Today was my second experience working with adolescents - adults who are mentally retarded. Our group took place at a different site, in Islandia NY. The group was comprised of what seems to be several different levels of development or impairments. Upon entering I detected varying levels of intensity circulating around the room. Some of the clients sat calmly together while others walked around, loudly talking to themselves; yet still some sat alone completely silent. When I entered most of the clients noticed me and took me in with their eyes - some expressed no emotion, others were open to introductions or even approached to ask my name or show me something, and some showed signs of anxiety due to my presence and avoided me.
The task, or thought to run with as the group began their creations, was centered around the themes of Christmas wishes. Being the last time we would meet with this group until christmas and the break had passed, an exception was made that group members could create work to take home and give as gifts. Normally the clients do not take home their artwork. It is kept by the art therapist Lauren, and documented. The clients were offered two choices, painting or drawing.
I had a difficult time deciphering what some o the verbal clients were saying. A female client in-particular was quite the talker, and asked many questions, most of which I could not understand. Faced with this, I once again found m teacher voice coming out - I noticed however that it was less present with another client who appears to be at a higher level of functioning and development than the rest of the consumers. A reminder that I must be more aware of my tone and body language.
I became nervous when I was interacting with a male client whose age I am unsure of but would estimate between 20 and 30 years old. I was not nervous in the sense of being in danger, but that he may go into an emotional tantrum. The client wanted to draw a bear - He showed me a picture of a bear that hung on the wall indicating he wanted to draw this particular bear. He offered the pencil to me asking me to draw it for him. Lauren who was watching, chimed in "She is not going to draw it for you. She can draw it on a separate paper but she won't draw it for you". And so I knew not to draw it for him.
I drew a rendition of the bear he pointed out - and then a second one. When the client approved the second drawing, he took it under his own paper and began to trace it. He quickly became frustrated that he was not able to produce exactly what I had drawn and asked several times for me to draw it. I repeated several times that I would not draw it for him, offered him encouragement as a mean of confidence boosters and motivator. However this lead him to becoming increasingly frustrated - tearing up and looking imploringly at me. Once again I repeated that I would not draw it for him and that I thought he was doing a great job and could continue to do so.
The client did continue to draw the bear, but grudgingly. He was growling (for lack of a better word) under his breath while doing it. When he was unhappy with his drawing he nearly began to cry. With more nudging he continued - and his finished product, a superman bear, was very successful! Lauren explained that the client love superman and the motif appears in many of his drawings.
When the client was first trying to communicate his choice of subject to draw, he was communicating verbally, but coupled it with physical indicators or signs. He began by flicking his ears and following it by point towards the area where the bear hung. Seeing that I did not understand he beckoned me to follow and pointed out the picture. When he had finished his drawing of the bear, he asked for a new sheet of paper. I asked what he would draw and he responded by making a motion with both hands as if he were draping something around his neck. I was able to make out the words "for my mom" and asked if he wanted to make a necklace for his moth - he said yes. and handed me the pencil. With a crayon on a separate sheet of paper I drew a 'pearl necklace', and handed it to the client to trace. He glanced at it and put it down. he began to draw, without my drawing. I was surprised to see the he drew a heart. I later found out that his physical signal was one that was recognized by lauren and other staff members as meaning Heart. A reminder that time will aide in the communication between therapist and consumer.
The session in Islandia had an overall learning experience feeling to it. I felt positive, and calm - communicating unabashedly - I did not feel timid or held back. I will hope to work on communicating, allowing myself to repeat, and ask the same question several time to develop a means of uncovering what the client is trying to express verbally
Monday, December 28, 2009
Day 2 12/22/2009
The holiday interrupted my first week interning with art therapists Ed Regensburg and Lauren Fabrizio at Family Residences and Essential Enterprises (FREE). We ended our week on Wednesday December 23rd, and I had a total of three group art therapy sessions under my belt.
The first took place in Farmingdale NY [on 12/22/2009], at a unique store called Fancy Free. In truth describing Fancy Free simply as a store is doing it an injustice - while there is a lovely store front that sells hand made crafts and accessories, there is also a classroom area in the back as well as a kitchen and office area. In the classroom area is where I met with my first art therapy group. Fancy Free functions as a boutique, on a main strip in Farmingdale, yet it is not a typical boutique; the proceeds of the merchandise, as well as art work created by the mentally retarded adults who attend the art therapy group, go to FREE, to support its programs, including art therapy, and its clients (or consumers). There has been a great deal of success in terms of selling the work created by the art therapy clients, in fact 14 of 17 paintings/drawings were purchased, as well as the majority of the hand painted wine glasses and votive candles.
For sometime before my arrival, Ed and Lauren (Ed attends the sessions at fancy free) have had the clients painting wine glasses and votive candles for the purpose of production - while this may not seem like a therapeutic session, it does in fact serve as an exercise that gears the consumers to build self worth in a progressive manner, as well as life skills. The group members have been painting holiday orient themes as of late. These include Christmas, Hanukkah, and most recently the new year. In this session we pushed the clients to begin producing for the next holiday, Valentines Day.
I was amazed to see just how high functioning the group was (having been told they were "high functioning" prior to meeting). I have personal experience with mental retardation, and I believe I generalized the diagnosis of MRDD based on my singular knowledge of it. --> Lesson #1: There are varying levels of mental retardation - not one person classified as MRDD is the same. Lesson # 2: Not one person in each classified level ("High Functioning" "Intermediate" or "Low Functioning") is the same or will behave the same.
I was somewhat nervous when I the group first began to filter in. Lauren introduced me to some of the clients individually as they came to say hello, and they hesitantly replied, all the while looking me over with the question I can only assume - 'Can I trust her?'. Yet as we began the group, and after a brief introduction by Lauren my presence as a new person nearly disappeared. All clients, with only one exception - an elderly woman whom I had observed sitting idle for some time - were open to, even eager to have my help and opinion. I approached the idle woman and asked if she needed material. She responded quietly, "I think I am Okay.". I prompted her again, and this time she stated that she would wait for Lauren or Ed. Not wanting to push anything on her I said that was alright and continued on my way around the room.
I was so glad to see how happy everyone was in their creative process. Each consumer was wiling to show her sketches, and hoping for feedback - and once feedback was given they ungrudgingly made suggested changes.
The end of the session gave me a small insight into how quickly the atmosphere can change. When Lauren and Ed attempted to sum up the session by using two clients' pieces as examples of "production like work" to strive for, an argument as to whose were the best broke out between two clients. Lauren and Ed allowed it to go on for a short moment - as the argument was a misunderstanding - and 1 sided. The second party was trying to explain the differences in the pieces. In pointing these differences, out she meant to compliment her fellow client, who inadvertently took it as a negative comment. The consumer was unabel to communicate her thoughts which lead to an argument, and therefor Ed and Lauren stepped in, ending the session by asking each group member to strive to create work that was on that level.
I thanked the group members for allowing me to help out and for trusting me enough to be there.
Reflections:
I believe that when I began I may have been using my teacher, or little kid voice (speaking as if I was speaking to a child or student). This is something I noticed and reprimanded myself for. I do not want to treat any of the clients any different (in terms of tone and demeanor etc) than you or me. I am not sure if it went unnoticed by the clients but it will be something I keep an eye on throughout as I believe it may be a pesky tendency of mine.
