I found a bit of Ruststone clay in my studio that was frozen and thawed multiple times. It doesn’t work well for pinching unless you have unreasonable strong hands, so I paddled these into form instead. This claybody is much darker than the others you’ve seen in the 100 tea-bowls project and I’m excited to see the differences.
With this Wabi-sabi style approach to the tea-bowls, I’m trying different approaches for the foot (base of the piece.) With these two I gave them 3 little feet which add a bit of height, stability and visual breathing room between the pieces and the surface they rest on.
I really enjoy the variety of this group. I formed #20 with legs from a single slab of clay (a nice change of approach and a good challenge on keeping it loose) #21 is an actual tumbler with a rounded bottom (webble-wobble and all) #22 is really tight, clean, and symmetrical and #23 is the largest I’ve stretched the size of the tea-bowl with a soft bulge of silhouette and hint of a lip. Having this much variety in such a small group of tea-bowls makes me anxious to see how far I can push the form for the remaining 77! For those curious, the white powder you see on the forms is actually cornstarch; I use it as a barrier so the clay doesn’t stick to surfaces when i’m hand building.
I was invited, along with 35 other artists to participate in the Art of Lustron Show at Tacocat collective in Grandview, Ohio, March 2014 by Columbus Artist Brian Reaume. The challenge of creating work for this exhibition was one I couldn’t resist. Each artist was given a Lustron panel (2’ x 2’ enamel-coated prefabricated steel) with which to artistically interpret in any way they saw fit.
Since the Lustron houses were produced in Ohio in the late 40s and 50s, I chose to narrow my concept to focus on the swirling propaganda of the virile, perfect man of those times, a stark contrast to the 40s and 50s woman (and I’d argue, present-day women) who (were/are) presented as submissive accouterments at best.
With that in mind, I selected the male gender symbol of Mars as the basis for the repeat pattern painted in copper, harkening to that of many of the geometric and clean midcentury modern textile styles. I then urinated on the panel resulting in the beautiful and varied blue patina, a symbolic reclaiming of ownership and not so subtle insult to our patriarchal society. The 50s era swimming pool blue and gold leaf on the frame round out the tongue-in-cheek snub, hence the name: The Pissing Contest.
Read more about Lustron Houses, the exhibition and find the other Art of Lustron artists on the event page here.