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BillBrackerSculpture – 3

by claygirl | Jan 10, 2016 | 0 comments

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I am so excited today to tell you about my friend

I am so excited today to tell you about my friend Diego Valles. I first met him at the Tampa NCECA in 2011 and our friendship has grown since then. Our mutual friend, Marko Fields introduced me to him as one of the emerging artists of the Mata Ortiz village in Chichuahua, Mexico. I had been seeing examples of his work (first image) in the graphic design for the conference and was really excited to meet him. Since then, we have stayed connected through NCECA conferences and Facebook. My prior knowledge and understanding of Mata Ortiz pottery had been fairly limited to a childrens book we have here about Juan Quezada. (Embarassingly, I actually had been under the false impression that "Mata Ortiz" was essentially a bygone culture from history, with perhaps a few descendants that continue to tell the stories and make a few works.) In reality, the pottery village developed relatively recently (1960s) and has grown steadily and flourished. Now, there are between 400-500 Mata Ortiz potters. And if Mata Ortiz were a rock and roll band, Diego would definitely be the front man. His charisma and passion for life and art are not only evident from first meeting, they are also transferred into his work. The excrutiating detail and skill reflect his patience, persistance and practice toward perfection, and perhaps also is a nod to him being an engineer as well. The work and the man are as one.
Diego is, i believe, a third generation potter in the Mata Ortiz village. He and his wife, Carla (also a Mata Ortiz potter,....watch for a post about her soon) are working on "the fourth generation" as well. Their two daughters are involved in helping out in "the family business" (hmmm, that sounds familiar!). Most recently, I contacted Diego about the new set of Lesson Plans I am developing, featuring alternatives to traditional European approaches to ceramics. I asked if he could point me in the direction of some good resource materials. Instead he told me he would send me some things. He is so generous and kind. I guess you could say i'm a pretty big fan. You should be too! Check our links for more, and follow his instagram @dvdieggopotter

We took our new Kansas Wheat and made it more spec

We took our new Kansas Wheat and made it more speck-tacular. We’re calling it peppered wheat. Limited amount available

Fierce. That is the word that struck me as I began

Fierce. That is the word that struck me as I began researching Nala Turner. By simply going to her facebook page and reading the first few posts it was obvious this woman is a fierce advocate for Black Lives Matter and people of color. Through her work she encourages women of color not to apologize for the strong features that make them beautiful. To own those aspects of their body and personality that are unique to their genetics. In her work Nala emphasizes the beauty of dark skin by using rich, deep colored clay and sometimes contrasting the clay with a white glaze or slip to enhance the color of the subject/clay. The flowing lines of her carved vase forms echo the curves and lines of female bodies of color, Sometimes writing phrases in bold letters on a pot to challenge the viewer to read, look, think, and DO.
But for all this fierceness, she also is clearly a woman of great compassion and sense. Something that touched me was one of her most recent posts that included a picture of her incense burners and a reminder to those carrying the heavy burden of the movement, and being a person of color in today’s society, that it’s important to sit back and take a cleansing breath now and again. Turner is also an art therapist, and uses her knowledge of clay to teach others nonverbal ways of connecting with the deeper parts of themselves and their experiences that may be harder to face. Of using clay in art therapy Nala Turner says this, “Few art materials kindle growth like clay. Fostering a space to immerse oneself in a felt experience, clay is that medium that is naturally responsive to human feelings. It’s as if it has the vigorous power to accurately and concretely absorb an individual’s emotions at any given moment. And in doing so, it yields to their deepest feelings, providing no barriers or blockages to the line of expression. Acknowledging the immediacy of its responsiveness, I find its use not only enjoyable, but needed. Given the opportunity to partake in a kinesthetic activity as such, access of preverbal material becomes paramount.”
I can’t think of a better way to articulate the importance of clay both personally and within a community.

Introducing new lesson plans for ceramics classes!

Introducing new lesson plans for ceramics classes! (Please read and share) If you’ve been following our artist series for the last few months, you may have been expecting a new post about an artist of color today. Instead i want to share a new project we are exploring: Ceramics Lesson Plans that feature a variety of cultures from across the world. We think it is important that young artists see people working in clay who look like them…(or who DON’T look like them)…it’s important to share other styles, histories, meanings and uses of clay. We are putting together a team of consultants to help us bring these to fruition. We are looking to build a dynamite team with a passion for clay, diversity, and education. Do you want to join us in creating these, or are you a teacher who wants access? There’s a link from our bio to more information than I can write here on instagram. I’m really excited about this project and creating a FREE resource of lessons that can be taught remotely or in person, and bring in great connections to other subject areas and previously overlooked communities. #diversity #clay #k12 #ceramics #culture

