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Prairie Grove, AR, 72753
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Journal

News from Dowd House Studios: places to find our pottery, exhibitions, classes & workshops, new forms and exciting projects.

Filtering by Category: Problem Solving

Details

Jenny Dowd

I spend a lot of time on details. 

When I started this series of black & white sgraffito ware, I found my tight forms with their even rims to be in conflict with my hand-drawn designs. Expression and imperfection are inherent to hand-drawn lines, I felt that this needed to be reflected in the pottery- even if I had to force it.

I use a wire to cut the rim of bowls and plates before removing them from the wheel. Once the piece is dry enough to handle yet still malleable I spend a lot of time smoothing the rims (and the whole piece) with my favorite finishing sponge

The cut rims are very similar, yet when the dishes are stacked the slightly undulating lines are more apparent.

As much as I like these cuts rims, I know it is risky. These piece are more susceptible to cracking and chipping. It's a risk I'm willing to take in order to gain the harmony found between an uneven rim and the hand-drawn images and patterns. 

Cups, mugs, pitchers, and vases are treated similarly- I allow the rim to be uneven as I am throwing the form on the wheel. Sometimes the rims are even, sometimes not, and the result is always very subtle.

Flowers still grow

Jenny Dowd

Earlier this year I was invited to participate in the Laramie County Library's summer exhibition, Inspiration and the Artist Book. I was especially excited partly because this exhibition has a yearly theme. This is a challenge I look forward to, knowing that it will take me out of my current box. The 2017 exhibition, curated by Sue Sommers, is Utopia/Dystopia. 

Since I don't usually make art with a theme in mind, I find this addition at first jarring and then liberating. I must pass through a few stages:

1. Shock: What?? How do I do That? 

2. Acceptance: Hmmm... but it could mean this... or it could mean that...

3. Problem solving: I've looked at several angles, now how do I say what I want to say within this frame?

4. Grateful: I've stretched, learned a bit, and have made something that I would not have come up with otherwise.

While thinking about how to interpret Utopia/Dystopia I kept coming back to books and information, and not only because this show is in a library! I thought about the porcelain books I used to make (see them here) and thought about what a dystopian landscape would look like to me: a heavily censored world with nothing to read.

In order to execute this idea, I decided to alter a book. I recognize that this is a weird process. I love the tactile feeling of books. They offer escape and education all in one place, so destroying a book seems like the last thing I would want to do. However, I see this an an opportunity to redirect the life of an object that has been produced in multiples and has been discarded. (This book was found at the Teton County Library where I have taught book altering classes in the past, they let me pilfer the collection of books that will be in an upcoming book sale.)

For this project I found a particular sized book with a black, hard cover. After distressing the cover I went to work cutting away the interior to create a niche for my hidden utopia.

I made hills out of the discarded pages and used correction tape to obscure any words with meaning, leaving behind only a few pronouns, articles, and indirect objects. 

Gluing everything together was interesting: 

When I was finished, I had a little fun making a stop-action video:

Flowers still grow

One book is an infinite, hand-held universe. It has the ability to introduce unknown places and ideas with questions, experiences, and thoughts. Just one book is capable of leading a reader on a lifetime of learning and searching.

This book represents a dystopian world of redacted and heavily censored information. While this could be a diagram for the ideal, utopian meadow, it still contains an element of dread. Set like a stage with delicate clouds hanging from thread over rhythmic hills, the subject of the book remains unknown and creates a suspiciously dull scene.

White flowers reflect what little nutrients are available to be gleaned from sanitized, stripped soil, but they are growing. Hope and the ability to evolve will always be found where something grows.

The exhibition will be at the Laramie County Library in Cheyenne, Wyoming from June 9 - August 7, 2017. If you are in the area be sure to stop by and see how several artists interpreted this theme!

Packing for a show

Jenny Dowd

This summer I will be included in an exhibition of artwork by 12 Wyoming women. The exhibition, Place/Settings, will be in Concord, North Carolina at The Galleries, located in the Historic Cabarrus Courthouse and curated by the Cabarrus Arts Council.

In May I will travel to Concord to install my pieces. One is Passages, which has been installed 4 different times in Wyoming since 2009. This flexible sculpture was designed to have several lives and I'm excited for this new chapter in NC.

Passages is made up of over 300 boat forms that are made from welded steel then dipped in Egyptian Paste and kiln fired (See some of the past installation here, plus check out this past blog post about the installation last fall at Persephone Bakery.) Each installation is different and I am looking forward to working within the gallery space and tying my work in to that of my colleagues. 