I must have noticed it through my observation of both Ed and Lauren who spoke with the clients much like they would speak to me or others. That is very important I think, in terms of forming a solid connection and tapping into a therapeutic notch.
I was truly happy - I felt great fulfillment and am eager to meet with this group next week.
Please check out this article that give a brief explanation of Fancy Free
http://www.newsday.com/business/nonprofit-opens-farmingdale-store-to-train-disabled-1.1233809
Art-ing about it :)
The first took place in Farmingdale NY [on 12/22/2009], at a unique store called Fancy Free. In truth describing Fancy Free simply as a store is doing it an injustice - while there is a lovely store front that sells hand made crafts and accessories, there is also a classroom area in the back as well as a kitchen and office area. In the classroom area is where I met with my first art therapy group. Fancy Free functions as a boutique, on a main strip in Farmingdale, yet it is not a typical boutique; the proceeds of the merchandise, as well as art work created by the mentally retarded adults who attend the art therapy group, go to FREE, to support its programs, including art therapy, and its clients (or consumers). There has been a great deal of success in terms of selling the work created by the art therapy clients, in fact 14 of 17 paintings/drawings were purchased, as well as the majority of the hand painted wine glasses and votive candles.
For sometime before my arrival, Ed and Lauren (Ed attends the sessions at fancy free) have had the clients painting wine glasses and votive candles for the purpose of production - while this may not seem like a therapeutic session, it does in fact serve as an exercise that gears the consumers to build self worth in a progressive manner, as well as life skills. The group members have been painting holiday orient themes as of late. These include Christmas, Hanukkah, and most recently the new year. In this session we pushed the clients to begin producing for the next holiday, Valentines Day.
I was amazed to see just how high functioning the group was (having been told they were "high functioning" prior to meeting). I have personal experience with mental retardation, and I believe I generalized the diagnosis of MRDD based on my singular knowledge of it. --> Lesson #1: There are varying levels of mental retardation - not one person classified as MRDD is the same. Lesson # 2: Not one person in each classified level ("High Functioning" "Intermediate" or "Low Functioning") is the same or will behave the same.
I was somewhat nervous when I the group first began to filter in. Lauren introduced me to some of the clients individually as they came to say hello, and they hesitantly replied, all the while looking me over with the question I can only assume - 'Can I trust her?'. Yet as we began the group, and after a brief introduction by Lauren my presence as a new person nearly disappeared. All clients, with only one exception - an elderly woman whom I had observed sitting idle for some time - were open to, even eager to have my help and opinion. I approached the idle woman and asked if she needed material. She responded quietly, "I think I am Okay.". I prompted her again, and this time she stated that she would wait for Lauren or Ed. Not wanting to push anything on her I said that was alright and continued on my way around the room.
I was so glad to see how happy everyone was in their creative process. Each consumer was wiling to show her sketches, and hoping for feedback - and once feedback was given they ungrudgingly made suggested changes.
The end of the session gave me a small insight into how quickly the atmosphere can change. When Lauren and Ed attempted to sum up the session by using two clients' pieces as examples of "production like work" to strive for, an argument as to whose were the best broke out between two clients. Lauren and Ed allowed it to go on for a short moment - as the argument was a misunderstanding - and 1 sided. The second party was trying to explain the differences in the pieces. In pointing these differences, out she meant to compliment her fellow client, who inadvertently took it as a negative comment. The consumer was unabel to communicate her thoughts which lead to an argument, and therefor Ed and Lauren stepped in, ending the session by asking each group member to strive to create work that was on that level.
I thanked the group members for allowing me to help out and for trusting me enough to be there.
Reflections:
I believe that when I began I may have been using my teacher, or little kid voice (speaking as if I was speaking to a child or student). This is something I noticed and reprimanded myself for. I do not want to treat any of the clients any different (in terms of tone and demeanor etc) than you or me. I am not sure if it went unnoticed by the clients but it will be something I keep an eye on throughout as I believe it may be a pesky tendency of mine.
I must have noticed it through my observation of both Ed and Lauren who spoke with the clients much like they would speak to me or others. That is very important I think, in terms of forming a solid connection and tapping into a therapeutic notch.
I was truly happy - I felt great fulfillment and am eager to meet with this group next week.
Please check out this article that give a brief explanation of Fancy Free
http://www.newsday.com/business/nonprofit-opens-farmingdale-store-to-train-disabled-1.1233809
Art-ing about it :)
Tuesday, December 22, 2009
Art Therapy Internship | Day 1
My anxieties about traffic and first day introductions melted away when I met Ed in the lobby. His warm but down to business nature was all I needed to recharge my confidence and get excited for the day's programs. I handled the paper work needed to clear me for the volunteer position, and then went to meet Lauren Fabrizio, the art therapist I will be shadowing for the next month.
I was of course nervous to meet her but we quickly began to talk about what i could expect in each program. Lauren showed me some of the work done by the children with autism. This included some handmade books - The Book of Circles - which was a compilation of circle drawing from an extended period. They were binded so that as she flipped through the pages, the most recent were the first to be seen. As she flipped through the pages, a clear progression was visible, when comparing the most recent drawing to the later ones in the back of the book. Lauren explained to me that the 'draw a circle' exercise was an effort of the art therapists to bring some order and filter out the chaos - In this way there was most definitely a delineation between the before and after.
The activity was set up in this way:
Each child received a piece of paper with a pre drawn circle of the same diameter. They were then asked to draw within it (echoing it in a sense).
The earliest drawings were scribbles of varying weights and colors, that essentially disregarded the presence of the circle. The later drawings showed a more concentrated focus by the child to contain the drawing within the circle.
Having reached this point with the children, Lauren showed me the more recent endeavor she was using to promote this idea of filtering and bringing order by way of the idea of containment. Spread across the table were sheets with rolled tissue paper following the outline of that old circle. Some of the pieces had 3d borders, the others were more flattened out. Inside the circles were scribble drawings - that were much more minimal than all the drawings in the 'book of scribbles'. There was one child who actually used the tissue paper to decorate the inside of her circle, bringing to mind mandalas and reminding me to read up on the concepts behind them.
Ed and Lauren have been working towards their second Art Therapy Gallery Show, with a theme of containment. The circle drawings are perfect pieces to include in the show.
The two programs for the day were unfortunately canceled due to the two day old snow fall. Lauren was not informed about the cancelation of the 12:30 Day Habilitation program and so we took the trip out to Islandia, only to find there were no consumers, or clients. Our trip however was rather beneficial, at least for me I had the opportunity to interact with Lauren further which helped to familiarize and create a more comfortable atmosphere between us. I also had the opportunity to pick her brain about Graduate School. Lauren recently graduated from the School of Visual Arts (SVA) in New york City. I have been formulating plans for my future studies in art therapy, and was quite taken by the program and areas of concentration offered by SVA's art therapy degree program. Lauren was an advocate of the school and program. She mentioned how she felt she drew real experience out of her internship opportunities - due to their duration. The program requires two, year long internship. She also mentioned that they were quite on top of things, and good at keeping tabs on your progress - this is very appealing to me. In regards to school of thought Lauren feels SVA falls right in the middle of purely expressional and purely clinical - combing each at the right level for a well rounded experience. This is also appealing to me because I am very interested in the science behind the profession, as well as the spirituality and expressional nature of the practice.
