Burnishing stoneware

The Capitalist Artist

In finding a solution to any problem, we access all corners of our experience. We analyze pros and cons, ifs and if nots, consequences, reactions, long term, short term, ripple effect, personal gain/loss, and the list goes on. I believe there to be fundamentally two kinds of problems: those centered around smoothing bumps in the condition of humans in relation to themselves and eachother (i.e. medicine, law, engineering, accounting, etc.) and the expression and analysis of the human condition (writing, teaching, music, art, etc.). All of these people have a set of variables before them with which they must reference all facts and opinions and prior experience to determine the shape of their solution. The problems that the professionals of our society solve have a large appeal to the masses due to their incessant necessity throughout history. Even the simplest of minds must still walk around in a body who gets sick with pockets more readily emptied than filled on bridges traversed by many. As we as a society increase our baseline total of information exponentially, however, the problems faced by many become solvable by more. This means we are on average healthier, more wealthy, and more innovative than we ever could have been before. This leads to the, in my opinion, more complicated problems centered about the human condition. The authority of authority is slowly dissolved in a pool of unlimited, unbiased information and debate. The expansion of consiousness is taken on by many as a genuine pursuit, a genuine movement and reckoning. This mentality swept the nation in the late sixties, and the world was changed. People became disenchanted with authority and enchanted with the power of their own voice and we saw revolution on every front. Civil Liberty, psychedelics, free love, intellectual counter culture, and music seeping of genuis were our rewards for finding our own answers and solutions. Change was made, pockets were full, brains were awakened, and bodies were fit. Where a well-earned period of rest and enjoyment was in order, the professionals remained professional, and the rest of us took a nice long swig of apathy. The new nation was disenchanted instead by their suddenly full pockets and the unexpected knocks of vanity knocked us into a decade of decadence. Thankfully, glamour is only fun in the short term, and after a sobering decade of moderates and levelheads, we've found our way back to a quest for enlightenment. The professionals are still professional, technology still double by the day, but now the people solving the latter of the two problems have learned professionalism also. Enter the capitalist artist.

People no longer wait for their big break. They are as big as they are brave enough to be. The internet has removed the gatekeeper on so many venues and veins of expertise, that we who spend our lives trying to explain ourselves and eachother to us both can find eachother more readily, skip the making of the same mistakes by learning from eachothers mistakes, and reach out to more audience than ever before. Not only are we passionate about our respective arts, but we also know about things like credit, saving, investing, debt, advertising, networking, marketing and all the other beauties of the one profession that binds us all: business. If you choose to ignore the easily accessible information and philosophy about business and economy, then you choose the overworn coat of the starving artist.

Innovate always, question everything, research, discuss, jump with all four limbs, and know that if you can keep yourself full of air and kicking, you will not sink too far. When all of the problem solvers solve most of their devised problems, when we run out of hypothesi to prove, it is in between the traditional pursuits of intelligence that we will find a whole new realm of life waiting for the fresh air of ponderance and questioning. What would we find if we combined physics and philosophy, creative writing and anthropology, art and engineering? What happens

I believe in being too smart to be inpoverished and too enlightened to be unhappy. Therefore what I make of my own success is of my own choosing. This is the power of the capitalist artist.

On a lighter more ceramicized note, this video is of Josh burnishing one of his first pots with a stone from colorado, this is a technique used by many potters to improve the surface of their creations to accentuate their glazing and firing choices. Some of my favorite pots ever are burnished saggar-fired vessels.

Thanks for reading,

peace in pieces

Newton's first

We are all enabled by certain forces to act upon innate powers of human existance. We all have the power to stand back and decide to make any situation a positive learning experience or a bad memory fit only for nightmare food. The moves and travels we make as humans are not simply the next one and the next one in a line of instincts, they are choices which help to decide the color of the next curtain one and curtain two. We must always consider that in our lines of choices we establish agendas, quiet propagandas, and portrayals of our depths that will carefully last far past our possible intentions. Although it is not often considered and often we leave its name behind and replace it with something a little more familiar, the forces of Newton's first can be studied to help govern the creations of our agendas.

