It was a relief in a way to hear him talk about subjectivity in relation to taste and value as often I have seen popular and valuable art and really not liked it or understood where its value comes from and why it is trending. Since listening to this I have looked at art differently, trying out different perspectives and thinking about what may be behind this world of art and the comments made either by the artist or the critics.

 I really enjoyed his discussion on art language, often I think art language can create separation and disconnection between the art itself and the general audience but I guess everything has language and if we want to understand it and take part in it we learn it.

 

And what is art and what is craft? For me they are intertwined and can hold an aspect of each within one another. I reflected on what I perceive and enjoy as art such as handmade or designed everyday things, cooking, writing, sport, performance, language, anything done 'crafted', with developed skill and purpose. I realise what people often call craft I see as art.

And then there is art of the master painters, watercolor artists, oil painters, printmakers, ceramic artists, mixed media, weavers, collage etc etc

I realise to a degree I have separated them in my own life, that which I enjoy and use every day and those which hold a special place on my wall or shelf.

It also reminded me that I have appreciation for any form of art or skill that has been cultivated over time, even if I may not like it I can appreciate the crafting or the skill involved in creating it.

As part of this discussion I think it is an important question that if an artist calls it art is it art? My thoughts on this is that surely any artist wants to be joined by their audience in their perception that their art is art otherwise it would be a lonely place to be. So as artists we can test the boundaries but at the end of the day if no one joins us there is that where we want to be? And on the other hand so much art has not been recognised until much later or after the artist has died, these artists I believe are ahead of their times and I recognise and admire this too.

https://otago.primo.exlibrisgroup.com/discovery/fulldisplay?vid=64OTAGO_INST:OTAGO&id=99148399701891&inst=64OTAGO_INST&context=L

I was really excited to see Otago library held this book as I have been searching for it, it is both expensive and hard to come by.

I started getting to know Phil Roger's work through the Goldmark Gallery, they have some short films on him, his story and his work. I was saddened to hear he died recently.

This book firstly tells us the story of his ideals as a young potter and how he came to using ash glazes as well as touching into the world history of ash glazing.

This book is written as a personal account and also profiles 12 other well known potters.

This book gives you step by step instructions on collecting, processing and testing wood ash for glazing. It also provides recipes based on what you are looking for in your ash glazes and the clay you are using. Throughout the book he is reminding us that part of applying ourselves to ceramics or any craft is the journey of getting to know our materials.

I love this book, I love his story telling, his insight into the work of the other ceramic artists and his deep knowledge and understanding of this topic and how he keeps it accessible by not creating too much complexity.

I was also interested in his observation of art chasing technology and made me think also of the artists that aspire to rediscover old techniques and methods originally used in their art processes.

So I did not relate to the rebellious nature of artists that he was reflecting on or his own experience of being a rebellious artist as it is not in me I believe. This made me question what I do seek in art then and came to the idea that I seek to be inspired and satisfied by art, to be drawn in and learn something from it even if it is colour or perspective or the presence of something unique or beautiful. I guess I am not a thrill seeker when it comes to art but understand the concept of these edges we lean into to evolve and move beyond ourselves and this is reflected in humanity and apparently especially artists!

I enjoyed how wide he took this subject and his own experience within it. He begins with artists who draw on their wounds for expression and a way of processing. I personally do not come from a place of wounding in my art, nature is where I am drawn to be moved in my expression and inspiration. It was interesting to think about this, knowing I am not a wounded artist and therefore then looking to where I am exploring and unfolding my love of ceramic art from.

There were were two stories that jumped out at me, one of them was where a child was asked what she thinks an artist is where she initially replied "someone who sits in Starbucks eating organic salad" and after a time doing art herself the same child responds "someone who notices things". It struck me as she was probably right on both accounts as an artist often sits and observes and thinks and that they also notice things, scenes, textures, colours, shapes... I know my eyes are always seeking these things in my day to day.

The other story was the story of the Helsinki bus station, that often we need to stay on the bus and ride out the journey rather than jumping off to try another. This reminded me of the value and importance of staying with an idea or process rather than giving up too early and relinquishing the opportunity to really learn and extend our ideas and skills.

As always I was entertained and interested in what Grayson had to share and explore, his knowledge, humour and rich cynicism. I particularly enjoyed the personal stories and aspect of this lecture.

It is one of my first pinch and coil pieces where I created 4 small pinch and coil bowls joining 2 of them together shaping them and using a toothbrush to create the texture. This is where the kina started developing. I joined the 2 spheres and created a hole through the top and middle and created a lip and foot using coils.

It is both functional as a small vase and conceptual and made with porcelain clay and copper oxide to colour it dark green.

I wasn't thinking of another artist when I created it but was surrounded by Penny Ericson's work as I had the pleasure to be working in her studio.

This work is the realisation of 2 pinch and coil spheres being brought together and lent towards the form and colour of kina shells found on the beach which did fulfil my aim to learn and utilise the pinch and coil method.

The reason I love this piece is that on reflection it has the innocence of form being allowed to take shape without too much influence of the thinking mind. This was present as I was just learning the pinch and coil technique and did not have any firm expectations that may potentially over ride the natural unfolding of shape, texture and colour. When I look at it I have the pleasure of seeing something beautiful and quirky to my eye that came into the world through me and my love of natural form.