Back at the warehouse Ed gave me a binder that he and Lauren have been working on - It should eventually consist of their mission statement, protocol for practitioners at different levels (volunteer, intern, professional with 2 years experience, professional with 5+ years experience, etc...), and patient profiles. The patient profiles included, were currently only for the children with autism. These gave me such an insight into the many layers and differences that I will encounter when I begin working with these children - each child has certain likes and dislikes, and various triggers that cause tantrums or panics - and each reacts in this sense, in a different way.
The cancellation for the programs were not a ba thing in the end. I was able to have a slower introductory experience, giving me a chance to become more comfortable with my two supervisors. I am feeling very fortunate to have such wonderful resources and this amazing opportunity!
Bellow is an artwork I created in response to my days experience. Each subsequent blog regarding the internship will be accompanied with one or more artworks. Creating a visual record of my experience is an additional aid during my advisement period with Ed, as well as to help me process my emotions while understanding them better myself!
I was of course nervous to meet her but we quickly began to talk about what i could expect in each program. Lauren showed me some of the work done by the children with autism. This included some handmade books - The Book of Circles - which was a compilation of circle drawing from an extended period. They were binded so that as she flipped through the pages, the most recent were the first to be seen. As she flipped through the pages, a clear progression was visible, when comparing the most recent drawing to the later ones in the back of the book. Lauren explained to me that the 'draw a circle' exercise was an effort of the art therapists to bring some order and filter out the chaos - In this way there was most definitely a delineation between the before and after.
The activity was set up in this way:
Each child received a piece of paper with a pre drawn circle of the same diameter. They were then asked to draw within it (echoing it in a sense).
The earliest drawings were scribbles of varying weights and colors, that essentially disregarded the presence of the circle. The later drawings showed a more concentrated focus by the child to contain the drawing within the circle.
Having reached this point with the children, Lauren showed me the more recent endeavor she was using to promote this idea of filtering and bringing order by way of the idea of containment. Spread across the table were sheets with rolled tissue paper following the outline of that old circle. Some of the pieces had 3d borders, the others were more flattened out. Inside the circles were scribble drawings - that were much more minimal than all the drawings in the 'book of scribbles'. There was one child who actually used the tissue paper to decorate the inside of her circle, bringing to mind mandalas and reminding me to read up on the concepts behind them.
Ed and Lauren have been working towards their second Art Therapy Gallery Show, with a theme of containment. The circle drawings are perfect pieces to include in the show.
The two programs for the day were unfortunately canceled due to the two day old snow fall. Lauren was not informed about the cancelation of the 12:30 Day Habilitation program and so we took the trip out to Islandia, only to find there were no consumers, or clients. Our trip however was rather beneficial, at least for me I had the opportunity to interact with Lauren further which helped to familiarize and create a more comfortable atmosphere between us. I also had the opportunity to pick her brain about Graduate School. Lauren recently graduated from the School of Visual Arts (SVA) in New york City. I have been formulating plans for my future studies in art therapy, and was quite taken by the program and areas of concentration offered by SVA's art therapy degree program. Lauren was an advocate of the school and program. She mentioned how she felt she drew real experience out of her internship opportunities - due to their duration. The program requires two, year long internship. She also mentioned that they were quite on top of things, and good at keeping tabs on your progress - this is very appealing to me. In regards to school of thought Lauren feels SVA falls right in the middle of purely expressional and purely clinical - combing each at the right level for a well rounded experience. This is also appealing to me because I am very interested in the science behind the profession, as well as the spirituality and expressional nature of the practice.
Back at the warehouse Ed gave me a binder that he and Lauren have been working on - It should eventually consist of their mission statement, protocol for practitioners at different levels (volunteer, intern, professional with 2 years experience, professional with 5+ years experience, etc...), and patient profiles. The patient profiles included, were currently only for the children with autism. These gave me such an insight into the many layers and differences that I will encounter when I begin working with these children - each child has certain likes and dislikes, and various triggers that cause tantrums or panics - and each reacts in this sense, in a different way.
The cancellation for the programs were not a ba thing in the end. I was able to have a slower introductory experience, giving me a chance to become more comfortable with my two supervisors. I am feeling very fortunate to have such wonderful resources and this amazing opportunity!
Bellow is an artwork I created in response to my days experience. Each subsequent blog regarding the internship will be accompanied with one or more artworks. Creating a visual record of my experience is an additional aid during my advisement period with Ed, as well as to help me process my emotions while understanding them better myself!
Sunday, December 20, 2009
Internship
Tonight I am preparing myself for the first day of an exciting internship! I will be shadowing an Art Therapist named Lauren Fabrizio, who is working at Family Residences and Essential Enterprises (FREE) under the Director of Art Therapy, Ed Regensuburg. I was able to secure this opportunity though old fashioned communication - I took a look at the New York Art Therapy Association website (http://nyarttherapy.org/) and basically wrote to all the practicing art therapists from Albany to Long Island [after taking a look at their website and statements of course]. I received a call from Ed Regensburg very shortly after his receipt of the message, and he offered me this wonderful opportunity to shadow an art therapist and conference with him to discuss questions, reactions and feelings regarding my entire experience. Additionally, in each of our meetings we will go over a piece of expressive art that I have created in response to my experience.
The internship will be based in Long Island, and I will be traveling from Westchester, NY, each day to be there. Lauren Fabrizio is a recent graduate of the School of Visual Arts in New York City. This is very appealing to me because I have been looking into their addictionology program in art therapy, and will now have someone to talk to about this!
The internship will last from December 20th 2009 to January 20th 2010. In this time I will be working with three different populations. These include autistic children, mentally challenged adults, and developmentally disabled adults.
It will be very refreshing for me to finally immerse myself in the field that I truly want to pursue. I love art, I love making, but I want to do with it, what it has done for me - to help!
I will be blogging on a near to daily basis to provide an updated account of the development of this amazing internship!
The internship will be based in Long Island, and I will be traveling from Westchester, NY, each day to be there. Lauren Fabrizio is a recent graduate of the School of Visual Arts in New York City. This is very appealing to me because I have been looking into their addictionology program in art therapy, and will now have someone to talk to about this!
The internship will last from December 20th 2009 to January 20th 2010. In this time I will be working with three different populations. These include autistic children, mentally challenged adults, and developmentally disabled adults.
It will be very refreshing for me to finally immerse myself in the field that I truly want to pursue. I love art, I love making, but I want to do with it, what it has done for me - to help!
I will be blogging on a near to daily basis to provide an updated account of the development of this amazing internship!
Light Sculpture
Following are the photographs of my recent exploration with translucent porcelain and lighting. I am hoping to move more towards the sculptural vein and less towards decorative lighting in future projects. The pictures are arranged from the first steps of exploration to the most recent.
Photographs
Here are Photographs of my recent work, dealing with multiples and regarding the pressures of time. The sculpture is untitled as of now. Suggestions are welcome!
To Close the Book on Fall 2009
The semester ended in a whirlwind of work to complete, without enough time. The story of my life. After a four our studio clean up with the majority of our studio members and professors, we enjoyed a potluck dinner with our graduates, currents students and newly accepted BFA students. We had a wonderful time revealing secret santas and eating great food out of handmade ceramic dishes.
