I
respond to the challenge that comes from making utilitarian work that
will become an intimate part of the daily lives of others. My work is
rooted in functional pottery, but I also understand the contemplative
role a pot can play in people’s daily lives, viewing the work in much
same way that one might view a painting or a sculpture. My work is not
highly decorated or ornate, but my forms and surfaces are very
intentional. Driven by traditional pottery forms, my primary concern is
the complex relationships between the form of the pot, the surfaces, and
the firing. I am very interested in the subtle differences that make
two very similar pots very different. I believe in making work that is
well made, but not precise so that no two pieces are ever the same.
My primary inspirations are the Japanese
concepts of wabi and sabi that view imperfection and irregularity as
forms of beauty. Shiho Kanzaki, in the History of Shigiraki Pottery,
defines wabi and sabi as “the fulfillment of sensibility beyond the
incompleteness of material things.” Wabi may be defined with words like:
asymmetry, simplicity, wizened austerity, naturalness, profound subtly,
and unconditional freedom. Sabi may be defined with words like:
restrained refinement and luster.
My work is inspired by the irregular
beauty of the natural world. It is easy to find geological analogies in
my work: rock fissures, lichen, moss, eroding wood, and dry lake beds to
name a few. Much of what happens in nature evolves slowly over time, as
does my making process. My pottery begins as wheel thrown and
hand-built forms that are altered in various ways allowing the natural
development of gesture and asymmetry. While I may have a preconceived
notion of the form, I give myself the freedom to stop and reflect along
the way, often times stopping before creating what I conceived,
discovering the form during the making process. It is this process that
preserves the natural, inherent, plastic quality of the clay without it
being over worked. I embrace the craft skills and procedures every
potter needs to control and manipulate wet clay, while allowing myself
the freedom to keep each piece fresh and different. It is
through an understanding of form, function, and the vocabulary of
pottery that the vessels created can be viewed as abstract sculptural
objects while retaining their function.
I
attempt to make pots that reward examination and reflection. The wood
firing process adds another dimension to the composition, producing
surfaces that are rich with complexities. This firing method creates a
varied palette of colors and textures not achievable in any other way.
The work is loaded in the kiln either unglazed or with a simple glaze
that is receptive to ash and flame. Similar to geologic actions, heat
and pressure is exerted on the work. During the course of the firings,
the draft created by the chimney pulls wood ash and alkaline vapors
released by the heat of the fire through the kiln. The ash is deposited
on the ware in the path of the flame, and records the thoughts and
process of the maker and the kiln’s fire. I feel that wood fired
pots have the ability to bring us closer to earth and to nature while
creating a direct dialog between the user and the maker. – Seth Charles
“This
is just the beginning, the build up to the Durga Puja in Kolkata. Every
year, for for months throughout the rainy season, artists, workers and
families prepare for the largest event of the year. By using local
materials, clay from the river and straw from the rural communities,
some of the most talented artists create some of the largest and most
beautiful idols. Communities and families then purchase, worship then
submerge them in the Hooghly River. This is just the first part of this
devotional wonder…
Durga Puja festival marks the victory of Goddess Durga over the evil
buffalo demon Mahishasura. Thus, Durga Puja festival epitomises the
victory of Good over Evil.
Durga Puja is widely celebrated in the Indian states of Assam, Bihar,
Jharkhand, Orissa, Tripura and West Bengal, where it is a five-day
annual holiday. In West Bengal and Tripura, which has majority of
Bengali Hindus it is the biggest festival of the year. Not only is it
the biggest Hindu festival celebrated throughout the State, but it is
also the most significant socio-cultural event in Bengali society. Apart
from eastern India, Durga Puja is also celebrated in Delhi, Uttar
Pradesh, Maharashtra, Gujarat, Punjab, Kashmir, Andhra Pradesh,
Karnataka and Kerala. Durga Puja is also celebrated as a major festival
in Nepal and in Bangladesh where 10% population are Hindu. Nowadays,
many diaspora Bengali cultural organizations arrange for Durgotsab in
countries such as the United States, Canada, United Kingdom, Australia,
Germany, France, The Netherlands, Singapore and Kuwait, among others. In
2006, a grand Durga Puja ceremony was held in the Great Court of the
British Museum.
The prominence of Durga Puja increased gradually during the British Raj
in Bengal. After the Hindu reformists identified Durga with India, she
became an icon for the Indian independence movement. In the first
quarter of the 20th century, the tradition of Baroyari or Community Puja
was popularised due to this. After independence, Durga Puja became one
of the largest celebrated festivals in the whole world.
Durga Puja also includes the worship of Shiva, who is Durga’s consort
(Durga is an aspect of Goddess Parvati), in addition to Lakshmi,
Saraswati with Ganesha and Kartikeya, who are considered to be Durga’s
children. Worship of mother nature is also done, through nine types of
plant (called “Kala Bou”), including a plantain (banana) tree, which
represent nine divine forms of Goddess Durga. Modern traditions have
come to include the display of decorated pandals and artistically
depicted idols (murti) of Durga, exchange of Vijaya greetings and
publication of Puja Annuals.”
~ VIA Vimeo
This video was originally made to help my Ceramics II students on their
Textured Slab Set with Focal Accent Project. In the video, I
demonstrate how to roll and texture a slab, and create a cylinder with a
squared darted bottom. I used a piece of craft foam from which I cut
my feather focal accent, and I used an MKM wooden roller to create my
repeated texture in the background. I also demonstrate how to create a
handle with the same texture as on the cup. See link to the MKM roller website: http://www.mkmpotterytools.com/roller… I
am a high school visual arts and ceramics teacher at William Mason High
School in Mason, Ohio. I have been teaching for over 25 years, and
have been working in clay since 1986 when I took my first ceramics class
in college! I have an Etsy shop where I sell my personal pottery which
I make at home. www.etsy.com/shop/KaransPotsAndGlass Please subscribe to my channel for more videos on working in clay! The MudTools ribs are my favorite ribs- in this video, I use the yellow and red ones. Here is a link to the mudtools ribs: http://www.mudtools.com/product/shape…
The
School of Craft + Emerging Media at ACAD welcomes applications for the
following nine (9) month limited term faculty appointment commencing in
August 2017:
Visiting Faculty, Ceramics
Why ACAD?
