Misty Gamble

Misty Gamble is here at the Art Institute as a sabbatical replacement for George Timock for the fall semester of 2008.  Today she shared her views about figurative ceramic sculpture while elaborating on the building techniques and source material used to create her work.  It is always interesting to see how artist interact with their pieces while in the creative process.  Misty is very gestural and physical when addressing her art.  She moves around the piece at a quick rate surveying its form, rapidly adding and subtracting clay where needed.  She has defiantly left her mark upon the students here.

studio

Over the past two weeks I've been working on throwing bowls of different shapes and sizes.  The trick for me is to try not to get stuck in a sort of production mode where i mindlessly throw bowls "the right way" over and over again.  Not that I'm trying to make shoddy work, but i do tend to settle into certain patterns of throwing which limit the variety of form that i could achieve.  So the goal is to work with a conscious eye and think about the features of pieces before throwing.  For instance, I'm thinking "should the bottom be flat or rounded? Is this a high walled or low bowl? Does the lip curve in or flare and with what type of angle on the edge?" etc... I've started the the project with some brown stoneware and then started using a very dark stoneware body formulated by Val Cushing.  I'm also starting to play with some subtle line work on the bare clay or through white slip.  Hopefully I'll start firing soon and get an idea how the different stonewares are receiving glaze.

The Glazing Process (not doughnuts)

In the first semester of my junior year, we are focusing on the wheel as a method of production. After several weeks of these practices, our class began glazing many of the works we produced. I chose to present a collaborative work from myself and Matthew Jorgensen who works alongside me in the studio. We switched back and forth on the wheel in the work's preliminary stages, which in turn led to a piece that had characteristics of both mine and Matthew's efforts. After bisque-firing the larger, low-pitched bowl, I applied a flashing slip to the interior surface of the bottom. Following this, I then applied 1/4" tape to the interior of the bowl, while paying close attention to detail in order to achieve a strict, linear result. This idea of "striping," comes into play for a number of reasons but mainly for its ability to formally translate basic design principles while lending itself as a base for decal work that will later play a role in this particular work. -Launch Slideshow-

Cybernetic Wombs and Beef Jerkey Nipples

(click image for slide-show)

I'm working on a series of tiles that display figures in masks sitting in a circle. I'm intrigued by the thought of modern mysticism being some kind of diluted mess, where tradition gives way to ones personal selection of beliefs from any number of sources. We struggle to feel connection to something greater, but truth is illusive and like anything else, it is bound to perspective.

We are also working with layers of thin slabs stacked so that one can cut through the layers to create a design. This method is intended to model a prototype which would then be molded and duplicated using a plaster mold. I've made a few prototypes but have yet to refine it completely.

I'm pretty excited about some initial tests for developing texture by spraying slips. Even on a very flat surface, the particles have a tendency to flock into organic patterns, and even the finest scratch on the surface will effect that tendency. I don't know exactly where I'm going with this one either but it seems promising.

A Study of Texture

Intuitive art.... that's what i am currently working on. Currently I am in the process of learning new ways to manipulate clay. From using syringes, to just take my shoe off and using the tread, this process is purely experimental for me at the moment. My hope is to find great texture that make china paint pop in a new way. Being in ceramics has taught me that i lack patients, so at this point in time I am trying to fix this by going with the flow. It takes a lot of time to see your dream work completed in clay, so I have decided to let intuition lead the way, and hope that what is produced will help me understand the processes, so I may go back and recreate at a much quicker pace.

mine to do with what I please

The style of my pieces presently have a very streamlined, and aerodynamic feel. They are demure, and graceful with their curves, and exude a demeanor of femininity. They are much like the person I am not. It's interesting how pots can be so like their maker, or not outwardly connected. That a person who considers them self very quirky, loud, and unladylike for the most part could make something one would call dainty. Perhaps some pots try to out their maker, and show a side that isn't always immediately seen. Or maybe they just show how anal retentive their creator is, and everyone really knows that part anyway.

I am trying to connect the interior and exterior with a visual relationship in my pieces - to give each pot an aspect that draws the eye into the very bottom of the vessel. Similarly I am incorporating hidden writing on some part of these pieces to give the user an intimate relationship with it. Much like a discarded grocery list on the back of a receipt, or a personal note on the front page of a book can make the mundane special. These words change the tone and meaning of each piece, and it's relationship with it's final owner.

Longing for times unknown

A few years ago my mom gave my photos of her and my family from a time before I was even thought of. These images of an era of youth and beauty during the '70s and '80s, along with found antique post cards, gave me a feeling of nostalgia for a time that I had never known. But looking at the images of my parents, my aunts and uncles at the age I am now somehow lends me to feel as if I know them in ways I would not be able to otherwise.

This leads me to a personal experience, one that feels closer to homesickness, a feeling generally not associated with an unknown place and time, but which I now connect with my own personal wistfulness for the places and times I have left behind in my own life. Strangely, the two merge to allow me to feel closer to home.

 

A demo into part of the tile process.

The tile showcased in the slideshow is inspired by Frank Lloyd Wright. His work was primarily around the turn of the century, and was a major component of the craftsman style. This piece emphasizes craftsmanship, and the woman reflects the ideals of her time. Women of propriety from that era were never seen outside the home without their white gloves, and elegant dress. I want to explore what makes a woman, and how they are perceived in their respective times. I personally have had a lot of inquiry into what the matter means, to myself and others around me, to be a woman.
As a woman you are born into a class. You have no choice in the matter - it is assigned at birth. Based upon physical characteristics, and totally disregarding psychological disposition of the individual. Society assigns you a profile of what is acceptable and not for that gender. If your propensity falls outside of that, you are considered abnormal by conservative douche bags. This subject is quite versatile, and I am constantly being drawn back to this theme since I can personally relate to it. Link to Slide show describing my process.

I have a little help from a "friend" his name is don juan de marco, and he's a flippin hottie!!!!

the studio process

as of this summer my work has been based on the consistent realistic imagery of Peter Paul Ruben paintings, he is one of the great masters from the northern baroque 17th century enlightenment period. so far he has created multiple paintings on satyrs and Bacus, with this i've transfered the imagery into a three dimensional ceramic tile as well as manipulating the idea of painting on flat tile panels in the process of  creating a mural at a large scale. 

in this studio space of mine i choose to situate myself where space is available to create these tile paintings which i pursue to get accomplished in the next few weeks. as of now the idea of painting with multiple slips seems like a great tricky situation of not showing the exact colors after the firings.  i hope that each peace turns out to be correct on all aspect.  

for images of my current work click here 

oh please...let's not talk shop

I am experimenting with the ideals of a lost and bygone era in cinematic history. By using imagery from silent film stars and "talkies" I am exploring the quintessence of this time seen in the media. The beginning of film is an important cog in the machine of documenting art and history.

My approach to the terracotta is rough, bordering around an elegant and smooth surface of figures. This gives the feeling of a long lost, precious object that was found in an archaeological excavation. I did a multi-layered stencil with black, grey, and white slips to the first few. I decided not to use colored slips for the imagery to keep the feel of silent films. However I plan to use colored glazes in the next firing - giving tribute to the creative awakening at the turn of the century which gave way to colored film, and new technologies. I am also experimenting with terra sigillatas & scraffito and working with figures from old photos & film stills in slab slice tiles to mass produce in a press mold.

Ole Lislerud

Basic forms and space defines shape, my mind reconciles when I look at Ole Lislerud's work at the Daum Museum of Contemporary arts in Sedalia Missouri.  Lislerud's piece is entitled "#8", which hangs stiffly on the gallery wall and I find myself at first just glancing. Glances turn into stares and this only occurs when a small attraction stimulates from a minor detail in the entire piece, which mutates as the seconds progress.  What is apparent is evident, but I find myself enjoying the presence of a timeless emotion that lyrically moves in rhythm through lines, space, and silhouettes. Fast rhythms, motions of chaos. repetitive quickness of scribbles, unique curls, and slashes balance with dull muted colors that give the presence of the piece a feeling of bluntness. Simple but definitely complex in it's consistencies, which gives relation and when there is relation there is an understanding that substances boldly.