Returning the 17th I was met with our familiar Janitor who commented, "you just can't keep away huh?" and flashed a smile. I spent the evening cleaning my studio space and preparing it for a month of absence. I then proceeded to photograph the work I had completed since the midterm point. It consisted of two different bodies: The first, a theme/concept I feel will be developed towards my thesis show, and the second, and experiment with translucent porcelain to create Light. I am hoping to develop both bodies together, in an effort to present a nostalgic narrative of time passed.
The following post will show Photographs of the ceramic work completed in my last half of the Fall 2009 semester
Tuesday, December 8, 2009
Photos from Octobers Anagama Firing!
Here is a small insight into the process of anagama firing!
Begining with a full view of the Anagama Kiln with its door bricked up, I then added a view showing the stooking hole and fire pit! I added subsequent pictures to show a small portion of the firing process in which we toss the wood ash to create a large part of the desired effects of a wood firing. The pots are not visible due to the brightness of the flame in the last photograph - but at this point every pot was a glowing white!
Saturday, November 14, 2009
A Weekend's Work
I started off with somewhat of an early morning, arriving at the studio with a large coffee and egg sandwich. Before departing last night (friday November 13) I began candling our small Bailey's gas kiln. For 3-5 hours I kept only the pilot lights burning, set to soak at 200 deg. F, with a gradual increase to 500 deg. F. Before leaving at 12am I turned both burners on, setting it to soak at 1,000 deg. F. [setting the gas kiln to "soak" is a safeguard, the burners will shut off automatically when the target temperature is reached, and kick back in when it drops below temperature]
When I came in this morning the kiln was at 1,006 deg. F. I set our ultimate target temperature of 2350 deg. F, which is cone 10. At about 1:00pm I began a body reduction, and continued it through cone 010-04. When reducing a kiln, you are basically diminishing the oxygen supply. When cone 04 dropped I set the kiln to a neutral environment, indicated by a green flame - which is neither a reduction or oxidation atmosphere. I fired the kiln in this neutral atmosphere for about 5 more hours, checking every half hour to record the temperature climb and check the cone packs, as well as making sure the atmosphere was unchanged. When cone nine was going down (at about 2280 deg F) I began the glaze reducation, once again cutting off the oxygen supply. It is somewhat difficult to maintain a true reduction while reaching temperature at this point; because of the lack of oxygen, the temperature can stall, or drop all together. There is quite a bit of tinkering that one must do, including adjusting the damper, air flaps, fan speed, and gas pressure. I allowed the kiln to fire in reduction for a bit more than a half hour, and after cone 10 dropped (at 2300 according to the pyrometer, which is not exact), brought the kiln into a short oxidation period to encourage the development of bright colors in certain glazes, and finally shut off the power and gas at 7:00 pm.
While Firing the kiln, I was working on several different projects. I began by unloading a bisque kiln of student work. I am the teachers assistant of a ceramic handbuilding class, and one of my responsibilities - apart from mixing materials, creating handouts, preparing demos, and advising students on process and concept, - is loading, firing and unloading class work. Once finished I headed to the plaster room to check on one of the two molds I poured the night before. [For my next project I will be casting three different clock forms and creating a sculpture to communicate the pressures of time.] I destructed the coddle boards, and lifted the press mold from the clock and clay slab, with a good amount of difficulty due to the size of the clock and consequently the plaster mold. Once the prototype was removed, I washed the excess clay and mold soap away, and set the mold to dry in front of a fan.
Moving on to my next project, I wedged two large portions of porcelain, and set them through the slab roller, rolling each to a thickness of 1/8 of an inch. Using a set of templates I created a few weeks ago, I set up the parts for two light boxes. While I was letting the slabs set-up, I added some finishing touches to two other light boxes, and prepared a third (which I had unloaded from the bisque kiln) for glazing. The weather slowed the drying of my slabs and I left them covered in plastic on a plaster board to dry gradually overnight.
Tomorrow I will begin to cast providing my molds are dry enough, and I will construct the light boxes. Once they are slightly beyond the leather hard state I will begin to carve organic patterns with varying textures, allowing for differing degrees of thickness to play with the appearance of the light shining through. I will begin several different glazes tests for these pieces as well.
The gas kiln won't be cool enough to open for about 2 to three days from now, but I will report back with news of its success!
Wednesday, November 11, 2009
Gallery Visits
This weekend I attended an opening at the Suprenant Gallery in Kingston NY. I had to force myself around the crowded space to view the art work before I had to escape the confines of the space to breath openly and relax. I would be interested in revisiting the space to have a chance to enjoy the artwork instead of feeling it was a stressful burden.
Catching Up
The semester is at whirlwind point. Everywhere I look is something new I have to do.
I have been working in the ceramics studio with translucent porcelain. I am experimenting with carving porcelain to create interactions between light and sculpture. I will begin experimenting with translucent porcelain slip cast objects, intended to be decorative (more so than functional - in terms of bright lighting) light fixtures. I will begin experimenting with high fire mason stains to color the porcelain. I am hoping to create varying levels of thickness through several different methods. Firstly I will use a simpler method of layering the slips and carving the areas that I would like to show more light. I will get more intricate when I begin coloring the porcelain casting slip itself and layering it the varied thickness I am looking for, displaying different colors.
I am bogged down by other projects that are part of my studies at SUNY New Paltz, as well as extra curricular activities. I am working as a ceramic representative for our department to organize and fund the upcoming ceramic conference NCECA. I am organizing the development of a recently founded Art Therapy Club.
The Wood firing was a great success! I will be posting pictures of the experience and amazing results!
Wednesday, October 28, 2009
Exhibition Opportunities -International-
Here are some international exhibition opprotunities:
1.) Mural Artists
2.) Student Show
3.) Spring Fling 2010 Public Art
Call for Mural Artist: 2010 International Mural Fest
Deadline: Friday 4th December 2009, Sheffield Tasmania
The 2010 Wilderness Gallery International Mural Fest Prize is now open for entries.
Artists are invited to submit miniatures of their proposed murals in response to the 2010 poem 'Home'.
The poem, entry forms and more information about the competition is now available on the Mural Fest website: www.muralfest.com.au
Found at: http://www.artsconnect.com.au/callforartists/index.htm#at
Deadline: Friday 4th December 2009, Sheffield Tasmania
The 2010 Wilderness Gallery International Mural Fest Prize is now open for entries.
Artists are invited to submit miniatures of their proposed murals in response to the 2010 poem 'Home'.
The poem, entry forms and more information about the competition is now available on the Mural Fest website: www.muralfest.com.au
Found at: http://www.artsconnect.com.au/callforartists/index.htm#at
Student Show Call For Submissions - Catalyst Arts Belfast
Annual Student Show - Catalyst Arts Belfast
Deadline: 6th November
Catalyst Arts Belfast is calling for submissions for the Annual Student Show, December 2009.
Catalyst Arts believes in supporting artists at all stages in their careers, and the student show is our main showcase for newly emerging visual artists, providing gallery support and fresh networking opportunities.
We are interested in presenting a broad range of innovative, exciting new work in any and all mediums.
This call is open to all undergraduate and postgraduate students, including those who have graduated during 2009..
