by Carole Epp | Dec 21, 2009 | Uncategorized
I always like reading in bios how an artist found clay and turned a complete 180 from what they were previously doing, in William’s case a BA in International Political Economy. That magical draw of the clay is just so powerful! Well I’m sure I speak for more that myself when I say that William made the right choice as he is an incredible potter and I’m sure that this spectacular functional work is as enjoyable to use as it is to look at.
Artist Statement
As a ceramic artist I explore the potter’s wheel and the use of atmospheric firing methods as my primary tools. The dynamic interaction between the malleable, versatile clay and the steady motion of the wheel first enthralled me, and continues to challenge and humble me everyday. It is this interaction that inspires the forms I create, and which influences the movements of my hands as they meet the clay. Each piece is a record of the union of these forces.
My current work reflects my continuing attempt to find a balance between the requirements of function, and the subtle details which give a form the strength to stand alone and yet still remain receptive to the marks of the fire. I choose to create mostly functional work because I enjoy the intimacy with which these pieces can be experienced. For me, knowing that a piece of my pottery will be filled with nourishment and held closely on a daily basis only adds to the beauty of that piece and to the attention to detail it deserves. As each piece takes form between my hands one thousand thoughts fill my head; of strong form, proper function, and firing surface. I am creating not just a bowl or cup or jar, but a pot with all the possible expressions of the human personality. I form the structure, the bones, of the pot thinking ahead towards the firing chamber. Building on this structure I refine the surface until the taut skin reveals the intentional elements of the seemingly simple form. And then I send the pot into the fire, standing naked and unadorned, with only its strength to protect it and its softness to accept the flames which wrap around it.
All work is wheel thrown, altered, wood and soda fired to cone 10.
William Baker Bio
1999-2000 Finished undergraduate studies with a BA in International Political Economy
Discovered wheel-throwing and the existence of potters, began trying to make up
for “lost” time.
2002—2004 Resident Artist at the Odyssey Center for Ceramic Arts, Asheville, North Carolina Discovered salt and soda firing
2005-Present Studio potter working in the mountains of Western North Carolina
2005-2006 worked with a cross draft gas/soda kiln
2007 built my wood burning cross draft soda kiln, which has allowed me to produce my mostly functional pottery and focus on the wood/soda firing process
Website:
www.williambakerpottery.com
also:
www.williambakerpottery.com/blog
www.williambaker.etsy.com
by Carole Epp | Dec 20, 2009 | call for entry, emerging artist, job posting, monday morning eye candy, movie day, residency opportunity, show us your influences, technical tuesday
The Art League is pleased to present 100.Tea.Bowls in collaboration with the ceramic artists of the Torpedo Factory. 100.Tea.Bowls invites artists to create a harmonious composition through the tea bowl clay form. This exhibit is presented in tandem with our immensely popular biennial Ikebana Show. Prospectus/Call-to-Artists/Entry Form click here
Awards Reception: Sunday, March 7, 2010 from 1:00 to 4:00 pm
The exhibit will also encompass several special events, including:
- Japanese Tea Ceremony and discussion of the work of Chado, the Japanese way of tea, with Stephen di Girolamo of the National Portrait Gallery, Smithsonian Institution:
Sunday, March 8, 1:30 pm
- Musical Performances by the Washington Toho Koto Society, performed by Mrs. Kyoko Okamoto:
Thursday, March 4, 6:30 pm (private reception) and Sunday, March 8, 3:00 pm
Juror Ceramic artist Terry Gess—Mr. Gess has received international awards and recognition for his work. He was invited to live and work in a teapot factory in the People’s Republic of China, collaborating with a master Chinese potter in the development of new teapots. His formal education includes study at the Cleveland Institute of Art, Southern Illinois University at Edwardsville, and Penland School of Crafts.
by Carole Epp | Dec 20, 2009 | call for entry, emerging artist, job posting, monday morning eye candy, movie day, residency opportunity, show us your influences, technical tuesday
December 31, 2009, Entry Deadline
The XXIst International Biennale of Vallauris
Vallauris, France
The XXIst International Biennale of Vallauris will take place from July to November 2010. As part of this Biennale, a competition, reserved for members of the European Union, is being organized under the aegis of the Municipality of Vallauris Golfe-Juan by a Committee of the Biennale meeting at the town hall. Any artist presenting completely new work may take part. For 2010, there are three sections: The Container, Design, – Architectural/ Sculptural/ Conceptual Ceramics
Each participant may present one work per section or two works if he registers for only one section. The prizes will be the Grand Prize of the Town of Vallauris of an amount of € 15,000 and one prize per section of an amount of € 5,000. Various others prizes will be awarded, including among others, a special “Under thirty-five years old” prize (on January 1st 2008). Deadline for application: 31st of December 2009.
