.

My goal is to open a dialog that enables my art to speak with it’s own voice, in this way I don’t feel that it is a contradiction in terms to say things like I’m returning to my first inspiration or that a series of new pieces gets a start from an earlier work that may have failed once or be reworked. I want my works to reflect high standards of artistic thought and material quality, and I feel that it would be a great service to me if I could have a chance to be involved in your program. The research part of my project involves the interesting surface that can be produced with alternative methods, and I want to contribute with groups of other potters who work with, low fire salt, sagger, raku, cone 6 glazes, and many other processes.

I love so much being able to pick up a pot, the weight and balance of a clay vessel is so much a part of it for me. My artistic endeavor is to employ the complement and contrasts of surfaces which overlap, I’m trying to make these areas communicate and express from the clay surface, lots of times people ignore the overlapping areas and surface changes. Most of what I think comes from what’s around me and, I like to just draw what I see. When clay speaks for itself, when I can produce work that is more inspired by an experience, or a moment around me, it’s more acceptable, more believable to me.

another op. water feature

highlandlit — Wed, 21 Apr 2010 22:46:59 CDT

These are new collection of wheel thrown vessels, some altered, with surfaces from wet and clear, to segments which mirror like luster. The inspiration for these has been a tour of some of the nations water covered areas They're friends with, and express the true feel for the material, and some relation to the watery region, (open water wetlands, waterfalls, etc.) To a great extent, a potter is connected to the character of the material, because clay has a positive physical property, there are natural limits to how far clay will stretch. The same property which keeps clay within a center can also expand and stretch its usefulness as a cereative material, it's tactile, and the surfaces in these recent works communicate the natural, and a sense of place.

Kiln party at "The Deck" Art Center.

highlandlit — Wed, 21 Apr 2010 01:01:05 CDT

Looking to new horizons, and building relationships through Ceramic Arts.
2008 has gotten the wheels turning, and promises to be the start of great times. In no way will there be any time like the present and no way to compare any other events with how great it is to be rolling under our own power. The sky will be the limit. .

Memories from recent openings at "The Deck" gallery.

I'm adding this journal in hopes that it will stir the spirit, and light the fires here, for NOW, and for many happy years. There are photos included from the beginning, to the most recent kiln opening, and many people who we have had the honor to be associated with are included. They're being included with their links, (some anyway), check them out. The "Deck" is a celebration, and a chance for everyone interested to have a chance to throw some wood on, and cultivate the creative flame. So come out and get the first peek at new works directly from the kiln, almost anything is being offered so get the first chance to pick up a new treasure too.

There were humble beginnings

As many of you may remember there is much that goes into preparation, and I'm the first to admit that it was slow to come to fruit at times, but the help of many hands all the great and tedious tasks of everything from add links the clearing of the site and gathering wood to burn, to preparing the new palates of glazes, (we had our share of disasters), but the most important of our works couldn't be done without all the helpers who we owe so much. We also acknowlege the contribution of successful glazes for the kilns, thanks to all those who could pitch in.
Here is an account of the first stages of building and stocking the wood stack, hope you appreciate the site at that time, we have gotten a lot of the weeds and dirt tamed down since.
.

Be sure that you can be in early for kiln opening the best pieces have their way of getting homes quickly and there is usually some refreshment. There's no way to replace the moments that we cherish and have spent together, working together creates our close camaraderie. I hope to assist in bringing these memories back through pictures and journal. at the bottom of the page you will see the comments wall so you can leave what you wish as comment. We'll be planning a get together reunion soon for =fun You could describe what is new in your neck of the woods and let us know you're available. I add links to other sites, and pages so check them out too..

Well I'm not exactly sure whether it is the kilns magic, or the spot we've chosen, but there are always an abundance of interesting animal friends that grace us with their presence. Being in the open really gives the right atmosphere for being close to and in touch with nature. It's always a great feeling to stoke through the night, so quiet and peaceful, times like those are high on the list as unique moments. There are many opportunities to get involved with the firing of the kiln and often we'll have people come in from out of town to help out and bring some of their own pieces to contribute. Just ask if you're interested there's always room.

We trying to get interactive, so add your Thread.

The thing that is great about using the web is, you can get comments on this letter if you like, just look at the bottom. You'll notice that there are threads (like comments) that people can start, you could post a thread and discuss what might be on your mind, ask for people to comment, and add to the thread.