Every body perseveres in its state of being at rest or of moving uniformly straight ahead, except insofar as it is compelled to change its state by forces impressed.

According to wikipedia, inertia is the property of an object to resist changes in velocity unless acted upon by an outside force. Inertia is dependent upon the mass and shape of the object. Meaning: it's going to stay still until you push it and never stop or turn until something pushes back. This means that if we choose to remain stagnant and still, that stillness holds just as much weight in it's chance of remaining as a runner pushing it to the finish line. This force does not only affect whether we move or stand still, it also affects our direction. We will continue to move directly down the line of our last push until we choose to sway the course. We must also consider that our actions expand laterally and can affect the trajectory of others just as their motion affects our own paths. Our expanding ripple pools bounce off of those with which we are surrounded as well. And if we are offset and running backwards we will only find ourselves caught in our own wake.



I have chosen for myself a path of positivity and forward motion. I have hushed my pools as much as possible to conserve favor for when I am ready to splash. This path is lonely, because although I always exercise tolerance and empathy, I cannot find it in me to condone apathy. My inertia is finally strong and direct, and I will not work to continue to surround myself with static pools who steal my waves.

pyros

This is a video showing the basics of raku with great flare. Also, to see a master raku firing, see my dad's video (including a throwing demonstration) at http://odellpottery.com/videoall.htm .

According to wikipedia, the term raku is derived from the Kanji character meaning "enjoyment" or "ease". For fifteen generations, it has been the title and seal used by a dynasty of potters whose work formed the central tradition of Japanese raku. Raku has taken on new form this century as potter's begin to learn new ways to take some the the chance out of raku by including new means of control, while still retaining the quick, unpredictable spirit of this firing.



In this image, we can see down into one of Odell's raku kilns as the pots reach temperature. They are monitored by heat color, kiln time, and the movement of the crackle glaze on the top of the pots. Once this simple glaze boils and then smooths down on the surface, the temperature is hot enough. At that point, it is the firer's decision when to pull depending on how much melting and movement he wants from the glaze. The reactive copper is then exposed to combustibles and air to produce varying oxidation effect across the surface. Painting with fire and air if that's not too cheesy for you.


excellent work by Steve Hemingway.

This firing is fast, dynamic, and high risk for the pieces. The clay body must have a significant amount of grog to survive the snatching from the hot kiln. Although it seems intimidating, as long as you don't mind an occasional singed eyebrow and cracked piece, it is relatively affordable and approachable.

I am currently working on two large raku platters, so expect a video of my, I'm assuming entertaining, first attempt at this marvel.

The finish is sometimes harder than the start.

Why do I keep coming to this so late? Why am I so restless? I exhaust myself with long, long hours, almost all my waking hours absorbed in work, until my shoulders can barely hold up my head, then come home, dinner , read ceramics monthly and discuss life, ideas, firings, glazings, ambitions, and other mysteries with josh until neither of us can hold up our heads then both of us to bed. Him fast asleep and I'm wondering what it would be like to be blind. Eyes wide open in the pitch black, the only thing that I can see are the little LED's of the computer, so it's up and off to another work of another kind. lonely contemplation of the days passing and wondering what to do with the next set of waking hours. There are so many endeavors waiting for the attention. They all build in my head until I can't stand it anymore, until the input is to great and it's time for a little output. Then the progressive enlightening process of finding the start and putting in the hours and concentration to make all those floating blobs of ideas into a tangible finished reality. Finished seems to be the problem lately. So many projects begun, but nothing finished to hold on to. I think it's a little cowardly of me to be so close to finished on so many things. It takes guts to complete that last finishing process to call something to its end. A major factor contributing to this problem is the fact that I am a visitor in another's space. Working with someone else's scraps of materials and utility so that you can afford your own has proven to be quite taxing.

But screw that.

