Florida in August

Not withstanding the humidity, Florida in August is still pretty nice.  I taught three classes at the Fired Arts Studio at Jen-Ken Kilns in Lakeland, FL. The studio has fantastic facilities and tons of kiln space. Here are some pictures of the wonderful space. I feel so lucky to have had such a great group on students. There were 9 students in the Printing Techniques in Glass class and 5 in the Enameling with Torches and kilns class. No drama, yeah!!!!

Update on my art world

I know several times in our class conversations I mentioned my current crazy world of two schools, 1338 students.  And the possibility of full time art next year.  In case you were wondering--the school board approved full time art for the next school year!  I will reduce my class load from 70 classes to 35 and loose about 698 students.  Although I'm sad to lose my coworkers and wonderful students, I'm so happy to only have the responsibilities of ONE campus.  I look forward to all the planning and the excitement of a new year.

Counting down the days until I see y'all in Junction.  :)

Emily

Final: Chicken-Bird Ornament

This semester of studying American Studio Crafts expanded my previous knowledge and judgements about artists specializing in these fields.  As we studied the line between art and craft blurred--part of that was how the artists progressively blurred the line themselves in their work, but also partly in how I left behind my teachers' and studio professors' own judgements on "craft" and formed my own valuing of craft and art.  

As we moved through the decades of American craftwork, several artists and/or concepts stuck firmly in my mind.  I chose to work these pieces into my final piece; I suppose it is an homage in assemblage to the jewelry artists of the 40s-60s.

The first element in my final art piece is a cast iron chicken bird influenced by Sam Kramer's Roc Pendant.  When I came across this piece in our readings it immediately appealed to me.  I knew I had to bring this quirky bird back to life in another form.  Sam Kramer's pendant was finely worked in sheet metal and stones, whereas my bird reflects more of my hand--gestural and messily textured.  The bird was sculpted in wax and then dipped in ceramic shell.  After burning out the wax and racking up the shell, the bird was cast in iron.  The clean up process was fairly long, as I don't currently have access to a sandblaster.  Once the bird was cast and cleaned, I then moved into the second stage of my project.

When we encountered the jewelry artists of the 60s that created enormous, difficult or cumbersome to wear pieces, I wanted to bring that feel into my final project.  Arline Fisch's Body Ornament extends dramatically down the body, pushing the concept of necklace.  I was intrigued by who would wear such heavy, intrusive body art.  I also wanted to take it to the extreme in wearable-art--art that would almost impede the wearer's movement to the point the art couldn't become a background experience, ornamentation that can be subconsciously enjoyed.  I decided on clay slabs to support the iron chicken bird; I knew that woven surfaces wouldn't be able to support the weight of the cast iron.  I threw the slabs of low-fire white clay and then textured and draped them on my own body.  I wanted to allow the clay to at least dry to leatherhard on my body, however my desire for large, cumbersome art meant I wouldn't be able to go about my normal teaching routine with clay slabs drying on my body.  So I set up lumpy piles of fabric that hopefully allowed the clay to maintain the angles from my body.  The clay was then fired to cone 05.  I created and fired multiple slabs, as I had to deal with cracking and also the shrinkage of clay in comparison to the holes where the iron bird needed to connect.  The slab that made it through all the steps isn't as large or freeform as I would like, but it does portray the feel of "shield" and weigh heavily on the chest of the wearer.  A curved edge clings to the shoulder of the wearer and the lower portion rests heavily on the chest.

In bringing the bird and clay together into one piece, I knew that I wanted to bring in the brightly painted surfaces of Ken Price's ceramic work into my final piece.  He and other ceramic artists, like Jun Kaneko, have amazingly appealing surfaces--bright colors with pops of contrast and smooth, sensitive surfaces.  My clay work again brings in my preference for highly textured surfaces; I selected a color palate that would almost jolt the viewer, creating a strong aesthetic reaction.  As if the chicken itself wasn't enough.  Mostly an analogous palate on the ceramic piece contrasted with a complement on the bird.  I did decide to paint the iron, although I left parts of the iron exposed to reveal the material. 

