emerging artist: Jessica Hodgson

JESSICA
HODGSON
ARTIST
STATEMENT
Growing up on a conventional family
farm in Southwestern Manitoba, I was raised with a fundamental respect and
understanding of the environment and our food.  After moving to Winnipeg
in 2006, I was surprised by how quickly I lost this sense of respect.  No
longer getting my food straight from the garden or neighboring farms, I lost
touch with the understanding I once took for granted, as
it became easier and more acceptable to drive to the supermarket and fill a cart
with convenience.
At a point where the public is
becoming more aware and more alarmed by what is being labeled as food, I often
find myself disturbed and confused by the information we are surrounded
by.  Coming from a farming
background surrounded by companies like Monsanto, paired with a concern for how
safe many of the foods we are eating actually are, I find myself on a slippery
seesaw of what is right and what is safe.
Frustrated by the topic, I designed
the Stratum line in reference to the
mysterious layer of chemicals, control and deception that seems to be veiling
our food system today.  Typically the white surface of sterility that
covers functional dinnerware is comforting and customary, providing us with a
smooth, safe surface to present our food. 
In Stratum however, this white
surface is only superficial, draping over dark, organic sections, masking them
in uniformity and perceived appeal.
 

guest post: “show us your influences” with Amanda Barr

So you may have noticed that starting last friday I’ve begun (what will hopefully become) another weekly feature on the blog. Inspiration comes from numerous obvious and sometimes less clear sources. Fridays will now be a chance for readers of musing to share what inspires them.  So drop me a line with a few lines about you, your inspirations (3 artists, not neccessarily clay based) and some images and join in the fun!
Thanks in advance
xoxo
carole

My inspirations by Amanda Barr:
Author Neil Gaiman
Molly Hatch
Jason Bige Burnett
My
work is very much a reflection of my personality; bright, colorful, and
highly imaginative. Reality has often been painful, so I and in turn my
work, seek escape in other worlds. Seeing creatures in passing clouds,
dreaming of alternate worlds, delving into books about eras long past
make each day a new and fun adventure, for myself and I hope those who
use my work.
Neil
Gaiman writes some of the best science fiction and fantasy worlds in
literature today. His writing is funny, sad, exciting and above all
heart-felt. From his adult fiction (Startdust, Neverwhere, Anasi Boys,
Sandman, The Ocean at the End of the Lane) to young adult and children’s
books (Coraline, The Graveyard Book, Chu’s Day) he has never failed to
capture me completely. His 2012 commencement address-turned-book “Make
Good Art” is my go-to when I need extra motivation to keep going.

Jason’s
work has that blend of simple (form) and complex (surface) that has,
since I first saw a piece several years back, called to me. Playful yet
poignant, his work is everything I’ve strived to create. His subtle
manner of storytelling is some of the best around, and of course he is
as beautiful a person as his work.

Molly
Hatch’s work first spoke to me because of the historical references- I
loved Wedgewood long before I ever began working with clay. Her more
recent design work- moving into fabric, wallpaper, glassware- is
something I am fascinated with and would love to someday do myself. What
I love most about Molly is how she has elevated the functional pot into
artwork with her displays of teacups and teapots in frames and of
course her “plate painting” pieces such as Physic Garden with the High
Museum. 

movie day: Alternative methods of ceramic shaping / The Blast / Adam Železný / UMPRUM

The Blast is a set of ceramics vessels that are shaped by a shockwave
induced by controlled detonation. I am using a sophisticated system of
explosive charges which – on basis of measurements and tests – determine
the final shape of the bowls. As a result, I am presenting a set of
different sized bowls which stand on the edge of fine and applied arts.
The important point is the act of creation of the bowl. The blast,
event, which itself lasts no longer than the actual detonation. A
shockwave shaping the bowl is spreading at a supersonic speed and
partially imprints itself into the ceramic mass. It is kind of a punk
analogy to an industrial porcelain production, isostatic shaping, which
is also based on the use of pressure. However with much lower costs and
much different result classified as free ceramics.