Those wishing their work to be considered for exhibition should submit a written proposal with artist statement and no more than 5 images of work to: studentshowcatalyst@gmail.com
Closing date for submissions is Friday 6th November no later than 4pm.
http://www.catalystarts.org.uk/
Found At:http://re-title.typepad.com/opportunities/
Annual Student Show - Catalyst Arts Belfast
Deadline: 6th November
Catalyst Arts Belfast is calling for submissions for the Annual Student Show, December 2009.
Catalyst Arts believes in supporting artists at all stages in their careers, and the student show is our main showcase for newly emerging visual artists, providing gallery support and fresh networking opportunities.
We are interested in presenting a broad range of innovative, exciting new work in any and all mediums.
This call is open to all undergraduate and postgraduate students, including those who have graduated during 2009..
Those wishing their work to be considered for exhibition should submit a written proposal with artist statement and no more than 5 images of work to: studentshowcatalyst@gmail.com
Closing date for submissions is Friday 6th November no later than 4pm.
http://www.catalystarts.org.uk/
Found At:http://re-title.typepad.com/opportunities/
Spring Fling 2010 Public Art Commission, Scotland
Spring Fling 2010 Public Art Commission, Scotland
Deadline: Monday 23 November 2009
Fee: £4,500
Spring Fling, Scotland's premier open studios event, will take place across Dumfries and Galloway from 29 to 31 May 2010.
As part of the event, the organisers are looking to commission a one-off public art work at Craigieburn, a Nepalese-themed garden outside Moffat.
Ideally this will involve sound and/ or light.
Further details are available on the website www.spring-fling.co.uk.
To register interest, or request a copy of the brief, contact Colin Tennant, Visual Arts Officer for Dumfries & Galloway
(01387 262084, colin.tennant@dumgal.gov.uk)
Found at: http://re-title.typepad.com/opportunities/
Spring Fling 2010 Public Art Commission, Scotland
Deadline: Monday 23 November 2009
Fee: £4,500
Spring Fling, Scotland's premier open studios event, will take place across Dumfries and Galloway from 29 to 31 May 2010.
As part of the event, the organisers are looking to commission a one-off public art work at Craigieburn, a Nepalese-themed garden outside Moffat.
Ideally this will involve sound and/ or light.
Further details are available on the website www.spring-fling.co.uk.
To register interest, or request a copy of the brief, contact Colin Tennant, Visual Arts Officer for Dumfries & Galloway
(01387 262084, colin.tennant@dumgal.gov.uk)
Found at: http://re-title.typepad.com/opportunities/
Exhibition Opportunities -U.S.-
Here are some Nationally based exhibitions I found interesting:
1.) NCECA
2.) Visual Overture magazine
3.) Blue Sky Project
4.) The Figure Now
5.) Subject to Change, NOT THIS ARTIST
NCECA
Student Juried Exhibition will become NATIONAL in 2010! Held annually, this exhibition showcases undergraduate and graduate student work. The online Prospectus and Form will be sent to schools, and to teacher and student NCECA members at the start of the fall semester. Two prestigious and well-respected ceramic experts are chosen to jury the images and select the best of our emerging student talent. Merit and Purchase awards are given to works selected by the jury. This is a great exhibition opportunity for undergraduate and graduate ceramic students – Give your career a boost! Get your work seen! Represent your school's ceramics program!
Found at:
Student Juried Exhibition will become NATIONAL in 2010! Held annually, this exhibition showcases undergraduate and graduate student work. The online Prospectus and Form will be sent to schools, and to teacher and student NCECA members at the start of the fall semester. Two prestigious and well-respected ceramic experts are chosen to jury the images and select the best of our emerging student talent. Merit and Purchase awards are given to works selected by the jury. This is a great exhibition opportunity for undergraduate and graduate ceramic students – Give your career a boost! Get your work seen! Represent your school's ceramics program!
Found at:
http://nceca.net/static/exhibitions_home.php
Subsequent info : http://nceca.net/static/NSJE_Prospectus.php
Subsequent info : http://nceca.net/static/NSJE_Prospectus.php
Emerging Artists Wanted
Category: Exhibition Opportunities [View all]
Posted by: Visual Overture Magazine
Deadline: 01/01/10
Visual Overture Magazine is seeking submissions for the Spring 2010 edition. International emerging artists of any field are encouraged to apply. Juror selects 7 artists for feature in publication. Selected artists are presented on two pages of magazine and receive 3 complimentary copies of issue in which they are featured. This is an excellent opportunity for under-represented artists to connect with galleries, curators, and collectors!
Enter online: www.visualoverture.webs.com/artists.htm
found at: http://www.collegeart.org/opportunities/listing/3971/
Category: Exhibition Opportunities [View all]
Posted by: Visual Overture Magazine
Deadline: 01/01/10
Visual Overture Magazine is seeking submissions for the Spring 2010 edition. International emerging artists of any field are encouraged to apply. Juror selects 7 artists for feature in publication. Selected artists are presented on two pages of magazine and receive 3 complimentary copies of issue in which they are featured. This is an excellent opportunity for under-represented artists to connect with galleries, curators, and collectors!
Enter online: www.visualoverture.webs.com/artists.htm
found at: http://www.collegeart.org/opportunities/listing/3971/
This is an interesting way of displaying your work. Perhaps allowing for more people to view your work, sparking an interest in those who would not have been able to physically attend a gallery show!
Blue Sky Project - Call for Proposals
Involvement Advocacy
(Dayton OH)
BLUE SKY PROJECT OF DAYTON, OHIO SEEKS ARTIST’S PROPOSALS FOR 2010 SUMMER RESIDENCY.
CREATIVE PROFESSIONALS: VISUAL ARTISTS, ARTIST/ACTIVISTS, FILMMAKERS, WRITERS, DANCERS, MUSICIANS, THEATER PERFORMERS, AND PEOPLE WORKING IN OTHER CREATIVE MEDIA ARE ENCOURAGED TO APPLY.
As a Blue Sky Project Artist-In-Residence, you will cross-pollinate with other practicing artists, collaborate with teens, expand your ideas and add artistic breadth and depth to the Dayton community.
Relocated in 2009 to Ohio from our original location in Illinois, artists gather for eight weeks from mid-June to mid August at the University of Dayton, located 2 miles from downtown Dayton. Monday - Thursday, from 10-3:30 are devoted to intensive collaborations between each individual artist and a small group of six to eight local teen participants, culminating in a final exhibition. Artists-in-Residence invent the remaining structure, working together or individually on projects. Our hope is that the projects will seep out, intervene, enhance and impact the community.
Your recent studio practice and new ideas should provide the foundation for your activities. Because of the collaborative nature of Blue Sky Project, your project must have an open-ended structure. Your project must be achievable in eight weeks, within a $1,000 budget (excluding final exhibition expenses) and must engage others in its articulation and production. The rest is up to you. Previous projects have included: sculptural sound installation, video installation, performance, musical composition, dance installation, 2D visual-art and photography, self-published magazines, and site-specific interventions.
Application deadline is January 23, 2010. To learn more about Blue Sky Project, see previous work and backgrounds of past resident artists, and to download our Call for Proposals, please visit http://www.blueskydayton.org
Website: http://www.blueskydayton.org
found at:
Involvement Advocacy
(Dayton OH)
BLUE SKY PROJECT OF DAYTON, OHIO SEEKS ARTIST’S PROPOSALS FOR 2010 SUMMER RESIDENCY.
CREATIVE PROFESSIONALS: VISUAL ARTISTS, ARTIST/ACTIVISTS, FILMMAKERS, WRITERS, DANCERS, MUSICIANS, THEATER PERFORMERS, AND PEOPLE WORKING IN OTHER CREATIVE MEDIA ARE ENCOURAGED TO APPLY.
As a Blue Sky Project Artist-In-Residence, you will cross-pollinate with other practicing artists, collaborate with teens, expand your ideas and add artistic breadth and depth to the Dayton community.
Relocated in 2009 to Ohio from our original location in Illinois, artists gather for eight weeks from mid-June to mid August at the University of Dayton, located 2 miles from downtown Dayton. Monday - Thursday, from 10-3:30 are devoted to intensive collaborations between each individual artist and a small group of six to eight local teen participants, culminating in a final exhibition. Artists-in-Residence invent the remaining structure, working together or individually on projects. Our hope is that the projects will seep out, intervene, enhance and impact the community.
Your recent studio practice and new ideas should provide the foundation for your activities. Because of the collaborative nature of Blue Sky Project, your project must have an open-ended structure. Your project must be achievable in eight weeks, within a $1,000 budget (excluding final exhibition expenses) and must engage others in its articulation and production. The rest is up to you. Previous projects have included: sculptural sound installation, video installation, performance, musical composition, dance installation, 2D visual-art and photography, self-published magazines, and site-specific interventions.
Application deadline is January 23, 2010. To learn more about Blue Sky Project, see previous work and backgrounds of past resident artists, and to download our Call for Proposals, please visit http://www.blueskydayton.org
Website: http://www.blueskydayton.org
found at:
With my personal intentions of becoming an art therapist, I am particularly attracted to public works art
The Figure Now Exhibition 2010
Fontbonne University Fine Arts Gallery
(St Louis MO)
THE FIGURE NOW Exhibition 2010
An International Juried Exhibition which reconsiders traditional and contemporary approaches to the figure.
Eligibility
Open to emerging as well as established artists residing in the United States and Canada.
Jurors
Sophie Jodoin http://www.sophiejodoin.com/
Alex Kanevsky http://www.somepaintings.net/Alex.html
Nicholas Uribe http://www.uribearts.com/
Important Dates
January 6th: Deadline for submissions
January 12th: Notification of acceptance (via e-mail)
January 29th: Arrival deadline for accepted works
February 5th − February 26th Exhibition
March 7th − March 10th: All hand delivered artwork to be picked up
March 31st: All work must be returned by March 31st
Media
Drawing, painting, sculpture, mixed media and photography
Submission Criteria
• All accepted work must be original and created within the last three years. All entries must portray the human figure.
• Work must fit through standard door.
• Each artist may enter up to three works.
• JPEG format on a CD, sized to 300 dpi, file proportions minimum 5” x 7” and labeled as follows: Lastname_Firstname_ 1.jpg. Numbers should match entry form. (No CD’s of work will be returned).
• Label CD with your name, phone number, number of pieces and e-mail address.
• Shipping and return shipping are at the artist’s expense, must include pre-paid label and customs form.
• The gallery assumes no responsibility for the return of work that arrives without return postage.
• Selected work must be clearly labeled with the artist’s name, title, date, and medium.
Entry Fee
• $35 for up to three entries
• This fee is non-refundable and must be received prior to the submission deadline, January 6th.
Send Submissions to
• Fontbonne University Fine Arts Gallery, 6800 Wydown Blvd., St. Louis, MO 63105
• Include entry form with CD and check or money order payable to Fontbonne Fine Arts Gallery.
Insurance
Work will be insured only while on the gallery premises in accordance with Fontbonne University policy.
Sale of Work
All work, unless indicated that it is not for sale (NFS) will be available for purchase during the exhibit. Fontbonne University Fine Arts Gallery will retain a commission of 35% on all artwork sold during the exhibition.
Awards
First Place Juried Award $1,000
Second Place Juried Award $ 500
Third Place Juried Award $ 250
Registration Form
Please print neatly
NAME
ADDRESS
CITY STATE/PROVINCE
COUNTRY POSTAL CODE
E-MAIL
TELEPHONE
ENTRY 1
TITLE
DATE DIMENSIONS
MEDIUM
SALE PRICE INSURANCE VALUE (IF NFS)
ENTRY 2
TITLE
DATE DIMENSIONS
MEDIUM
SALE PRICE INSURANCE VALUE (IF NFS)
ENTRY 3
TITLE
DATE DIMENSIONS
MEDIUM
SALE PRICE INSURANCE VALUE (IF NFS)
For more information please contact:
Ellen Gochnour, Director: Fontbonne University Fine Arts Gallery phone: (314) 719-3580
e-mail: egochnour@fontbonne.edu
Website: http://www.fontbonne.edu/gallery
Fontbonne University Fine Arts Gallery
(St Louis MO)
THE FIGURE NOW Exhibition 2010
An International Juried Exhibition which reconsiders traditional and contemporary approaches to the figure.
Eligibility
Open to emerging as well as established artists residing in the United States and Canada.
Jurors
Sophie Jodoin http://www.sophiejodoin.com/
Alex Kanevsky http://www.somepaintings.net/Alex.html
Nicholas Uribe http://www.uribearts.com/
Important Dates
January 6th: Deadline for submissions
January 12th: Notification of acceptance (via e-mail)
January 29th: Arrival deadline for accepted works
February 5th − February 26th Exhibition
March 7th − March 10th: All hand delivered artwork to be picked up
March 31st: All work must be returned by March 31st
Media
Drawing, painting, sculpture, mixed media and photography
Submission Criteria
• All accepted work must be original and created within the last three years. All entries must portray the human figure.
• Work must fit through standard door.
• Each artist may enter up to three works.
• JPEG format on a CD, sized to 300 dpi, file proportions minimum 5” x 7” and labeled as follows: Lastname_Firstname_ 1.jpg. Numbers should match entry form. (No CD’s of work will be returned).
• Label CD with your name, phone number, number of pieces and e-mail address.
• Shipping and return shipping are at the artist’s expense, must include pre-paid label and customs form.
• The gallery assumes no responsibility for the return of work that arrives without return postage.
• Selected work must be clearly labeled with the artist’s name, title, date, and medium.
Entry Fee
• $35 for up to three entries
• This fee is non-refundable and must be received prior to the submission deadline, January 6th.
Send Submissions to
• Fontbonne University Fine Arts Gallery, 6800 Wydown Blvd., St. Louis, MO 63105
• Include entry form with CD and check or money order payable to Fontbonne Fine Arts Gallery.
Insurance
Work will be insured only while on the gallery premises in accordance with Fontbonne University policy.
Sale of Work
All work, unless indicated that it is not for sale (NFS) will be available for purchase during the exhibit. Fontbonne University Fine Arts Gallery will retain a commission of 35% on all artwork sold during the exhibition.
Awards
First Place Juried Award $1,000
Second Place Juried Award $ 500
Third Place Juried Award $ 250
Registration Form
Please print neatly
NAME
ADDRESS
CITY STATE/PROVINCE
COUNTRY POSTAL CODE
TELEPHONE
ENTRY 1
TITLE
DATE DIMENSIONS
MEDIUM
SALE PRICE INSURANCE VALUE (IF NFS)
ENTRY 2
TITLE
DATE DIMENSIONS
MEDIUM
SALE PRICE INSURANCE VALUE (IF NFS)
ENTRY 3
TITLE
DATE DIMENSIONS
MEDIUM
SALE PRICE INSURANCE VALUE (IF NFS)
For more information please contact:
Ellen Gochnour, Director: Fontbonne University Fine Arts Gallery phone: (314) 719-3580
e-mail: egochnour@fontbonne.edu
Website: http://www.fontbonne.edu/gallery
Nicely Organized!