As I was sitting down to research and write my spo

As I was sitting down to research and write my spotlight on David F. Mack this weekend, a Facebook notification popped up on my screen that he had posted something. Whoa - perfect timing! So I opened up the post and saw his announcement that his article is in the September issue of Ceramics Monthly! “This article is a voice for the underrepresented, disenfranchised, oppressed, and forgotten. Two families of enslaved and freed Black potters, unknown to one another, but bound together by clay, tradition, culture, and slavery strive to achieve inclusion, discoveries, ownership, recognition, and empowerment.” Those Black potters are Dave the Slave Potter (profiled by David Sturm in mid-June) and newly emancipated potters Hiram Wilson with brothers James, and Wallace, who became the first African Americans to own a business in Texas, named H. Wilson and Company, a pottery that sold salt-glazed ware made from the Capote deposit, about 10-15 miles away from Seguin, Texas. Seguin is the town that Anne W Bracker (Mom) spent her formative years until she married Bill Bracker (Dad). Imagine my surprise when I started seeing references in Mack’s article to the town my sister Cindy and I spent summers growing up! Although Mom pointed out Sebstapol House every time we drove by, she never mentioned the Greek Revival mansion was build by slave labor before the Civil War. I think she just loved how the building looked. It was much later that the Wilson Pottery Foundation would move the exhibits and pottery collection into Sebastapol House. But I think that’s what history is all about - finding a personal connection. Reading his article I know that David F Mack definitely found his own personal connection to these potters that helped to shape the landscape of pottery in mid-19th Century America. Mack is also the first former NFL Defensive End turned ceramic artist I’ve profiled - although the clay bug bit him first. I’ve seen several mentions of his generosity donating work for auction to benefit the NFL Players Assoc. His own work has evolved into one piece thrown cylinders and frequently honors historical figures like Harriet Tubman & Frederick Douglass. [by Anne]

If my Dad's student, Asante, was like my brother,

If my Dad's student, Asante, was like my brother, then Dong Hee Suh was like a special Aunt. Dong Hee had been accepted into the University of Kansas MFA program from slides that she sent to my dad's predecessor, Sheldon Carey. Of course my dad had also reviewed the slides so that he could guide her studies appropriately, and when she arrived, he was ready with her first assignment. I don't remember the details, of course, but Dong Hee was very concerned. She had never actually worked with clay. She was the designer of the work that had been submitted. Her village's potter had made the actual work. Dad realized he needed to do a little modification to his plans and needed to start with teaching her about the properties of clay. So he did a few demos for her and then assigned her the task of creating 200 pots/ceramic pieces over the weekend. My mom recalls her calling on Sunday night in tears because she had only 10 pieces ready for critique. Dad drove up to the studio to help her and he showed her that she didn't HAVE to use the wheel. the wheel was just a tool . she could make the clay be an expression of her beliefs, her feelings, her impressions. He took a block of clay and a cutting wire and he made slices halfway down the block and let those slices bend and fold and lean on one another. It became a pivotal moment in Dong Hee's life. Her exploration in this technique with clay continued and evolved in her time at KU. She still uses this foundation to create works that share her values. Most of her works contain biblical references, such as the first image shown here, Wings of Dawn (Psalm 139), or the final image included, "Like a Dove, the Holy Spirit Descending (Mark 1). Dong Hee has had numerous awards bestowed on her, including Artist of the Year Award from the Korea Designer’s Council in Seoul in 1994, and a Lifteime Achiever distinction from Marquis Who's Who in 2017. She has also recevied grants such as a Fulbright International Scholar award in 1997 and Awards of Academic Research from Konkuk University Seoul. She has also been active in the NCECA organization as well as many organizations in her home of Seoul, South Korea.

Circa 1977. Dad taught kiln building using extrud

Circa 1977. Dad taught kiln building using extruded bricks and scale models. Miniature kilns (for miniature pots?).

I am thrilled to have the opportunity to send y

I am thrilled to have the opportunity to send you into your weekend with the work of Chukes in here in your Instagram feed. In previous research for this series of artists, I stumbled upon the work of this incredible artist, drawn in initially by the work seen here in this first image. I think i googled "chukes art" and found that image on someone's pinterest board (link in bio), I could never find a title for that work or a larger image of it, but that link led me to more work and eventually to Chukes' website. What i found there - the words behind the works, which were as touching and powerful as the images i had already fallen in love with. I don't have enough characters to quote the whole writing from Chukes' homepage, so I CHALLENGE you to take the time to click the link in our bio and then click through to the artist's website and read the short few paragraphs about the inspiration in his life and artwork. (Then be sure to explore the sculptures shown there as well). I also read on his website about a show at Hearne Fine Art, a gallery in Little Rock, Arkansas. In case you don't know about this little gem, founded in 1988, Hearne Fine Art "has grown and evolved into a dynamic conduit for the preservation and promotion of African-American fine art." (link in bio). But back to the show he referenced, "UBUNTU: I am because WE are" was on display last fall for 5 weeks, and featured mixed media work from Chukes as well as other artist featured in their gallery. Now i will quote: "The concept of Ubuntu purports that we are all intrinsically connected and within the scope of humanity, it is impossible to prosper in any manner while operating as an island unto oneself. This exhibition will put this philosophy in practice with a showcase of mid-career artist who have made a mark in their communities and regions. While the exhibit will debut at HFA, the goal is to travel the show to each artist’s respective region." I suspect that the pandemic may have halted traveling plans for this show, however i do hope that when we finally are able to truly emerge from our solitude that we can REALLY celebrate UBUNTU. @chukesart @hearnefineart

