Clay as a material itself is soil and if you
were to step in it with your boots the first thing you would do is to
wash it off, but by transforming this mud through the ceramic process,
it’s inherent value forces us to stop and pay attention. By exploiting
the possibilities of a material I always try to find or release the
hidden beauty from something that may normally be overlooked.
It
is very difficult these days to create something unique and innovative,
so by using the ‘usual’ in an unusual way I hope to make people see
ordinary objects in a different light.
I am driven by a force to
create, innovate and experiment. I see my work pushing and challenging
the perceived boundaries of creative processes, techniques and
materials.
I always try to use unconventional materials and tools
in an unexpected way or try to push the boundaries of that material or
tool’s properties, and stretch its potential to the next level. By doing
this I always find something new which drives me further. For instance,
prior to my studies, I worked as a chef and I sometimes bring this
previous experience and its tools into my ceramics.
I try to keep my work as minimal as possible. I believe less is more.
I
love the purity and the translucence of bone china and much of my
recent work centres on this. In my degree exhibition I married the
ancient craft of ceramics with 21 st century technology, by applying QR
code ceramic transfers on to bone china. My QR codes carried messages
from Greek superstitions and songs. The key to unlock the QR codes is
your own smart phone device.
As bone china contains bone ash it
symbolises the fact that as something dies something new is born just
like the ancient Greek Phoenix that rose from the ashes.
I began working in clay for the
first time about a year ago having never touched it before then. On a
whim I decided to take a Ceramics class at a community college and from
the first day I was felt as if I had been doing it my whole life. It
just clicked! Ever since then I have been working non stop and am
finally getting a “studio” set up and just this week ordered my first
kiln. I
am extremely excited to see what the future holds for me and am
grateful that I have found this life changing medium.
Realizing the need to enrich the existing collective studio with
creative, energetic and artistically diverse ceramists, Baltimore
Clayworks is offering a one-year residency fellowship as a memorial to
one of our founders, Lormina Salter. “Nina,” as she was fondly known to
us, was a gifted teacher and respected artist who handbuilt large
stoneware vessels and sculpture. Her initiative, energy and insistence
on artistic excellence were instrumental in setting direction for
Clayworks in its critical early years.
The residency fellowship runs from September 1st to August 31st of
the following year. Applications will be juried by select artists in
residence, the Residency Program Coordinator, the Executive Director and
an outside curator or artist.
Former and current affiliates of Baltimore Clayworks are not eligible.
The Residency Fellowship Includes
Individual production area (approximately 120 square feet)
$100 monthly materials and firing stipend
A solo exhibition in our main gallery at the end of the residency
Common area (2000 square feet) including storage Consignment
Gallery (60/40 –2002 gross sales – $65,758)
Kilns: 60 cu ft and 45 cu ft downdraft natural gas kilns, 30 cu
ft propane kiln, raku propane kiln, a newly constructed two-chamber
climbing type woodkiln, 8 electric kilns, electric test kiln
Equipment: 2 slab rollers, Alpine spray booth with 1 hp compressor, ball mill, extruder
Teaching opportunities, both onsite and through our Community Arts program, networking with Artists-In-Schools
Residency Fellowship Requirements
At least 24 hours weekly on the premises (doing your own work)
Up to 10 hours annually of community outreach (slide lectures or demonstrations)
Participation in the collective life of the studio Willingness to abide by environmental concerns
“The
work I am currently creating stems from a long time fascination with the
teapot. When I began working in clay in 2008, all I wished to create
was an aesthetically pleasing and well functioning vessel for tea.
However, this form proved too challenging, and in frustration I set it
aside. Only recently (and after a number of years learning to work with
clay) have I began to readdress the teapot, and pouring vessels in
general.”
So one of the new changes around musing that I wanted to implement this year (yeah a realize it’s already March, give me a break) is a new feature focusing on student and emerging artist work. Most of the eye candy monday features showcase artists who have gained a level of recognition already within our field and community. I would like to start to support the more emerging artists out there in gaining exposure, and hopefully feedback on their work.
Starting today I’ll be presenting two emerging artists each weekend. Now this is going to be a regular feature so long as you all help me spread the word and help search out these fresh new artists. I can’t do it without you as most of this work is going to be off the radar and not the kind of thing you can just run across in an afternoon on Pinterest. So teachers, guild members, fellow students, each of you – nominate a friend or spread the word that I’m on the lookout for some new talent.
What qualifies? Well I think the term student is obvious enough, but emerging, well it can be a grey area. I really just want to be inclusive of emerging artists young and old. So doesn’t matter if you are 20 and have no formal training or 65 and have just fallen in love with clay.
What am I looking for?
A few images, they don’t have to be professional or on a grey background. So long as we can clearly see the work that’s fine.
If you’ve got a website, facebook page, etc, please send me the link to share. If you don’t have a website don’t worry about it.
A little write up would also be nice. Tells us about yourself, about your work. Include an artist statement if you have one. Again though no pressure. Sometimes the images can speak for themselves.
Where to send it? Just drop me a line at [email protected] with “emerging mud” in the subject.