Subject to Change, NOT THIS Artist Collective
Ox Gallery
(Philadelphia PA)
Application Deadline: Wednesday, November 11th, 2009
NOT THIS Artist Collective is seeking artists, both emerging and established, to submit pieces for an exhibition concerning “unfinished” work. This show, “Subject to Change,” aims to re-evaluate how and when work is exhibited, and investigate the chronology of the creative process. The exhibition will take place on December 4th, 2009, at Ox, a new DIY gallery space in Philadelphia.
In selecting and or creating your work, we encourage you to consider the following:
-When is a work complete?
-What does it mean to submit an “unfinished” work, and does the act of submission lend the work finality?
-If you’re submitting art to a show themed “unfinished,” will you work on it again?
As a student artist collective, we are evaluating our role as “finished/unfinished” artists. We are examining how the hierarchy of artist roles, i.e. the student/professional artist, function in the art context. NOT THIS is challenging you as artists to re-evaluate your process, the way a work of art is viewed, our conception of a show, and aim to receive a wide variety of submissions. All media is encouraged!
To submit: Email at least three images of your work, as well as an artist statement, to NotThisArtistCollective@gmail.com by November 11th. Please indicate whether you are interested in submitting the work you send or creating original pieces for the gallery (if so, please include a description or proposal).
Found at: http://www.nyfa.org/opp_detail.asp?type=Opportunity&id=95&fid=1&sid=54&oppid=26920
Ox Gallery
(Philadelphia PA)
Application Deadline: Wednesday, November 11th, 2009
NOT THIS Artist Collective is seeking artists, both emerging and established, to submit pieces for an exhibition concerning “unfinished” work. This show, “Subject to Change,” aims to re-evaluate how and when work is exhibited, and investigate the chronology of the creative process. The exhibition will take place on December 4th, 2009, at Ox, a new DIY gallery space in Philadelphia.
In selecting and or creating your work, we encourage you to consider the following:
-When is a work complete?
-What does it mean to submit an “unfinished” work, and does the act of submission lend the work finality?
-If you’re submitting art to a show themed “unfinished,” will you work on it again?
As a student artist collective, we are evaluating our role as “finished/unfinished” artists. We are examining how the hierarchy of artist roles, i.e. the student/professional artist, function in the art context. NOT THIS is challenging you as artists to re-evaluate your process, the way a work of art is viewed, our conception of a show, and aim to receive a wide variety of submissions. All media is encouraged!
To submit: Email at least three images of your work, as well as an artist statement, to NotThisArtistCollective@gmail.com by November 11th. Please indicate whether you are interested in submitting the work you send or creating original pieces for the gallery (if so, please include a description or proposal).
Found at: http://www.nyfa.org/opp_detail.asp?type=Opportunity&id=95&fid=1&sid=54&oppid=26920
As a ceramist, where process is so important - a true part of the work - this is very intriguing. The freedom!
Exhibition Opportunities -NY-
Here are some Ny based Exhibition opportunities I found interesting:
1.) Exhibition Proposal
2.) Emerging Artists 2010
3.) Large Scale Works
Exhibition Proposals, LOUIS V. E.S.P., Brooklyn
Exhibition Proposals, LOUIS V. E.S.P., Brooklyn
Deadline: November 26, 2009
New exhibition space in Brooklyn seeking exhibition proposals. Located in Williamsburg neighborhood of Brooklyn, NY. Recent host to Apartment Show and several small exhibitions we are now expanding the space to longer and more involved projects. Video and sound equipment available for use. Please send concise descriptions of show concept, any supplementary writing, research etc, list of some proposed artists and samples/links to their work. The space is most conducive to shorter run shows (2 weeks or less) but we are willing to entertain interesting proposals for longer runs.
Please see link to blog for pics of space: http://www.louisvesp.blogspot.com
For samples of work produced in our studio ZENITH FOUNDATION EAST: www.zenithland.com
Found at: http://re-title.typepad.com/opportunities/proposal/
Exhibition Proposals, LOUIS V. E.S.P., Brooklyn
Deadline: November 26, 2009
New exhibition space in Brooklyn seeking exhibition proposals. Located in Williamsburg neighborhood of Brooklyn, NY. Recent host to Apartment Show and several small exhibitions we are now expanding the space to longer and more involved projects. Video and sound equipment available for use. Please send concise descriptions of show concept, any supplementary writing, research etc, list of some proposed artists and samples/links to their work. The space is most conducive to shorter run shows (2 weeks or less) but we are willing to entertain interesting proposals for longer runs.
Please see link to blog for pics of space: http://www.louisvesp.blogspot.com
For samples of work produced in our studio ZENITH FOUNDATION EAST: www.zenithland.com
Found at: http://re-title.typepad.com/opportunities/proposal/
Emerging Artists 2010
SlowArt Productions
(Hudson NY)
EMERGING ARTISTS 2010
This is the eighteenth annual competition for gallery exhibition and awards. Devoted to the discovery, introduction and promotion of emerging artists, this exhibition will be held in March 2010 at the Limner Gallery and is open to all artists working in any media. There will be a $1000 cash award and $2400 in publication awards. Deadline for submissions November 30. For prospectus e-mail slowart@aol.com, print from the website at
http://www.slowart.com/prospectus/ea2010.htm
or mail SASE to SlowArt Productions, 123 Warren Street, Hudson, NY 12534
Website: http://www.slowart.com/prospectus/ea2010.htm
Found at:
(Hudson NY)
EMERGING ARTISTS 2010
This is the eighteenth annual competition for gallery exhibition and awards. Devoted to the discovery, introduction and promotion of emerging artists, this exhibition will be held in March 2010 at the Limner Gallery and is open to all artists working in any media. There will be a $1000 cash award and $2400 in publication awards. Deadline for submissions November 30. For prospectus e-mail slowart@aol.com, print from the website at
http://www.slowart.com/prospectus/ea2010.htm
or mail SASE to SlowArt Productions, 123 Warren Street, Hudson, NY 12534
Website: http://www.slowart.com/prospectus/ea2010.htm
Found at:
Call for Proposals: Large Scale Works
Brooklyn Arts Council (BAC)
(Brooklyn NY)
Deadline: November 6
Brooklyn Arts Council, in partnership with JMH Development, seeks proposals for large scale, two-dimensional or three-dimensional wall hung artworks for a series of installations on the lobby wall of a newly renovated waterfront residential property in Williamsburg, Brooklyn. Works submitted should have strong visual impact, capturing viewers' interest from far range as well as close up. They are not limited to but might consider the aesthetic of the space or the history of the building and its surrounding community. Visual artists working in photography, painting, drawing, sculpture and mixed media are encouraged to apply. Video works will not be considered for this project.