I'm the lucky one here. I'm the one getting paid to get to know patrons, getting paid to do the grunt work. I'm the one in a space with unlimited access if I'll only get the balls to ask. I'm the one with a lifetime of exposure and a fresh approach. I'm the one with a loving support who kisses me all day and tells me just when I'm most beautiful and why. So screw this self-loathing and self-pity given to me by my father's father's father's excuses and reinforced by those that came before my sweet josh. Screw the notion that I'm limited by the length of my bones and the weight of my chromosomes. My bones can reach into tinier harder to find spaces than yours I'll bet. They are a little set of tools depending on their configuration, willing to bleed, and patient to be steady and become stronger.

In fact, I've got plenty complete. I've got the light art. And I've almost completed throwing away all apprehension before I proceed to live like I should.

The light art is by josh and I. This raku pot is one of my dad's. All light art is by Lunomni, the name we've chosen for our collabrative art. All of the images come straight off of the camera, no digital editing. To see more, please visit his photography myspace: myspace.com/acrossthehallphoto

These are what started us down the road of creating, and there's no stopping now. I can't have a normal job. I'm no good at being a drone, I'm always late and always quickly learn that I'm smarter than all the bosses and then it's really hard to give a rip. I'd rather swallow my gummy pride and fear and finish the pieces I start. They are all a part of my existence and my learning and they're worth their weight in criticism, praise, and appreciation.

Tomorrow I'll go to school to finish chipping away the last little bits of this useful but sometimes blindingly strenuous degree in the bane of my existence aka organic chemistry. Then back across the long basin bridge, home to the warehouse with no shower or kitchen sink for a lunch and then to the only place that makes any sense to make more art that makes none to nobody, not yet anyway. Alright, a lttle to nonsensical to keep typing. better quit before I'm any further behind and crawl in too.

peace in pieces as always.

Sister centered

As she wedged her clay, I immediately noticed a similarity to my rhythms and style. I also noticed an immediate difference in her kneading from my father's. "With her girl hands," I thought. Then of course, struggle with 25 year old bats, scrap from a sink countermaker in the early eighties. They were free then and expensive now, so apparently slightly warped particle board is worth the struggle. So says our dad. Bat squished firmly she began on the smaller wheel. Almost centered, everytime, almost. Workable, I would say, but then I am an easily frustrated beginner. Our dad explains to her that she must only hold still and resist the bump using the stability of her waist and core. A little more centered now. Almost. But her girl hands wobbled just like mine. Not weaker hands, but softer, more accustomed to precision, speed, and grace, less likely to swing a hammer, but no less willing. This is what neo-feminism is about. A shift from a politics of neutrality to a politics of difference. Accepting our differences and reveling in our equality. Standing together. Peers. I believe us all to be equally competent at anything we put our minds to, but I believe that our aptitudes will be a result of utilizing our strengths and cutting sharp diagonals through our weakness and cowardess.

almost centered. more suggestions from dad. a little more slippery, a little less centered, and little more frustrated. Let me show you what I do with my girl hands I suggested. I tried from opposite her on the wheel. no good. explanation instead then: Listen Julie. This is what I imagine. When you slap the clay onto the bat, there are extra lumps spinning and bumping you from the outside, but no matter how you manipulate it, they are only adjustments. It helps me to consider that somewhere in this spinning mass, there is already clay that is still, spinning perfectly without wobble. Pull your arms in tight to your chest. They are better for holding than swinging. with each fist, compress the clay along one of it's two axes of rotation: top to bottom and side to side. Compress both of these towards the centered clay in the middle until they smooth themselves out. A strong hug to her chest, and slight acceleration and bam. centered.

I find that I am more inspired when I choose to embrace instead of fight my nature. Obvious maybe, but it seems to take more discipline sometimes to relax than to fight. Thus is a consequence of circumstance.

The following is a note I got from my sister tonight:

"you should think about the age of clay and how everytime you make a pot you're recreating history. that's what I think about. how I'm taking a piece of the past that got left behind and now I'm making use of it. wether it be something pretty to look at, something fun to play with, something to teach with, or something to contain something else.

also how it pretty much has a mind of its own and if you want it to move or do a certain thing all you ahve to do is ask it to....with your hands...and your lungs...I found that if you aren't breathing, then things don't work out.. so while I'm wedging clay I take time to meditate a little bit. and close my eyes and get centered. and when I'm getting my wheel ready I focus on breathing and doing thigs gracefully and when I center the clay I close my eyes and just ask it to expose the stillness of it's middle.