The completed piece is most certainly an ornament object that cannot be ignored.  It is so far from any jewelry I would ever wear, yet I love how it amplifies the concept as jewelry as a statement.  In the post-war craft movements in the 40s through 60s (and 70s) I feel the artists pushed the extremes of what was "comfortable" and what was craft.  I hope to have pushed those boundaries as well.

Tile

Final Project is second photo  I am having a slight technical problem with Safari....

Photo of West Texas that inspired

Final Project Clay tile Bas-relief  8" Square Photo 1

Photo 2 Embroidery - West Texas desert. Inspiration & memories of my mother’s embroidery instruction 9" X 6"

Paper tile/collages  3 -  9" squares Photo 3

Photo of clouds

Martha Gluck – Final Project Clay tile 8 inch square – photo 1

When first deciding on a project during this course I was reminded during one chapter and discussion of my mother teaching me embroidery so I first started thinking/musing by doing something I had not done for a while, practicing some stitches with one of my mothers embroidery hoops and tried to remember as many stitches as I could.  I think in time I might pick this up again it was quite addicting but also a bit confining.  I looked at the colors of south Texas greens in the desert landscape that seem almost absent and stark but then on closer look are very vivid..  (Photo 2)  So I stitched off and on for a while.

In Reflecting over the textbook I kept coming back to a chapter in the beginning and  it did bring  me to my inspiration , Chapman Mercer, and the text statement that “He came to believe that folk art and fine art are inseparable”.  I feel this way as the arts are variable and at times personal or important especially to the creator and the appreciator.   I also just really liked the graphic quality of the tile depicted in the text of a man “Reaping with a Sickle” (page 55).  The tiles Mercer and Moravian Pottery are known for include many like the one depicted and others much more detailed.  His tiles and his story are interesting to me as he had such a wide range of interests and passion for each mission he gave himself.  I was impressed that he wanted to encourage craft traditions that were fading, though he was not so successful at it.  But he did successfully create a pottery the Moravian Pottery that continued until 1964.

First I made paper collages (photo 3)   based on my visits to West Texas &  photographs I have taken when visiting. (sample photo 4) I was basically working on paper tiles designs.   Initially in craft paper and cardboard and then in watercolor paper..   I love the colors of the west Texas landscape but found that what impressed me the most was the shadows, which seem to create a connection with the landscape and the sky making the atmosphere something I felt part of.  Though I do love the colors I found it was the feeling/atmosphere that got me and it was somehow colorless so I choose to use white paper and porcelain clay . But I kept coming back to how much I enjoyed reading about Mercer and how he created a museum based on artifacts from everyday life. I also loved how he used fabricated cement to create in one case a building to house his  collection. 

This inspired me to want to cut and place my paper and fabric and collection of rusted metal.  But I finally decided that I wanted to create a tile based on my white paper “tiles”.  My tile is a bas-relief and white, not a pressed or a counter relief tile, which is what I read Mercer’s described as.  Mercers wanted  or appreciated that his tiles to look handmade and I think his tiles were an interesting complement to the stark concrete they were in many cases set in. 

I loved working with the clay and  the immediacy of it… that is until you wait for it to come out of the Kiln.  This progress toward making the tile gave me a sense of freedom.  Though it also did reminded me of how much more I need to know about glazes etc. (especially since my current experience is with 5^th grade elementary students).  Initially I starting a sort of cookie cutter design so I could make additional tiles easily and grout in the traditional way and use the tiles on an old table.  But I really wanted to carve and do a relief . I decided to try to carve in the clay using my collages as my initial designs. 

This project and the ending of this course have coincided with a decision to move to West Texas this summer.  This was unexpected as when we considered a move,  we always thought we would do it in about 5-10 years .  This means I won’t be able to attend Junction this summer and I am very disappointed, mainly as I will not be able to meet all of you in Junction.   I do plan to continue in this program and attend Junction next year.  The best thing about this course has been reading the postings and being inspired by them.  I look forward to meeting you in Junction next year.