For this installation, I've packed about 125 boats, 2 spools of wire, a ton of screw eye hooks and some wire snips. Not sure how many boats I'll use, just want to make sure I have options. I've also never shipped this work before. I padded them in tissue paper and packed them tightly in boxes with old sheets and bubble wrap. You can see that Merlin is unsure of this packing method. I think it will be ok.

The other piece I will be installing, Where the ground meets the sky, is a new and also very flexible piece. There are lots of little parts and pieces for this one: silk and velum clouds suspended from pins by silk thread, little porcelain hills plus hills with porcelain and wire flowers. (I lovingly call them hillettes.)

I am equally excited to install this piece as I am to install Passages. And I can't wait to share the process! I had to be really careful in my studio- I found all these little pieces to be particularly attractive to the studio cat, I know he probably thought he was being helpful, but I really didn't need the flowers or clouds to be perforated. Playing with and installing this piece in a cat-free space is much needed.

Now the boxes are headed to NC, I'll see them in a month! (Boxes photographed with large studio cat for scale. Thanks Merlin, always so helpful.)

Stay tuned, I will post details of my installation and also the show!

If you are in the Concord, NC area, be sure to check out the show from May 5 - July 7, 2017

New Designs

Jenny Dowd

The process of developing new ideas, including all the starts and stops, is something I truly enjoy. The frustrations only make me work harder and in turn, the successes are that much sweeter.

About a year ago I made a series of little ink drawings for an invitational exhibition. (Check out the blog post here.) Ever since I've been thinking about how to transfer some of these drawings onto cups and plates.

Thoughts of random objects drawn on my pots turned into drawings of tools and sweets. While discussing surface methods with Sam, the two ideas melted together and I started thinking about objects with hidden elements. Helpful cakes and tools with sweet surprises. 

I started by "drawing" the object using an inlay technique on the leather-hard clay. After bisque I inserted the hidden object (a saw or hammer inside a cupcake, or a cupcake inside a chainsaw.) I had a hard time stopping, it was exciting to finally visualize some of the ideas. I layered several glazes and underglazes and tried a few different applications.

I wasn't terribly happy with the results, but it was a good start and gave me more ideas on how to proceed.

The hidden cupcake inside the chainsaw needs more definition, the glaze outline around the chainsaw doesn't work, but the color contrast is a good idea, the tools are too ghostly inside the cake, the cupcake is just ok... 

At least this gave me enough information for another round of tests:

I'm happier with these results, though there will be a few more rounds before I start making more of these drawings on other forms and producing sets.

This process can be frustrating and exhausting but mostly it is exhilarating. Once I start working on one cup or plate, I think of so many more ideas and processes. I'll wake up at night thinking about new ways to solve the problems.

All the while I'm thinking about what these little drawings mean- is the cupcake being helpful? What about the secret the chainsaw is hiding? Is this about that time someone called me a tough little cupcake? I'm the kind of girl who likes getting tools as gifts, but I know some who don't- so maybe including a cupcake with the gift (that really isn't for her) would be helpful. (Just a thought!) 

Whatever it is, I'm enjoying the experiments and am excited to develop quirky stories for the surface of objects that are meant to be handled and used everyday.

Lids & Lessons

Jenny Dowd

This week an accident led to a nice memory as well as a reminder to plan ahead. 

While glazing several bisque-fired honeypots I broke a lid. The loop handle, while cute and functional, is also rather fragile. When a lid breaks, usually that is also the end of the vessel. Clay shrinks during the firing process making it nearly impossible to re-create a lid with a good fit. 

This lid issue reminded me of an indirect lesson I picked up from Yoshi Ikeda while I was his student at Kansas State University. He would make lots and lots of lids- separately from the teapot forms. Once the teapots came out of the kiln Yoshi would go through this collection of lids, trying each one until he found the perfect fit and design for the teapot. If a lid broke, there was always another one in the box.

At the time this seemed counter to what I was learning about craftsmanship, not to mention eccentric. Now this sweet memory reminds me of process, the evolution of ideas and problem solving. It has also encouraged a planned approach to lidded forms. 

Yoshi Ikeda | Teapot

Yoshi Ikeda | Teapot

When I started making honeypots a few years ago I would keep the jar or lid if the other part broke or didn't fit well after firing. This led to a box of random parts, but nothing ever fit and they kept piling up. I finally realized that if I made the opening of the jar the same diameter every time and made the lids the same diameter, then they would always fit! For the past year I have used this technique, so this time, I'm pretty sure my replacement lid will fit.

If you have one of my honeypots and have broken the lid, let me know. I might just have a replacement lid that fits!