I'm rambling. love you bye "


She's a beautiful inspiration to me. If I could impart one more bit for her, it is this: no regrets. Why? Because there are no such thing as consequences. No reprecussions unsurvivable and unforgivable. There is only cause and effect. The cause for regret would generally be a decision which caused unwanted consequence, but i say don't regret these. Know that the cause was yourself. This self at that moment had all the tools and resources it could have, even if it wasn't your most admirable moment, it was you, you are your best. The effect is only a lesson which has probably already passed. Learn always. Live your life at your best and live with no regrets.

Difference between oxidation and reduction firings

Oxidation firing is typically done in an electric kiln, but can also be done in a gas kiln. Oxygen is free to interact with the glazes when firing. Oxidation firing allow very bright, rich colors. High temperatures may be used, or low temperatures.

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Reduction firing is typically done in a gas or other fuel burning kiln, since the corrosive effects wear out the elements on an electric kiln. In reduction firing, oxygen is prevented from interacting with the glazes during glaze maturation. This is done by adjusting the fuel in a gas kiln, or by adding organic material such as in Raku. As the organic material burns it uses up oxygen, leaving an oxygen-less environment. Reduction firing typically is used to obtain mottled, rich, earthy colors, often the iron from the clay shows through and gives a speckled look. Typically high temperatures are used in reduction firings.

In a reduction firing, the fire is searching for air. This causes it to leap from the opening when checking the firing as shown to the left. Here artist Jim Gremel checks the progress of a luster glaze reduction firing.

Oxidation/reduction explanation from: http://www.bigceramicstore.com/information/types_of_firing.htm

Excellent site for glaze recipes of both types: http://www.ceramicstoday.com/stoneware.htm

Oxidation pics from: http://home.earthlink.net/~jessieadair/id45.html & http://jonsinger.livejournal.com/2006/04/10/

Reduction fired jar: http://www.pinehillpottery.com/pinehillpottery/culturalshow/culturalpots.html

Never Say Always

After years of listening, analyzing, absorbing, and re-re-re-analyzing everything that is said to me by the men in my life, I have come to understand that there are a few words that I can rarely tolerate. Never and Always. These words, when directed towards me, take on a deeper meaning, because if I never do something, or I always do something, then those things must be inescapable to me regardless of my heart or intent. From a young age, girls absorb all the apparent inescapables and create in themselves a quiet hidden self-loathing which is responsible for a decaying self image, lack of confidence, and sway in determination. My sculpture, "Never Say Always," is meant to depict this inescapable awareness of flaws. It was hammered into me long enough where it almost rendered me useless. Almost. But now I know to say, "never say always or never to me, because those words are always incorrect." Self-pity and doubt must be rejected by the women of our generation. We have been handed an attainable world, and it is our responsibility to grasp the hands of men and other women and stand tall. We must be proud of the forward motion of our time and lay pettiness aside.

The plan for the finish includes fragile and delicate collarbones coupled with thin strong arms bound up and behind her by wire to make a handle. The handle will be full of spikes and points rendering her only obvious use useless, but leaving her beautiful and complicated and full of purpose and meaning to me.

peace in pieces, I say.

First Batch

These are a few images taken by my lovely loverboy of my first round. Please see more of his luminous photography at acrossthehall.smugmug.com. These pots are destined for a high fire glazing in the next few days and I can't wait to see them finished.

More images coming soon. I am currently working on a few sculpture projects. One is seen here. I had to make a rooster head for a very ugly metal rooster body with gingham and other folk assorted flavors. It is to be raku fired using Bruce Odell's glazes and techniques. This is the finished rooster product except for the addition of eyes after a long philisophical battle with my father. I believed this to be a souless project and the rooster to be a nearly eyeless animal anyway, but I was quickly and consistently re-informed that I had to do it his way. So, concede I must for now, but soon it will be my way...everytime.

title explanation

Generation information, innovation, individualism.

not generation y, the tailfeathers of the x-ers.