Martha

Makers A History of American Studio Art  Janet Koplos and Bruce Metcalf

The Center for Craft, Creativity and Design 2010

Interesting sites to get a glimpse of Henry Chapman Mercer’s buildings and tiles

http://syracusethenandnow.org/Architects/Mercer/HCMercer.htm

http://www.youtube.com/watch?v=JgmWqDxRCVI

Tribute to a Chair

This semester has flown by so fast.  One thing I have found myself fascinated by is the chair. This timeless masterpiece has taken so many shapes and forms, and been built in every material rigid enough support its own weight.  The craftsman we studied in ‘Makers’ held a delicate sensitivity to craft, from the turning of legs and attachment of pieces, to the placement of tacks and screws.

I took this idea and decided to attempt to make my own chair. I was more engaged with trying to practice this good craft in the making of my own chair. Function was not a priority at first. But then after the first one I made crumbled beneath me I had to alter my design.  After I began my second attempt I became more engaged with the raw form of a chair that is the base of its function. The “skeleton” if you will.

I made the wooden skeleton out of stained oak. I took great care to make the connections seamless using pin and keyhole connections and four screws.  I have now clue how to upholster or weave so I chose to leave the chair seat less.   As I mentioned before, I became enthralled with this form.  After the wood form I decided to make a skin of shell that had been shed. I view it as if I was creating a sustainable memory. Sustainable in material: plastic. Plastic takes decades to decompose naturally. I made two plastic forms based off my original wooden frame, one made of plastic wrap the other made of plastic urethane resin. One represents the shell or shedding of old skin, a symbol of a new start.  The other is more representational of the form., but the form itself cannot support any weight.  Theses three elements all manifested into my piece this semester. A tribute to chair, a most forgettable aspect of our daily lives yet is one most commonly used.

Love Quilt

As I thought and thought about what kind of project I wanted to make for our final, I couldn’t get out of my mind all the beautiful images I have seen in these two books we’ve been reading. I just couldn’t decide which topic inspired me the most. All of them seemed so inspiring and interesting. There was one section that kept coming back to me in my mind: textiles.

I kept thinking of when my mom was teaching me to sew a simple hem at six years old. My mom has been a seamstress since she was very young. She instilled in me the importance and tradition of sewing. I always accompanied her to the fabric store to pick out patterns, threads, and styles. I loved going with her and looking through the books and thinking how fun it would be to make one of those styles. Soon after she taught me to sew I began making clothes for my doll. I tried to emulate the patterns my mom was making for her projects. She gave me advice and sometimes taught me to fix the mistakes I made.

When I looked back through my notes and the bookmarks I left on the two books, the one image the stood out to me the most was the Center Diamond Quilt on page 71 of Craft in America. I love the bright colors and the contrast they make between each other. I can’t image the amount of time that was taken to create these beautiful quilts but I decided to get a little practice on it. The quilt I created was inspired by the Amish quilts mentioned in Craft in America. I used simple shapes and contrasting colors. I wanted this quilt to also be a gift for my future baby niece who will be due in July. She will be the first grandchild from my husband’s side of the family so I wanted to create something for her. I took the idea of the square border from Nancy Crow’s Bittersweet XII quilt on page 423 of Makers. I began with sewing the patterns by hand and finished it off by sewing machine on the outside border to secure the edges. It had been years since I last used my sewing machine. I love the sound it makes when I run the fabric through it. The spiral-like patterns spawning from the pure, white, heart in the center represent the radial love that awaits baby Isabella.

As simple as this quilt might seem, I want the love and time put into it to shine the most. I hope that it becomes something of use for the little bundle of joy we all can’t wait to meet. Most of all, this quilt once again brought me closer to my mom. Her advice never fails me and her loving patience was what kept me going with this project. All the times that I was discouraged and wanted to just put it away and make something else that I thought would look better for this class, she encouraged me to keep at it and put to use what she’s taught me. This idea of bringing people together to create and share ideas is what I’m taking with from the readings in this class. I think back on the beginnings of Makers and realize the morals craft artists were so passionate about: being true to materials, creating something of use, and utilizing your innate skills to create works from the heart. I’ll be honest and admit that at first I didn’t understand why I had to read about “crafts” when the idea I had of them was different than from what I know now.  After completing this class, I have gained a deeper appreciation for the things around me. When I go shopping or even just visit my friends’ houses I look around more and appreciate the objects around me. I try to think back on how it must have been an item of creativity and hard work.

