Hey all, I updated my resume, and made it easier to access. Check it out if you like!!! 🙂
Hey, if anybody’s interested, I have some small ceramic items for sale on my Etsy site. Currently I have ceramic buttons and necklace pendants, and soon I’ll be posting some earrings and a tiny bowl. Definitely check it out! http://loverubytuesday.etsy.com
I think the last time that I posted on here was in college. It’s time for an update, I think!
So, I’ve been thinking about what I want to do with my life and career. I love making portraits in different mediums, but my most unique medium is underglaze on fired clay.
My grandmother told me about an idea she had for me, which was to make ceramic cremation urns with the deceased individuals’ portraits on them. At first I thought the idea was too morbid for me. But, after a while of thinking about it, it does make sense. I have yet to find an artist today that is making ceramic urns with painted portraits on them. I’ve been thinking that it could be an ideal project for me to try out.
Everybody dies eventually. Family members around the world have different ways of dealing with the death of their loved ones. Cremation offers many opportunities for ceramic artists.
I just want some feedback on this idea and see what you all think about the possible demand for urns with hand-painted portraits.
Hi all, check out my slideshows in my gallery. Let me know what you think!
I just added a new slideshow of my senior work. To check it out, click on Gallery on the right side of this page, under the lady’s feet. 😀
I found this chapter of Paul Greenhalgh’s book to be extremely difficult to follow. But nevertheless, I picked up on a couple of things. I found it interesting how he describes genres and how we need to be so aware of them. It seems like a vague discussion at first, but it does open our eyes to what’s right in front of us, what we usually don’t focus on or notice. When thinking about genres in general, you can notice some are stronger and more prominent, like the artistic functions in society. I think that for us in ceramics, it’s important to think about what ceramics is as a genre and how it functions now and in history. This helps us to discover more about our art-making and what it means to do it.
That’s what you should do if you want to be a successful artist, says David Bayles and Ted Orland in their book Art & Fear. “Learn not to quit” sounds like a DUH statement, but you’d be surprised at how many artists get so overwhelmed with fears of not being good enough, people not liking their work, ideas not be sharp enough or executed well, to the point of them just quitting art altogether.
David and Ted bring up some interesting points about how and why artists “stop” making art for a while, or “quit” making art, period. One reason is when they graduate college. Well, we’re all almost there right now, and I hope that none of us get to the point of quitting! The authors make a good point in differentiating between “stopping” and “quitting” the making of art. Stopping implies a break, in that you will pick it up again at a later time. Quitting is just that….quitting. No turning back, never doing art again.
This chapter of the book was interesting, and kind of gives you something to think about when it comes to your own art making and success in life, and how you think about your work while you make it. Definitely an interesting read.
The artist couple, Jessica and Jared Joslin, not only have amazing work, but present it well on their websites. Jessica makes small and creepy (but awesome), sculptures out of collected materials she’s acquired since childhood. They include, but are not limited to, antique hardware, brass, bones, leather gloves, and cast plastic. Jared on the other hand creates paintings with images of circus people, 1920’s women at the beach, animal and human relationships, and occasional self portraits. Both artists have an amazing attention to detail that is to be admired.
Their joint website is set up really nicely, with one image from both of them as a link to their own individual site. Their sites are similar in color and layout when browsing images, but are still individualistic. Their images are very easy to navigate through, and each image includes at least one detail shot.
Here’s the URL to their site: http://www.jessicajoslin.com
OR you can just click on their link under my Links section to the right! ———————>>>
…………….Jessica Joslin…..^………………………………………………….Jared Joslin…^…………….
Paul Greenhalgh’s book, The Persistence of Craft, brings up some controversial issues pertaining to the art world that need to be read and understood by not only professional artists and art students, but also the world at large. A few points in his introduction that interested me included the use of eclecticism in art, the combination and co-operative of companies and artists, economy issues, and the role of spaces, places, and museums for art.
Of all of those issues, I was most interested in the conversation about museology and what places vs. spaces do to the perception of displayed arts and crafts. Paul writes, “All too often, the public spaces we put works into shift them from being living, vibrant manifestations of poetry and humanity to being mere pieces of evidence that poetry and humanity once existed here.” I absolutely agree with this statement. Setting up an art show of “craft” art in a gallery setting seems to be less and less appealing to me as I think about it. I think that placing ceramic objects in a stark white setting with pedestals, etc. somewhat demeans the art itself. It is much more pleasing to think of walking into a warm room with windows and drapes, with art objects sitting and living in different areas of the space.
Paul refers to poetry in relation to this concept, as shown above. Certain art objects in certain settings can be quite poetic and graceful, but setting them individually in a blank room, with no interaction with anything else, just gives off a different feeling to the viewer. There are no relationships or other references to draw from that might add to the meaning of the piece(s) in the environment.
Greenhalgh gives an example of this concept by making reference to an instance where he and some friends and students walked into such a gallery space displaying some work by the Cubist artist Georges Braques Papiers Colles on the blank white walls. “[My friends and students] felt that they looked sad, tired, lonely and confused. It was a matter of museology; this tube-embraced barn-of-a-place had destroyed their scale; and the fact that they were lined up en serie, like a row of trophy heads in some weird clubhouse, had neutered them.”
The Gallery space that is so vital to our display of art these days is setting the work apart from something necessary to its meaning and life: an environment in which it can interact and thrive. I would be very much interested in seeing different, rarer, art displays for the public that fit into this category that may inform my own use of display.