MORE INFO:
Website: http://www.brooklynartscouncil.org/documents/1263
Found at:
(Brooklyn NY)
Deadline: November 6
Brooklyn Arts Council, in partnership with JMH Development, seeks proposals for large scale, two-dimensional or three-dimensional wall hung artworks for a series of installations on the lobby wall of a newly renovated waterfront residential property in Williamsburg, Brooklyn. Works submitted should have strong visual impact, capturing viewers' interest from far range as well as close up. They are not limited to but might consider the aesthetic of the space or the history of the building and its surrounding community. Visual artists working in photography, painting, drawing, sculpture and mixed media are encouraged to apply. Video works will not be considered for this project.
MORE INFO:
Website: http://www.brooklynartscouncil.org/documents/1263
Found at:
Wednesday, October 21, 2009
Time Flies
Mid-week already! I wish there were more hours I could remain concious and functioning in a day!
I have two new personal projects underway. I am creating two press molds, two different forms, for two completely different purposses. The first of the molds will be incorporated into my first commisioned piece! I will be creating an original plate and cup set designed to represent a lake on which my client vacations. The second mold will be used to create a translucent porcelain lighting fixture - hopefully many - ahh the beauty of molds. I am handbuilding each of the objects and I will cast each with plaster. When dry and ready I will press in slabs no thicker than 1/4inch (thinner for the porcelain body) and get moving.
I am also working on Rhino [blogging while I break :)] to create three dimensional sketches of yet another project. The object I am drawing is too big to actually print for financial reasons, but that is not a worry because the object I wish to cast is readily available as a found object.
On friday I will be loading three personalized family crest platters into an 04 eletric glaze firing, and fire it off in 8 hours or so.
Tomorrow, acting as a teachers assistant, I will introduce the fourth project and aid in demonstrations for Ceramic Handbuilding. I may have to mix up some casting slip this weekend due to a lack of Extrusion Dials - but may not because our handy Technician made new ones! It is interesting how we were able to have a back up plan that would fit well with the assignment... ceramics can be flexible!
We start woodfiring this weekend!!!!!!!! I will provide you all with pictures so you can join in the romance. SUNY New Paltz has an Anagama Kiln, which was built by a few of our former students, and which we are very lucky to have! I will be working the 12am to 6am shifts all weekend.
Lots to come!
I have two new personal projects underway. I am creating two press molds, two different forms, for two completely different purposses. The first of the molds will be incorporated into my first commisioned piece! I will be creating an original plate and cup set designed to represent a lake on which my client vacations. The second mold will be used to create a translucent porcelain lighting fixture - hopefully many - ahh the beauty of molds. I am handbuilding each of the objects and I will cast each with plaster. When dry and ready I will press in slabs no thicker than 1/4inch (thinner for the porcelain body) and get moving.
I am also working on Rhino [blogging while I break :)] to create three dimensional sketches of yet another project. The object I am drawing is too big to actually print for financial reasons, but that is not a worry because the object I wish to cast is readily available as a found object.
On friday I will be loading three personalized family crest platters into an 04 eletric glaze firing, and fire it off in 8 hours or so.
Tomorrow, acting as a teachers assistant, I will introduce the fourth project and aid in demonstrations for Ceramic Handbuilding. I may have to mix up some casting slip this weekend due to a lack of Extrusion Dials - but may not because our handy Technician made new ones! It is interesting how we were able to have a back up plan that would fit well with the assignment... ceramics can be flexible!
We start woodfiring this weekend!!!!!!!! I will provide you all with pictures so you can join in the romance. SUNY New Paltz has an Anagama Kiln, which was built by a few of our former students, and which we are very lucky to have! I will be working the 12am to 6am shifts all weekend.
Lots to come!
Sunday, October 18, 2009
Out of the Studio
I spent nearly the entire week out of the studio due to illness. Of course it was the worst week to miss - being midterms and all. I was mostly upset to miss out on the annual chili bowl sale that the ceramics department runs each fall. I am a member of the ceramic department's fundraising committee, and therefor am involved in all the planning and execution stages of such an event. Normally I am there to set up, work shifts, and take down the sale - this year I spent the day worrying about our progress in bed!! There was no need for my worrying, the sale was very successful and our whole department contributed their work and time. I returned Thursday evening to prepare an installation for midterm critiques on Friday, which I would not allow myself to miss.
After some tea and good rest I am back to normal, and ready to get muddy!
Saturday, October 10, 2009
Kilns and Casting
I have spent the remainder of the school week learning the process of firing gas kilns. There is a total of four gas Kilns at New Paltz, two indoor and two outdoor kilns. Currently only three of the four are up and running. In fact there is a working kiln shortage at the moment. With a total of eight electric kilns, there are only three that are in working order. This is quite a serious issue for the studio, especially for BFA and MFA students who typically are expected to fire their own work, and are now subjected to group firings. This shortage will have the greatest effect on the four BFA students who will be graduating this fall.
Although the kiln shortage is unfortunate, it can not stifle my excitement for learning how to fire. Firings can take up to 15 hours, but are typically closer to 8-10 hours. The temperature of the kiln (as read by the pyrometer) must be checked and recorded every half hour. The cones that are placed in front of the spy holes are a more accurate reading of the temperature. Two cone packs are placed in the kiln, one on the top and one on the bottom. This helps asses wether the kiln is firing evenly. Firing a gas kiln requires more interaction in terms of tinkering and adjusting to achieve temperature and the desired atmosphere, than does an electric kiln, which you can basically set to a program and leave it be (although it should always be monitored!).
Apart from firing kilns I have been slip casting modular units. In clay, I built four pieces that are meant to connect post firing as weeping willow whisps. I designed each branch so that they are interchangeable, allowing the curve of each branch to travel from right to left and left to right. The third and fourth components are willow leaves.
This is the first time I have used slip casting to create a sculpture. This particular sculpture will be displayed as a wall piece, a cascade of weeping willow whisps.
This weekend will be spent loading, firing, and unloading kilns. This includes two bisques and one mid range glaze firing. In conjunction with the firings I will be slip casting and creating a press mold for a commissioned work.
A recipe for a busy weekend!
Wednesday, October 7, 2009
Introduction
This is my first blog! Encouraged by the SUNY New Paltz 'Artist Survival Course' with Professor Emily Puthoff, I have created this blog to document my experiences studying as a Ceramic BFA major, and working in clay. My blog will discuss my day-to-day activities, findings, successes and failures - giving me the opportunity to reflect upon it all!
I will back track in order to provide some background on how I ended up in the world of Ceramic Art.
I got my first taste of working in clay in high school art classes. While I was consumed by it - spending my free periods and lunches working in the ceramic studio, and eventually doing an independent study - I never thought I could apply ceramics to my further education, and more importantly a successful career. I spent the first two years of my college education at SUNY Albany, where they offered limited art courses, and no ceramic courses. Feeling a void in my life I began researching professions involved in the arts and became very familiar with Art Therapy. Realizing that working in clay is therapy for me, I thought "I can share that with others"!
I transfered to SUNY New Paltz in the fall semester of 2007 as a first semester junior, and started a new major, visual arts with a concentration in ceramics. I also began working to complete a minor in psychology. Two years later I am still working to complete my degree and should achieve this goal within two semesters.
There is a great amount of work, time and true commitment to this learning experience, but I do it with a smile - For the Love of Clay!
Below is a slideshow of my work since 2007
Subscribe to:
Comments (Atom)
Posts
