technical tuesday: Use Multi-Colored Clay to Build a Cup
This video was created by Bambootools Pottery. Moulds and tools can be purchased from http://www.bambootools.com.
Tammie Rubin: Neverwhere & Nowhere April 8 – May 4, 2014
Opening Reception: 4:30 to 6:30pm, Thursday, April 10 with Gallery Talk at 5:30pm
The Gallery at Penn College
One College Avenue 3rd Floor, Madigan Library
17701 Williamsport, PA
United States
Map: Google Maps
Dates:
Apr 8, 2014 to May 4, 2014
“Neverwhere
and Nowhere” is an assemblage of collected objects; the primary
interest is transforming the familiar, disposable, and trivial into the
mythic and fantastical. Rubin explores the wonderment of magical
thinking and the charm of constructed forms and ornate contraptions. The
conical shapes of her ceramics allude to a function of channeling,
transmitting, or filtering, and reference conical forms that imply
communication: voice pipes, megaphones, dunce caps, gramophones,
steeples, and satellite dishes. Through process, she tries to satisfy
her curiosity for sumptuous fluid surfaces, and ideas of accumulation
and myth. Utilizing the amorphous properties of clay and exploring its
inherent materiality, she creates fanciful objects that feel both
familiar and alien.
and Nowhere” is an assemblage of collected objects; the primary
interest is transforming the familiar, disposable, and trivial into the
mythic and fantastical. Rubin explores the wonderment of magical
thinking and the charm of constructed forms and ornate contraptions. The
conical shapes of her ceramics allude to a function of channeling,
transmitting, or filtering, and reference conical forms that imply
communication: voice pipes, megaphones, dunce caps, gramophones,
steeples, and satellite dishes. Through process, she tries to satisfy
her curiosity for sumptuous fluid surfaces, and ideas of accumulation
and myth. Utilizing the amorphous properties of clay and exploring its
inherent materiality, she creates fanciful objects that feel both
familiar and alien.
Tammie Rubin was born in Chicago, Illinois. She
completed her MFA in Ceramics at the University of Washington, and
received a BFA in Ceramics and Art History from the University of
Illinois, Urbana-Champaign, where she is now an Assistant Professor of
Ceramics & Foundations. Her work has appeared in Ceramics: Art &
Perception and Ceramics Monthly.
completed her MFA in Ceramics at the University of Washington, and
received a BFA in Ceramics and Art History from the University of
Illinois, Urbana-Champaign, where she is now an Assistant Professor of
Ceramics & Foundations. Her work has appeared in Ceramics: Art &
Perception and Ceramics Monthly.
There will be a “Meet the Artist”
Reception on Thursday, April 10, from 4:30 – 6:30 p.m. with a gallery
talk at 5:30 p.m. The gallery will be closed from April 18 to 20.
Reception on Thursday, April 10, from 4:30 – 6:30 p.m. with a gallery
talk at 5:30 p.m. The gallery will be closed from April 18 to 20.
http://craftcouncil.org/event/tammie-rubin-neverwhere-nowhere
Five Lines: Annual Resident Artists’ Exhibition @ Arrowmont
emerging artist: Zach Balousek
Artist Statement:
The most recent body of work has stemmed from a
kind of ceramic folklore involving peoples’ initial discovery of the
material. Before people fired pots they were a mobile society of basket
makers. As they began to cultivate the land and harvest a greater
surplus of grain they required more containers that would be resistant
to rodents and the open air. They lined their baskets with clay and in a
serendipitous event a fire destroyed most of their
material possessions but left them with some insight. The interior of
that basket became the first ceramic pot. Beyond its potential as a
prototype for their future, in its hardened exterior bore the
impressions of their past. It became a fossil to an ephemeral and mobile
society; a momento to a new culture that would seek eternal life
carving their name in earth.
kind of ceramic folklore involving peoples’ initial discovery of the
material. Before people fired pots they were a mobile society of basket
makers. As they began to cultivate the land and harvest a greater
surplus of grain they required more containers that would be resistant
to rodents and the open air. They lined their baskets with clay and in a
serendipitous event a fire destroyed most of their
material possessions but left them with some insight. The interior of
that basket became the first ceramic pot. Beyond its potential as a
prototype for their future, in its hardened exterior bore the
impressions of their past. It became a fossil to an ephemeral and mobile
society; a momento to a new culture that would seek eternal life
carving their name in earth.
The range of information this object says about
their society’s soft culture has lead me to find new meaning in our
material culture. If one can deduce that a mobile society produces
impermanent objects from ephemeral materials, and sedentary society
produces more permanent objects from archival materials; than what is to
be inferred from a culture which produces disposable objects from
permanent materials?
Rest in Peace John Chalke
“My interest has remained inconveniently multi-faceted in most things ceramic – from its misty prehistory, when only clay and gods mattered, to the subsequent historical offerings from many lands. Food and tea presentation, clay and glaze research, the art of throwing, the art of handbuilding, kilns, riverside shards, emissivity, the smell of old clay, on and on. The straight path to the studio from the house is necessarily most serpentine some days. Some months of the year, though, make it much simpler. When the days grow warmer I work much more outside, where pots dry more quickly. I become a potter and become familiar again with muscle and ache. From November on, when things are freezing solid outside, body activity slows down and more cerebral struggle takes its place. A farmer might go curling during this time. I suppose I go handbuilding. This sequence has been part of my making for well over 30 years. The only thing I can see that has changed is more honing, more reflection, more revisiting old and new places in my mind, and less guilt about the now petty.”
– John Chalke
Take my Illustrative Pottery Workshop with the Ceramics School
about me
Follow me on Instagram
Carole’s Website
MAKEANDDO.CA
Web Hosting sponsored by:
