Glaze

Bone Dry

Reflection 2

The conversation that was ignited by Tom’s question “What are the margins of this course?” continues to be a seed for reflection. When I am at work the expectation is that I am a teacher first and an artist second. Teaching is a creative job; the margins are a lot like those of an assignment. There are other parallels concerning margins between the job I was hired to do and the work I must do for a class I chose. The term “art teacher” carries the same negative or devaluing stigma as “ceramic” does. Consequently, I find myself representing the work I do as Visual and digital education or public school teacher. I tend to leave out the term “art”. The history of a term, or a skill set, can create a barrier that keeps people from understanding the evolution and change that has occurred. In this way, labeling can be negative but still we need to chunk concepts together and present them under the umbrella of one term. The term “altermodern” seems to encompass so many ideas that I have a difficult time deciding how valuable of a term it is to me. I see it as a term that is still in flux. Bourriaud remarks about the role of a curator as a person who is asking a question for artists to answer. I like this concept in contrast to the idea that a curator is a person who frames exhibitions so they read in a deliberate way. I am still wondering about the term altermodern and the connotation it will have after the art world has had a period of time to mull it over.

Reflection Week 2

The conversation that was ignited by Tom’s question “What are the margins of this course?” continues to be a seed for reflection. When I am at work the expectation is that I am a teacher first and an artist second. Teaching is a creative job; the margins are a lot like those of an assignment. There are other parallels concerning margins between the job I was hired to do and the work I must do for a class I chose. The term “art teacher” carries the same negative or devaluing stigma as “ceramic” does. Consequently, I find myself representing the work I do as Visual and digital education or public school teacher. I tend to leave out the term “art”. The history of a term, or a skill set, can create a barrier that keeps people from understanding the evolution and change that has occurred. In this way, labeling can be negative but still we need to chunk concepts together and present them under the umbrella of one term. The term “altermodern” seems to encompass so many ideas that I have a difficult time deciding how valuable of a term it is to me. I see it as a term that is still in flux. Bourriaud remarks about the role of a curator as a person who is asking a question for artists to answer. I like this concept in contrast to the idea that a curator is a person who frames exhibitions so they read in a deliberate way. I am still wondering about the term altermodern and the connotation it will have after the art world has had a period of time to mull it over.

Reflection Week 2

The conversation that was ignited by Tom’s question “What are the margins of this course?” continues to be a seed for reflection. When I am at work the expectation is that I am a teacher first and an artist second. Teaching is a creative job; the margins are a lot like those of an assignment. There are other parallels concerning margins between the job I was hired to do and the work I must do for a class I chose. The term “art teacher” carries the same negative or devaluing stigma as “ceramic” does. Consequently, I find myself representing the work I do as Visual and digital education or public school teacher. I tend to leave out the term “art”. The history of a term, or a skill set, can create a barrier that keeps people from understanding the evolution and change that has occurred. In this way, labeling can be negative but still we need to chunk concepts together and present them under the umbrella of one term. The term “altermodern” seems to encompass so many ideas that I have a difficult time deciding how valuable of a term it is to me. I see it as a term that is still in flux. Bourriaud remarks about the role of a curator as a person who is asking a question for artists to answer. I like this concept in contrast to the idea that a curator is a person who frames exhibitions so they read in a deliberate way. I am still wondering about the term altermodern and the connotation it will have after the art world has had a period of time to mull it over.

Week One Reflection

This week has yielded a number of realizations for me. I was initially hesitant to sign up for ceramics because of my limited experience. It was not just a lack of experience that made me uneasy, it was the memories of difficulties and failure that accompanied the experiences I did have. At the conclusion of the first full week I am excited to say I am grateful I took the risk and enrolled in the class. I am finding connections to metal working that are changing the way I am thinking about future work. Steel is similar to clay in the way that it moves. Steel cannot be compressed. When you hammer in one place there is a ‘response’ in another. Going forward, I think I will be able to use clay to trial solutions I am considering in metals. On the contrary, I am realizing the sensitivity difference of the materials and consequently finding the need to adjust the amount of pressure I am using to manipulate my work. Ceramics is challenging but I learn best when I am outside of my comfort zone. The clay making process has been a highlight of this whole experience.Thank you Kate for the documentation of my first batch ever!

Additionally, I gained a lot from the article I presented this morning. I really learn a lot more about something when I am asked to teach it to someone else. I connect the evolution of the concept of site specific art to the value we put on conceptual art. I am fascinated and motivated by craft. I love details and the great accomplishment and wonder that comes from seeing something made. As much as I value craft, I value concept. I both mock and appreciate Lawerance Wiener saying:
"1. The artist may construct the piece."

“2. The piece may be fabricated."

“3. The piece need not be built."

Each being equal and consistent with the intent of the artist the decision as to condition rests with the receiver upon the occasion of receivership.

Maybe ideas are craft.

Previous Artwork

I am interested in the process and physical act of art making. Throughout my undergraduate study I explored many mediums that I really enjoyed working with: oil painting, screen printing, digital media, photography and metal working. I chose metal working for my concentration and consequently focused on making objects. There has been a natural progression from working in copper and brass to working with steel, which I find both is challenging and unique. My work is influenced by exposure to different processes and materials. As a new medium ceramics presents both a challenge and an opportunity. I am curious to see how I can transfer my understanding of form, through working with metal, to clay.

previous metal work