The
Alberta College of Art + Design (ACAD), founded in 1926, is one of
Canada’s most distinguished training grounds in art, craft, and design. ACAD
offers a broad and dynamic spectrum of study at the undergraduate and
graduate levels. Its 14 academic departments offer courses in diverse
disciplines including art history, theory, and criticism; ceramics;
fibre; glass; jewellery and metals; painting and drawing; performance;
photography; printmaking; sculpture; sound; media arts; graphic design;
advertising; character design and illustration. In addition to
studio-based education and training, a strong program in liberal studies
emphasizes the critical role that the humanities and social sciences
can play in students’ development.
Innovation
and renewal in our curriculum is an ongoing process that responds to
cultural and technological shifts in arts, crafts and design practice on
students’ curricular needs. Our faculty comprises renowned
professionals who are first-class instructors as well as active
practitioners. As leaders in their fields, they are committed to
building a diverse, stimulating environment for the exchange of ideas
and the acquisition of technical skills and crafts.
ACAD
is located in Calgary, Alberta in the foothills of the Rocky Mountains.
Calgary is a cosmopolitan urban centre, with a diverse population of
over 1.2 million people. This vibrant city has outstanding
post-secondary and cultural institutions as well many varied
recreational opportunities.
About the School of Craft + Emerging Media, Ceramics Program
ACAD’s
Ceramics faculty is a diverse, engaged group of notable teachers and
practitioners connected to the field at home and abroad. Each year, a
new visiting artist complements the energy and expertise of ceramics
faculty, teaching and working alongside students in the studio. The
visiting artist contributes a fresh and diverse perspective, enhancing
the learning experience and serving as a catalyst for critical dialogue
within the college.
In
the Ceramics program students explore the role of function, sculptural
approaches, emerging technologies, historical precedents, and
contemporary practice within a comprehensive, studio-based and
theoretical program of study.
To
complement existing instructional resources, this position will
instruct four (4) 4.5 hour-long studio courses at all levels of the
undergraduate BFA in Ceramics program. Salary will be commensurate with
experience and education. In addition, the successful candidate will
receive a research grant of $5,000.00 towards research and studio
practice and will be required to report and present on research
activities as well as mount an exhibition of their studio practice and
research at the College while in residence at the College.
The
successful candidate will be capable of teaching all forms of Ceramic
practice through core courses and studio supervision, including vessel,
sculptural, figurative, installation and performance. The
candidate will possess an active studio practice that will contribute
to the breadth of the program and demonstrate a critical and creative
engagement with contemporary discourse on Craft and Ceramics. In
combination with a collaborative spirit and professional commitment to
the field, experience in academic service, curricular innovation and
Ceramics’ studio management will be considered an asset.
Responsibilities include:
Teaching four (4) x 4.5 hour long studio courses at all levels of ACAD’s Ceramics program
Maintaining
a research/studio practice, and contributing to research and
scholarship in the field of contemporary Craft, specifically Ceramics
Creating and exhibiting a new body of work
Reporting and presenting on research activities in the form of artist talks and/or workshops
Demonstrating a commitment to pedagogical and academic excellence
The successful candidate will have:
An MFA or an equivalent degree or combination of education and professional experience in Ceramics
Previous post-secondary teaching experience
A professional exhibition record as a Ceramist
Excellent
technical skills, and a wide knowledge of all aspects of the
discipline, with a particular regard for international practice in
Ceramics
Be
community-oriented; comfortable interacting with students, faculty,
artists, and the public, and demonstrate a balanced approach between
research, practice, and pedagogy
Preference will be given to applicants with a strong studio practice and teaching experience in pottery.
How to Apply
>>>Please
submit applications by clicking on the Apply Now tab at the bottom of
this page. The application must cover letter, a current CV, and the
following:
Artist statements outlining philosophies and practices regarding teaching and studio practice
A
digital portfolio of your recent studio work containing twenty (20)
images accompanied by a corresponding numbered list including titles,
medium and size
A
statement on your proposed research topic (topics can include
explorations in creative practice, technical process, content
development, etc.)
Letters
of recommendation are not required with application but will be
requested at a later stage, if application is successful.
Applications must be submitted in a single PDF document.
Once you have created an account, choose the “Upload Resume” option. You will only be able to upload one file, so make sure all required material is combined into a single PDF document. Incomplete submissions may not be considered. Once you have submitted your application, you will not be able to make changes or add additional documents. Please visit ACAD’s How to Apply page to ensure your application is complete prior to submission.
Review of applications will begin on April 8th, 2017 and will continue until the position is filled or the search is closed.
Further information about the College is available on our website at www.acad.ca.
ACAD is an equal opportunity employer and is
strongly committed to fostering diversity within our community. We
welcome those who would contribute to the further diversification of the
College. We encourage expressions of interest from all qualified applicants for consideration for this or other suitable vacancies.
The
collection of personal information is for the purpose of determining
eligibility and suitability for employment as authorized by the Freedom
of Information and Protection of Privacy (FOIP) Act, section 33(c). If
you have any questions about the collection of your information, please
contact Human Resources at [email protected] or (403) 284-7683.
While we thank all candidates for their interest, only applicants selected for an interview will be contacted.
