All posts by katefoxfw

Current Resume

Kate Fox

6464 Dillon Dr. Unit 66 | Pueblo, CO 81008

cell:  (719) 821-9105

Current Work Experience

Co-owner of Foxy-Wolff.  Fine art ceramic jewelry and Functional pottery 2011 to present

Member of 38 Degrees Latitude.  Artists group, 2012



Online Presence


Blog Address, http://


Web Site: (under construction)





Currently enrolled in MFA in ceramics at Fort Hays State University, Hays Kansas, Studying under Linda Ganstrom.  Projected graduation 2016

BA, 1997 Art with emphasis in ceramics, University of Southern Colorado (cum laude)

Post-graduate work, 1998-2001 with Vicky Hansen, MFA, University of Southern Colorado.


Continuing Education

Workshops with the following artists: Rebecca Boggard, Frank Boyden, Kevin Crowe,  rain Harris, Dick Lehman, Ruthanne Tudball, Phil Cornilious, Bob Smith, Dianne Kenney, Jean Latka, Skeff Thomas, Jean Jennings, Hwa Jin Lee, Ken Williams, Vicky Hansen .


National Council on Education of the Ceramic Arts, 2000, 2002 and 2006


Select Juried Exhibitions

2012 Fine Art Exhibit, Colorado State Fair, Pueblo, Colorado

2001-2012 Own Your Own Art Exhibition, Sangre de Cristo Arts Center, Pueblo, Colorado

2006-2008 Shop the Coop Fine Art Sale, Pueblo, Colorado

2002 Fine Art Exhibit, Colorado State Fair, Pueblo, Colorado

2001 Fine Art Exhibit, Colorado State Fair, Pueblo, Colorado

1999 Fine Art Exhibit, Colorado State Fair, Pueblo, Colorado


Workshop Teaching and Talks

2012 Colorado State University; artists talk, demonstration and teaching

2012 White Gallery, Sangre de Cristo Arts Center


Solo Shows

2012 Monster installation, Hoag Studio, Sangre de Cristo Arts Center


Select Invitation Exhibitions

2012 Fairy Tale Origins, The Art of Interpretation, White Gallery, Sangre de Cristo Arts Center

2011 Alumni Show, Colorado State University Pueblo, Pueblo, Colorado

2010 Fairy Houses, Buell Children’s Museum, Sangre de Cristo Arts Center, Pueblo, Colorado

2006 Alchemy of Fire, Wood-fired Invitational, Common Wheel Artists Coop, Manitou Springs, Colorado

2006 Vicky Hansen and Friends, Wood-fired Invitational, Common Wheel Artists Coop, Manitou Springs, Colorado

2002 Pots by the Pound, Common Wheel Artists Coop, Manitou Springs, Colorado

1997 The Extra Large and the Creative Fire, Freemont Art Center, Canon City, Colorado

1996 The Extra Large and the Creative Fire, Freemont Art Center, Canon City, Colorado


Additional Work Experience


2003- 2013 Artist-in-residence and Studio Manager, Sangre de Cristo Arts and Conference Center, Pueblo, Colorado

1998 to 2012 Co-owner, Jarrett Pottery – Public Art and Functional Pottery, Pueblo, Colorado

2007 Resident Potter, Lindenmere Summer Camp, Henryville, Pennsylvania

2002 Visiting Artist, Boys and Girls Club, Pueblo, Colorado

1999-2001 Pottery Instructor, Senior Resource Development Agency, Pueblo, Colorado

1998 Ceramic Assistant, Latka Pottery, Pueblo, Colorado



Public Art Commissions (All works in collaboration with Shane Jarrett)

2010 “Welcome Home Donor Wall,” Aromor Apartment Building, Mercy Housing Colorado, Denver, Colorado

2010 “Freestanding Bench Sculptures,” Pueblo Municipal Justice Center, Pueblo, Colorado

2008 “Subtle Ground,” Sangre de Cristo Arts and Conference Center, Pueblo, Colorado

2007 “Board of Trustees Distinguished Leaders,” Sangre de Cristo Arts and Conference Center, Pueblo, Colorado

2005 “Cross,” Dorcy Cancer Center, St. Mary-Corwin Medical Center, Pueblo, Colorado

2005 “Angel,” St. Mary-Corwin Medical Center, Pueblo, Colorado

2002 “Raza Eagle,” Cesar Chavez Academy, Pueblo, Colorado


Specialized Skills

Proven experience in structural design and conceptual design, project fabrication, and project installation including: masonry, sculptured brick, tile artwork, concrete, stone, steel, solar lighting, water features, sculptural planters.


Project Management:
Proven experience coordinating and working with contractors, engineers, clients and government zoning.