Look in on Us and see what's new.
There is something new and interesting happening.

Highlights of the year:

	IT IS ALL ABOUT THE WOOD
	Digging in for new season.
	Here are the pieces to load.
	Over night candle.
	COMES OFF WITHOUT A HITCH, another successful firing shut down late night. See you in a couple days, after a short nap.

"The Deck Gallery"

NEW ENTRY

highlandlit — Mon, 01 Mar 2010 12:26:47 CST

. The basic geometrical principle of the wooden column, the hexagon, is used as a basis for ornamental compositions Islamic culture. The geometrical principle can be multiplied endlessly and is a metaphor for perfect beauty and infinity in Islam. Similar geometries like circles, hexagons and stars emerge in Cascio's collages. They reflect the different uses of the universal principle both of natural, as well as technological structures. The passion for beauty and truth, the close relation of individual and universe, micro and macrocosm are central to Cascio's mental spaces. They reflect a timeless utopia of a better life, harmony of man and his environment, nature and technology and the hope for a world worth living in future times.
Cascio belongs to a young generation of contemporary artists who establish precise reference systems within the history of modernity. For the viewer the complex net of references on art and architecture, Classicism, Modernism and Postmodernism, Constructivism, Minimal and Pop are starting points for their own mental expeditions.

Presenting new works from the "deck gallery".

highlandlit — Thu, 31 Dec 2009 21:54:40 CST

[Insert Name] Family Holiday Letter
2008 was a great year for the _____ family. Be sure to replace all the text with your own. More tips and image elements here.

[Insert Fun Intro]

Add a bunch of text. You could describe what the kids are up to, vacations you took, set backs, promotions, reunion info, fun family trivia, links to other sites or pages to check out.

[Insert Fun Headline]

The best holiday letters tend to be short and to the point summaries of the major things that happened during the year. In the online format, you can add links to pictures or pages of the people or subjects you are referring to, which is a fun way to dive deeper into the letter for those that are interested..

Be sure to replace the text here or you will end up with a really boring holiday letter. You could describe what the kids are up to, vacations you took, set backs, promotions, reunion info, fun family trivia, links to other sites or pages to check out.

Don't be afraid to use images. They really liven up your letter. You can even embed slideshows (first build a gallery in the photo section) or videos directly into your newsletter as well.

If you left or right align the image, the text will wrap around the image automatically.

[Insert Another Fun Headline]

Another great thing about using the web is that you can get comments on your letter if you like. You'll notice below that there are threads (like comments) that people can start, or you could pre-post a thread in your discussion forum and ask for people to comment via a link you add to the thread.

[Title for Picture Here]

Highlights of the year:

	Jimmy turns 2
	No more election
	Highlight 3
	Highlight 4
	Highlight 5

Don't forget to "sign" your names at the bottom of the letter.

laying down mesquite

highlandlit — Thu, 31 Dec 2009 21:34:19 CST

There is no abstract available for this page revision.

New kiln opening

highlandlit — Thu, 31 Dec 2009 21:30:29 CST

	Add photo caption or credit here.
Add photo caption or credit here.	Add photo caption or credit here.
Add photo caption or credit here.	Add photo caption or credit here.
Add photo caption or credit here.	Add photo caption or credit here.

second stage recognising a use in salt firing.

highlandlit — Thu, 31 Dec 2009 21:28:07 CST

I’ve done everything the doctors and the therapists said to do just when my mind gets used to the feeling of recovering wrists parts I’m introduced to a new pain. Seems that I’ve heard in the past that the inflammation around an injury; is to protect the bones and joints. After I worked so hard at making the swelling go away now I can feel those joints coming in contact with each other again after being cushioned for so long. It’s enough to make me break out the ibuprofen tablets again. The nurses say no more than 4 tablets (total of 800mg) 3 times a day. Just like it is 800mg is enough to melt the lining of my stomach in my opinion. I don’t like drugs initially but I’m a wimp when it comes to chronic pain which is something that I’m going to deal with in my life. I’m getting used to being worthless and disconnected to avoid pain. If you have faced the same situation, maybe you faced the decision of changing careers, I have more than once, ceramics is for me labor intensive and the throwing lifting and glazing is a physical exertion when I was in prime condition. I’m learning to use my left side for writing and for drawing it’s a long path to take, but things are looking up.