So excited to arrive at work this morning and find

So excited to arrive at work this morning and find a box on my desk containing these two beautiful soap dishes made by @t.bisquet with samples of two of our new clays! Top plate & second image are our Kansas Wheat (now available). Bottom & third image is the “Red Rover” test. Red rover is also now available, and we made some minor tweaks following the initial testing to make it a bit more red and a bit more plastic! Thanks so much Terri, for these beautiful examples!!!

Born in the Bahamas, Anina Major’s work clearly

Born in the Bahamas, Anina Major’s work clearly reflects her origins and “home”. Her work is made up of objects and images that have been pulled from island life and the sea. Spiked orbs in undulating colors that look like huge sea urchins. Vessels that look like broken and decaying woven grass baskets. These illustrate one of the reasons Anina has chosen clay as her current medium of choice. Ceramics has a permanence that carries history and cultures through time and preserves them.
Anina is acutely aware of, and intensely interested in, the way people can perceive and react to a shared experience in such varying ways. She tries to make her work as accessible as possible so the audience has the chance to get in close and experience the work as fully as possible. Using real sand, and suspending work from the ceiling with macramé nets at differing heights so as to be viewable from all directions, she strives to create entire environments that will immerse and transport the viewer to the places Anina loves most and has drawn such inspiration.
Anina recently took a position at RISD (where she earned her MFA in ceramics) as an Assistant Professor of Ceramics. When asked in a recent interview if she had any words for those in a similar academic situation or who might be trying to decide the future of their ceramic careers she said, “Your existence has impact on others. Being aware of that can inform your purpose behind the decisions that you make.” I found that statement to be incredibly wise and poignant in todays world.
Posted by Jeanette, see our bio for links & more information on
@aninamajor

Hailing from Arvada, Colorado, John R Hamilton III

Hailing from Arvada, Colorado, John R Hamilton III makes work that inspires adventure. The first piece of his that I ever saw was a red rocket that looked like it came straight out of a 1930s Flash Gordon movie. As a long-time lover of science fiction, I knew I had to see more. Hamilton attended Fort Hays State University in Kansas where he received both a BFA in Ceramics, and a BA in Art Education. Since his graduation in 2012, he has been an instructor at the Arvada Center for Arts and Humanities and has shown work throughout Colorado and Kansas. The retrofuturistic style of Hamilton’s work captures the sense of excitement found in children’s toys. Inspired by Star Trek to constantly explore, he creates sculpture that holds secrets for those who are willing to look closer. That rocket is a function vessel, and its nose cone comes off to become a cup. One of my favorites is a dinnerware set that assembles into a flying saucer that is hilariously beaming up a cow. HIs pieces are the kind that you really want to pick up and explore to discover what little adventures are captured in the clay. I can truly imagine 6-year-old me running with a big red rocket in my hands, off on another fantastic voyage to save the universe in my backyard. Hamilton’s sense of humor and wonder-of-it-all shines through his work, and really sparks that sense of joy and play. It reminds us, to continue to discover and imagine; to let ourselves be surprised, excited, and inspired by the unknown. Ultimately Hamilton’s work reminds me of the words of Gene Roddenberry: “the human adventure is just beginning.”

Britney Smith was born and raised in Pittsburgh, P

Britney Smith was born and raised in Pittsburgh, Pennsylvania and has been making pottery for about a decade. She mostly makes functional pottery (like plates, cups, etc) and she said that she does so because “knowing that when a piece goes home with someone it will be incorporated into their daily rituals. Drinking coffee, eating dinner, or sharing a drink with a loved one are all small movements performed each day that can be made special by a handmade vessel.” She uses lots of clean lines, geometric shapes, and minimalistic forms in her pieces, as well as experimenting with glazing and firing techniques. Britney got her Master of Arts in Ceramics at Carlow University, and is now contemplating the next steps for her career. She said she chose to do ceramics because she loves that clay “has the potential to be anything. It can be shaped and molded into forms functional and sculptural.” Britney is also a member of the founding group of ORIGINS, which is “a PG&H sister program and platform that celebrates and supports African American makers in Pittsburgh.”
(Posted by Daphne)

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