I am thankful for this class and for the readings that were chosen for it. I have a new understanding of crafts and the things I can create. I can’t wait to meet all of you and learn more from each of you and the new people I will meet in Junction. See you all soon!

Gypsy Constellation

 

 

 
Gypsy Constellation

When deciding on what to create for my final, I knew I wanted to combine different techniques along with aspects of my esthetic to create a textile sculpture. Diane Itter, Jane Sauer, Claire Zeisler and Nick Cave were four Craftsmen in Makers that initially caught my attention and their work is where I gathered all of my inspiration for Gypsy Constellation.  When reading about Diane Itter and how her work was “admired for their optically playful patterns, splendid color, and determined smallness and detail” Makers: A History of American Studio Craft (p. 427), I knew this is where I wanted the direction of my fiber/textile sculpture to go. I wanted to make a piece that was rich in color and on a verge of a visual overload just as Itter did with her work. Jane Saucer also caught my attention with inspiration because I like her choice of material she used to make her textile sculptures with twigs and linen. This is where I thought of incorporating jute and manila rope for the bases of my color overload. Claire Zeisler overall had a big impact on my vision. Her “constructed balls of wool that looked both very dense and light enough to float away”, Makers: A History of American Studio Craft (p. 262) is how I thought of the idea to use wool pom poms. I wanted to create a sculpture heavy in color but light on the eye as well. Zeisler’s coil works along with her weaving/ knotting techniques also inspired me. Therefore, I decided that the manila rope and jute base could be made into circle coils/spirals as the foundation for the wool pom poms and my two weaving pieces. Nick Cave inspired me with his use of randomized materials and 3D dimension. Then there is my background as what type of artist I am. I have always been into textiles and worked with many textiles before, but I however, also paint. This is where I came up with the idea of having my textile sculpture on canvas. I wanted to merge both of my passions into one…

 

 

Hula Hoop Loom Weave

 

 

 

 

Cardboard Loom Weave

 

 

 

With my inspiration flying off the charts I decided to get busy. The size of my sculpture is 5ft x 4ft. All of my materials are fiber/textiles which include: canvas, jute, manila rope, wool, cotton, parachute rope and t-shirt yarn (rayon and cotton). I made two homemade looms for my two weaving pieces. I have never woven textiles before so this was exciting but also a learning process. I built one loom out of a hula hoop and the other from cardboard.  The hula hoop weave took me about a month to complete. I wanted this piece extremely 3D so it is about 3 ½ inches thick in the middle. I created it thicker so when I did a thin boarder around the thick middle, it would bulge up and resemble a flower to incorporate with my pom pom flowers that are on the manila rope. My weave that was made on the cardboard loom is flat in the middle and budges on the outside. I did this to create different structural appearances throughout the sculpture.  

Coils/Spirals

 



Laying it out...working progress

 

For my coils I generated twenty four different sizes. For each one I decorated them with the different yarn fibers I mentioned above. This is how I held the manila rope together to create the spiral shape. I wove each thread through the rope and tied knots whenever needed to generate the patterns. I then arranged different neon colors of wool pom poms to each piece. The big coils spirals took me about two to three hours each to complete and the small coils took me about two hours. Each piece is uniquely different and it feels as if each piece has its own spirit to me since I created one at a time very slowly and with a lot of thought. The coils/spirals started looking like constellations to me and from the beginning I wanted to create something bohemian, therefore I created the name Gypsy Constellation. I know mine is probably really odd compared to everyone else’s in the class so I hope you all really like it!

 

 

Brea Huseman

Gypsy Constellation Fiber/Textile Sculpture

Spring 2013

 

Reference:

Artist/Quotes

Makers: A History of American Studio Craft

Janet Koplos and Bruce Metcalf

2010