There are two currencies the earth currently understands: votes and money.

Right now we are learning and amassing our ranks.

Reaching our birthdays and pursuing our entrepreneurial endeavors.

Soon we will be a wealthy many.

Generation I.

kiln videos and thoughts

one of many stokes to a wood fired kiln. I've been wondering lately if this intense process cannot instead be widdled down to its basics. It's my ever-so-amateur hypothesis that the effects of woodburning are generated by incinerated cellulose and ash swirling aroundthe natural convection forces withing these massive kilns giving them that warm ambered effect. The effects are similar to soda firing which we know is caused by swirling and landing vapors. So what if we simulated the wood firing environment with convection streams and incinerated algae, just a thought, a repeating, unfolding and slightly addictive little thought.

Next is a beautiful series showing the life of an anagama firing. I love the zen-like silence of the artists, so calm and in touch with their work. Unpretentious and refreshing. All short, so not too much of a commitment to enjoy:

Inspired by a kindred spirit

Every day we pour over more of my father's massive collection of Ceramics Monthly. I find myself rolling from intimidated to inspired and overly critical to speechless. Its descriptions of techniques and personal articles from the artists themselves are an incredible source of education for me. Josh, my lover/boyfriend/everything, whatever suits you best was leaving to drive a car home from across the country for his sister, and I was looking for a few choice selections for his flight when I came across the February issue from 2002. In her article entitled, Expanding the Mystery, Gail Nichols tells the adventurous and philisophical story of her pursuit of a soda ice glaze. Having begun in engineering like me, I feel connected to her more than any friend or foe with which I can speak. She used high technology and research, including electron scan microscopes and of course the lovely miracle of hypotheses to increase the power of her artistic tools. She says:

"Science involves asking questions about natural phenomena and seeking answers that can be verified by experiment. Engineering is essentially practical problem solving. Both activities require curiosity and creative thinking, qualities also employed in the arts. But for some reason many potters are uncomfortable with using science and technology in their work. There is a fear that such approaches will destroy the 'mystery' of materials and process, and detract from the intuitive nature of an artist's work. In other words you can't be an artist and a scientist at the same time. Yet through my research I have found the exact opposite: the more knowledge I acquire, teh more the mystery expands and my artwork progresses."

I extend to her my deepest gratitude for her bravery, honesty, and sincere innovation. I will continue with this pursuit as long as life still finds its way into my hands. Because of women before me, my way is partially paved. Paved enough I've found, and I will not disappoint.

Please see the following links to learn more about this amazing artist, scientist, and friend of expansion:

http://www.ceramicsmonthly.org/mustreads/soda.asp
http://www.theclaystudioofmissoula.org/GailNichols/GailNichols.htm
http://www.boutwelldrapergallery.com.au/exhibitions/2006/6_jul_aug_06/2_nichols/bdglnls0706-Thumb.00001.php

peace in pieces,.,.

Blending media

After long searching and years of knuckles bloodied to the bone, I have decided to lay my pursuits in Biological Engineering under the sheets. Not down around my ankles, useless or forgotten, but with me on my pillow as I sleep and dream of the flesh I'll bend tomorrow before I make it hot and stone like bone.

The purpose of this blog is to track my learning. I am a beginner potter/ceramist if you count the hours spent with hands covered in slip, but in my lifetime, memory, and experience, I have been at this for as long as the slightly less amateur.

My lover and I have left it all to pursue what we know to be more noble than all other things we could put our heavy minds to. He is pursuing blacksmithing and I am pursuing well, you know. Both of us have chosen ancient arts whose roots are in function and whose present condition is in need of a little...introduction...information...innovation. We believe that because we have more technical, inventoresque, backgrounds, that we can approach these mediums with fresh vigor and passion, and with eachother, great things are bound to happen.

To track his learning also see his blog, generation i blacksmithing.