(poetic motions)\ 

Poetically dull and yet lively mutating in a boundary of a flat squared ceramic surface/ solid senses of identity/ viewers unconsciously become aware of/ the essence of Ole Lislerud stands as a document of abstract realities/in/ a phase of life.

Mr Stackhouse

Last week while taking in the works at the Daum museum in Sedalia, Missouri, I was surprised to find that i had positive thoughts for a good little handful of pieces on display there. This is surprising to me because i often find that i like the interior spaces of galleries and museums more than the work within. Cheesy as it sounds, perhaps this is the reason i was drawn to the painting by Robert Stackhouse entitled, "Encountering Interior".  This one was hanging in the gallery that was themed, "systems" or something involving that concept.  It is a very warm composition of line work and architectural space.  I think that what i am drawn to here is the neutral palette of very few colors, which manages to present a sense of visual depth and intuitive structure.  There is no "real" space being represented here, but rather an imaginary place of quiet and implied safety.  There is also a mysterious nature to the piece which makes one wonder what lies beyond the sideways arc of the path.  i also enjoy how the image seems to melt or even put roots downward through the vertical dripping of washes at the bottom.  in short, comfort and joy.

Beware of the Finger

Recently on an excursion to first Friday, I had the unlucky misfortune to experience the wrath of a gallery owner. My offence was none other than the “Finger”. You may ask yourself what I was doing, “Sporting the Bird” or was this other socially fronded a pond, “mining finger”. No neither, this was the illustration finger: to point at an object to draw attention to a unique and interesting detail in the artist work. The artist was Rudy Autio and one of his dancing figures, but the work is of no difference to point.
We expect a certain amount of proprietary alarmed ness, with patrons coming into close contact with an artist work. Did I break the 18-inch? Rule? Yes, I would say I came within 6 to 10 inches. My point is this; many of us (artist) are very familiar with a process, and fill at liberty to come within working contact with another persons work. Do I have a license to do this? No, I’m an artist. Do I personally know this person? No, took my picture with him once.
We all want to have success in our chosen field, to have gallery representation, and be respected for our craft. Initially I was put out by this barking guard dog, but after thinking about the encounter. I realize I would want the same watchfulness and attention to detail for my ceramic children. Maybe next time I’ll think twice about my roaming finger.

Ruth Duckworth at the Daum

last week Kansas City art Institute's Ceramic Department checked in at the Daum museum of contemporary art in Sadelia Missouri to view some of the great work they have to offer the community. there were many well known artist which such as Robert Stackhouse, Bobby Silverman, Chuck Close, Andy Warhol and KCAI's very own Jim Sajovic, but the work that stood out most was a tile piece by Ruth Duckworth  2000.

 the colors and architectural aspect with the organic forms modeled in a symmetrical view gave a great sense of depth within its core, also each square contains a unique element to stabilize its visual function. getting really close to such pieces are great to be inform with details carried along with each form and so  my imaginary skills went on to think about ways of emulating such gestures and craftsmanship. at a certain point i hesitated to touch but i didn't due to the fact that i was in a museum, but hope fully there will be a time soon where ill be able to get a taste of what its surface is like.  

invention

Over the summer I saw a few good shows in the Houston area. One of particular interest was at the Houston Museum of Natural Sciences entitled - Leonardo da Vinci: Man, Inventor, Genius. There were over 60 working models of Leonardo's inventions that were handmade in Italy. Not of Leo's own hands of course, but modern Italian craftsmen.
One thing that I enjoyed learning was that not only did Leonardo invent many new contraptions for his day, but he greatly improved things that were already in existence as well. He made great leaps and bounds in the natural sciences, arts, agriculture, nautical sciences, aviation, and warfare. The greatest thing though about his attributes to warfare was his model of the first tank. The genius here is that he purposefully reversed some of the cogs so that the tank, if ever made, would be unable to move and function properly. Da Vinci predicted that if this were actually to be made, that the casualties would be devastating, and he didn't want to aid in the destruction of life, but in the development of the human intelligence.
Little known to many people, Da Vinci invented the first working robot, and car. These were somewhat made like clockwork objects in that springs needed to be wound to propell these objects. Also, everyone's favorite teenage mutant ninja turtle designed the first wiffle ball!