For more information and to download an application click here: XXIst International Biennal of Vallauris
by Carole Epp | Dec 19, 2009 | call for entry, emerging artist, job posting, monday morning eye candy, movie day, residency opportunity, show us your influences, technical tuesday
Entry Deadline: Feb. 13, 2010
California, Davis
The Artery, home of the Artists’ Cooperative of Davis, announces a call to artists for the 2010 California Clay Competition. The Artery has sponsored the Competition since 1990 to give California ceramic artists an opportunity to display their work during the California Conference for the Advancement of Ceramic Art. The competition is open to all California residents. Works accepted must be for sale, available for the duration of the exhibit, and made within the last two years. This year’s juror is SJSU Professor Stan Welsh. Mr. Welsh holds a MFA from New York State College of Ceramics at Alfred University in Alfred, NY. Currently, he is professor in Spatial/Ceramics at San Jose State University in San Jose, CA. Artworks must be made of clay; or mixed media, with clay being the major emphasis of the work. Functional as well as sculptural forms are solicited. The work must fit through a standard door-frame and weigh no more than can be easily handled by two people. Wall pieces should be ready to hang using wire and/or cleats. Space is limited; approximately 35 works will be accepted from an expected 400 entries. Monetary and gift awards will be announced at the opening reception. Entry fee. To download prospectus and for more detailed information go to http://www.theartery.net/ and look under “What’s New! — 2010 Clay Competition”
by Carole Epp | Dec 18, 2009 | Uncategorized
7th Conference of the International Committee
for Design History and Design Studies
ICDHS 2010 20-22 September 2010
Brussels, Belgium
Deadline abstracts – 31 December 2009
The conferences of the International Committee of Design History and Design Studies (ICDHS) aim to assess the current state of affairs of design history and design studies. The seventh ICDHS conference, “Design and Craft: A History of Convergences and Divergences”, will bring the relation between design and craft to the fore. This theme offers an excellent opportunity to gather new design historical and theoretical research from over the world in a focused discussion on regional specificities as well as the impact of global processes of industrialisation. If, until now, design history has been largely dominated by the Western narratives of industrialization, then moving the focus towards non- industrial design practice might bring non-Western scholars to the forefront. Moreover, previously marginalized design histories in industrialized countries can finally get a voice. The Brussels’ ICDHS conference will contain strands where the emphasis is laid on the presentations (of about 20 minutes each) and workshops with an emphasis on debate and discussion. ABSTRACTS AND PAPERS
Papers are expected to make an original contribution to the field of design history and design studies. People who are interested in presenting a paper should send an abstract for refereeing. Paper proposals will be selected by the ICDHS members and the scientific committee to cover different areas, methods, approaches and positions.
Abstracts should be maximum 300 words.
Each entry should incorporate the following information: Author’s(s’) full name(s), (+gender (M/F), in brackets), Title – Position – Institution – Address for correspondence – Telephone – Fax – E-mail – Theme of the paper (see conference strands and workshops), indicating a first and second choice – Title of the paper – Abstract of the paper. Abstract and later paper submissions should be sent by e- mail as a Microsoft Word or RTF document, double-spaced on A4. Preferred typeface is 12pt Times new Roman. The official language of the conference is English. Please send abstract and paper submissions to the following address: [email protected]
STRANDS 1. The Impact of International Organisations
2. Craft and Tourism
3. Towards an Aesthetic of Objects
4. The Design Critic, a Lost Profession?
5. Revival of Traditional Techniques
6. Craft, Design and Postmodernity
7. Fashion and Craft
8. Ruptures and Continuities: The Historiographic Understanding of Craft and Design
9. Craft and Technological Innovation
WORKSHOPS 1. “Design Centres” and Design Exhibitions
2. Craft and Gender
For further details on the themes go here.
All work is wheel thrown, altered, wood and soda fired to cone 10.
