highland litho-ceramics - Recently Updated Pages

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.

Form and Stretching

highlandlit — Mon, 01 Mar 2010 12:00:20 CST

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.

So great to be home

highlandlit — Tue, 23 Feb 2010 23:46:11 CST

I'm not sure how to open in, I want to describe the thought that has gone into some of my recent work. Maybe I can call it the method. Since I'm having trouble, I'll just jump in and begin; Being able to observe cycles, (by which I mean the occurrences which repeat), is an advantage for humankind,(all of us), it's a way to organize our surroundings, and it's a blessing that is widely considered unique. 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 change and adapt. Plainly life itself is a cycle which is enjoyable by the moment. Being able to focus on a cycle gives me perspective, whether it’s a childhood memory, or whistling a symphony. Definitely some inspiration is owed to following steps, and observing things repeated. This is a big concept for me, and I'm continuously thinking about how I'm connected to it in my ceramic work. 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 can affect my point of view, my future, and more broadly affect life in general. I respond to things that happen outside of the routines and steps, when something seems out of place I take special notice. 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. What I most cherish is that something beyond my labors and my real life time can emerge on its own to reveal a higher Art, a higher meaning, the "Purpose beyond the defination of the piece",and the answers for my own persistence. There is emotion, all kinds of different feelings, that for the most part I could have only seen with the steps-the process of making, from clay to the finish firing.

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 residency session at the ecology center, and be able to contribute to this program, I contribute my time wholeheartedly. 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, I feel that being able to continue the 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 talent towards making of art, and conscious 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.

Another interesting topic is the separate area of art and that of ones real life, but I'll get into too much trouble, and be in a pretzel if I go into the philosophical side. That may be part of another post.

I just wanted some Coco.

highlandlit — Tue, 23 Feb 2010 23:36:44 CST

I'm writing again about my broken arm. I'm still pretty inconvenienced by the whole thing. All the things that I can't do causes too much thinking about 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 little bit of a rush, so I 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. It's a good pain, that's all I can say about it, I wanted to recover quickly, even if that's what it means. 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 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 from the body to the brain, that warn about wear. Since I'm 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 wnat to take care of the real problem as much as possible, And I've been taking them for so long now. Of course 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, is enough to melt holes in me after more than a year.

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 the dynamic between colors.

My focus for Art is to find a new city, that is what I'm making art about. 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 high-brow ideals. I draw what I see, the art in things, as seen in every day occurance 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'm observing constantly brings some of its own character to my work and I trust myself at this point to be able to go with the direction of my emotions.

Volumes that I work with, are a lot about cities. 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 since 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.

salada (as in from one ear and out the other)

highlandlit — Thu, 18 Feb 2010 13:27:29 CST

Everyone has a day when they find something new or discover one trick that produces, then after a short time the magic is gone. As in having a brilliant glaze but forgetting to write the firing schedule or the glaze recipe down thinking all the time, there would not in a million years be a way to forget how it's done. Coming soon to this page some of my successes and documentation of how to reach the same answer.

e

highlandlit — Thu, 07 Jan 2010 22:12:53 CST

After becoming interested in clay turning at a young age, and discovering a greater ability for working with clay, a lifes work begins. Developing this interest with clay and it’s potential for expressing things of the world, the artist within, and that which is undenied as a gift. "Love for the material, and its many mysteries brought Me to develop technical ability, and a talent to recognize visual balance in ceramic forms". As a college freshman, Ed registering for classes, and art in ceramics. Professor Elsner shared the basics for three dimensional representation in sculpture. And professor, Alan Bennett helped Edward develop a visual sense, and a technical skill to express ideas through clay. The adventures in unifying the traditional shapes of pottery, and vibrant animated characters dress the ceramic surfaces. They will always continue to be, the endeavor for this Creativity.

As a potter must first center the clay to begin, Edwards starting point is first centered to the properties of clay, and united in heart to a design which allow the ceramics to speak, to speak about origin and hands, and its own tactile nature, and flames. These recent pieces are new paths in Edwards ceramics, some are hanging and standing works, some traditional shapes and some altered.

“ The spaces which a pottery piece lives in is very much a concern to me and sometimes

I will draw the area where the pottery goes, and the shape develops out of feelings and

relationships in color and distance I want to make sure that my works don’t cause

discord, and interfere with the space.”

These are new collections of thrown vessels, altered, surfaces, some with a clear wet look, to segments which mirror like luster. They’re friends with, and express the true feel for the material, these designs complement the shapes that well. To a great extent; a potter is connected to the character of the material, because clay has a distinctive physical property, there are natural limits to how far clay will stretch. The same property which keeps clay within a center can also believably stretch its usefulness as a creative material, its tactile, and Edwards surfaces in these recent works communicate the natural and sense of place.

Ceramics works are greatly influenced by the flame and the effects of heat and kiln atmosphere landscapes and seascapes are commonly part of the story matter, and serve as references to the illusion of three dimensional space and his material along with artifacts and natural objects, paint a layer of light. Using the reflection of metal minerals, and other glaze characters within the micro thin layers of glaze can at times produce the most unbelievable prism of colors and the interaction, and overlaying of glaze, foster, they 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. Do exhibit something which is ephemeral in the rich variety of surface preparations, and gifts from the unique firing processes. Something nice about the deepness of the glazes and the heavenly colors.

The meat about my recent pieces was first explored in college the dynamic interaction between flat colors was a first look at one colors effects with the subjectivity. Many tangent approaches have come into my studies sometimes there have been work that extended experimentation but always return to this Idea of the marriage between dynamic actions…are characterizations as a landscape an interscape of an area between the human form and the plus and minus spaces of wide open expanses. The generation of some morale shift into the foreground space where interaction with the viewer cohereses and 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.

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.

blog

highlandlit — Thu, 31 Dec 2009 21:39:24 CST

It was right here
I’ve been working some since I submitted my application for residency. I think that what I’ve come up with is interesting and I wanted to share, I know that you are busy so I don’t worry about writing back just have a look. I didn’t take my camera on the last trip back to my kiln, and I forgot to take a picture of it, it would have been nice if I had a good picture, so you could see what the kiln looks like. I have been adjusting my artist statement a little, and trying to update, I’m on the right track with my most recent pieces. I’ve included some pictures; they might not look like much yet with the right emphasis I know I can get this kind of grouping to communicate what I’m aiming for. They have good things in common; it’s a small victory by itself. Previously I intended to make art that is all from a new experience not reworked production. It isn’t a contradiction to say that I avoid a statement of my own prejudices or expectations. If you can believe me, I’m working with the same discipline I’m getting colors in blocks so I can use these colors 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.

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.
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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.

Continous lines of clay

highlandlit — Mon, 07 Dec 2009 14:54:34 CST

I’ve always enjoyed drawing with the left hand. There are some preconceived ideas about the jerky movements and clumsiness, in practice it should be possible to reproduce flowing continuous lines, or any kind of lines to portray anything, I just 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 did 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?

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 get used to. 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, that I'll be transfering and translating into 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 the suggestion of area (I’ve always trusted the figure to retain my focus), and using the slightly arbitrary surface draws a significance for me; because of the arrangement cooperation and relationships of transition, and the positive and negative spaces, similar with the overlap of glazes on pottery surface. To illustrate this; you can picture what I'm talking about by imagining what happens when someone turns out the light, while looking at the bright reflection on a window pane. There is a great expanse of twilight or darkness beyond, when the lights in the room go out.

These transitions and the dimention 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 from 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.

__WORKING TOWARD PREVENTION.

highlandlit — Sun, 11 Oct 2009 23:38:22 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.
I'm not expecting anyone to visit, I don't expect criticism if you stumble on by chance then great, I feel pretty cool about writing anything and I'm relaxed about it being open to visitors, it's my blog after all.

Please remember, I want a chance to hear what anyone else has in the way of advice or personal experiences.

I recently fractured my wrist and it seems worthless, I can't wait to get into my physical therapy. So as you might guess, 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, not to mention I need to re-learn to type, (maybe write my name, comb my hair, and draw). I've started right in with throwing to help my recovery along. I'm also going into the water 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, my ceramics work applies in the same way. This site is going to serve as a place where people can list their experiences, and what they've had as success or failure concerning bone 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 up (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 jumped 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 pots, that was the best thing that might have happened to me. Because I used my hands extensively making ceramics before the break, I have strong hand muscles and tendons, and by picking familiar things I'm already showing great 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. I feel that I need to show and try to promote my ceramics for sale. I'm trying to post 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. Spread the word if you know of anyone else who might be interested, I'm including a recent e-mail address below, and like I said please visit my new web page. I'll make sure that the folks that helped me so generously know 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. 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 write in new pages.

Opportunity

highlandlit — Wed, 07 Oct 2009 21:49:01 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 very knowledgeable advisers. 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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another op. water feature

highlandlit — Wed, 07 Oct 2009 19:54:03 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.

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highlandlit — Fri, 25 Sep 2009 00:02:49 CDT

Working from "the everyday".

highlandlit — Thu, 07 May 2009 17:20:12 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 extreme in my college courses. Looking at the cycles throughout my work supplies a thread which holds my past work together. Observing and understanding the world around and what part we 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 and 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 what implications our observations have for our future.

I’m asking for an artist residency because your place on the Oregon coast 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, and 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 it’s more acceptable, more believable to me.

Kiln party at "The Deck" Art Center.

highlandlit — Mon, 27 Apr 2009 23:41:33 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.
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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.