Teaching Experience:
Proven experience teaching in a variety of settings for a range of topics, including: fundamentals of clay and art for children and adults; instruction in afterschool art program for public school and home school students; private lessons and tutoring; mentorship for students seeking studio and classroom experience; workshops for K-12 students’ field trips; art instruction for people with developmental disability; collaborative instruction on the science-art connection; professional development instruction for educators




Nick Bonham, “Art with a Purpose,” The Pueblo Chieftain, May 6, 2010

Mary Jean Porter, “Uncommon Clay,” The Pueblo Chieftain, February 5, 2009

John Jaques, “Clay Time,” The Pueblo Chieftain, March 25, 2009

Susan Wolf, “Made by Hand: Jarrett Pottery,” Pueblo P.U.L.P, November 2008

Marvin Read, “Sangre de Cristo Arts Center to host potters in residence,” The Pueblo Chieftain, October 31, 2003




copperred rooster wood_beatrice-bride_and_groom~OM13d300~10160_20090208_474_2259

The pieces pictured here are two well known works by Beatrice Wood.  The First is titled Copper Red Rooster and was built in 1960.  The second piece is Bride and Groom.  This piece stands 27 inches tall.  I chose these two pieces as influence for my semesters’ art history inspiration.    The rooster is a wonderful example of Beato’s “primitive” style.  The work is direct and whimsical, employing simple hand building techniques to create an over all style of charming simplicity.  The surface is one of the luster glazes she was so well known for.  The effect is a naive sophistication, from the simplicity of the making to the complexity and technicality of the glaze.  The second piece is a larger work for Wood and depicts a common subject, that of men and women.  Here she shows a young couple in love.  The figures stand close to each other, touching heads.  The bride stands partially obscured by her veil, the groom partially hidden by his bride.  The tight composition conveys a unity of form and intention and gives the viewer a glimpse of intimacy.  The eyes however are distant and the mouths are flat.  Perhaps there is more to the work than the first read suggests.  The piece then becomes enigmatic and engages beyond a hallmark moment into the real complexity of relationships between people, especially in matters of love.


For my response to these works I combined the idea and color of the rooster with the eternal theme of the couple.  The work titled Roosters in Love depicts a pair of roosters.  More realism is employed in the sculpting of the head than in the original but the relationship is obvious.  The roosters are a folksy traditional kitchen object that would have worked well in my grandmother’s house.  Without having the title or a discussion with the artist, my comment about queerness would be totally missed, just as a quick read of the bride and groom might mislead.

Here the rooster lean in but do not touch, keeping a polite distance in the house of their possibly conservative hosts.   The surface is Wood inspired but is not the luster she was so well known for.  Rather the color served as inspiration for the entire project.  My solution was to use low fire commercial glazes.

Beatrice Wood



“We are here on account of sex, though we do not understand its force.   There is glory when the sexual force is used creatively, when it is open to the magic of the universe”

The above quote and photo were taken from Playing Chess with the Heart, a book of photographs by Marlene Wood taken of Beatrice Wood in her 100th year.  Wood, born in 1893 and living until 1998, was a participant in some of the most interesting and radical shifts in the whole of art history, but didn’t find her own true medium until rather later in life than most artists that rise to the prominence that she achieved.

Born into an affluent New York family, at a time that the city’s prominence as an important center for art was immerging, Wood was well placed to intersect with the Avant-Garde of the early twentieth century.  It was chance that introduced her to Marcel Duchamp shortly after his great success at the Armory show with Nude Descending a Staircase.  In the hospital room of Edgard Varese, the two were introduced and it was Duchamp that encouraged Wood to pursue art, as her first passion was theater.  She and Duchamp became fast friends and she was soon often at the great artists studio.  Through Duchamp she met Walter and Louise Arensberg, important and influential collectors of the Avant-Garde at the time, and it was through this connection that the young wood developed her artistic sensibilities.   Though the famous quote surrounding the Readymade Fountain is often attributed to Duchamp, Wood claims to have been the author, a claim that has been backed up by others in their circle.



“Whether Mr. Mutt with his own hands made the fountain or not has no importance.  He CHOSE it.  He took an ordinary article of life, placed it so that its useful significance disappeared under the new title and point of view, creating a new thought for that object”

This great idea has ben central to the development of so many facets of art in the 20th century, especially ceramic, and while undoubtedly the idea for fountain was Duchamp’s alone, her presence at this critical juncture for art stayed with and influenced her long career.

Many years past between Dada and her finding clay, which included theater, theosophy, love and a move to California.  She began with clay in 1933 at Hollywood High School Adult Education Department with the intention of making a luster teapot to go with some plates she had purchased in an antique shop in Harlem.  From this humble beginning she developed a love of the art and science of ceramic.  It was this growing passion that shaped her life after.  Her pursuit of independence and a studio for work and developing her craft was her focus for many years.  She had the good fortune to study with Gertrude and Otto Natzler.  It was from Gertrude that she learned to throw and Otto taught her glaze technique.  She also studied with Otto and Vivika Heino.

As a ceramist, Beato (as she was known in Ojai CA, her home for the last half of her life) is best known for her luster glazes and her appreciation and depiction of the changing relationships between men and women.



This piece is titled Bride and Groom and is glazed earthenware, standing at 27” in height.

My interest in Wood began as an interest in her life and person.  She met the challenges of living a life in the arts with a tremendous amount of courage and heart and no small amount of luck.  At one point she completely lost her studio to flood, rather than drowning in her loss, she turned the situation to her advantage and built a better studio.

I also love her frank attitude toward sex and sexuality.  In the book noted earlier some of my favorite photographs are of Beato pulling the shoulder off her blouse, flirting with the camera and the viewer.   To still think of oneself as a sexual being at 100 years of age is incredibly inspirational to me as I solidly enter middle age as a single woman.  She also serves an inspiration to my students who come to art and ceramic at an older age, if Beatrice could do it, why not them?  And then of course my favorite anecdote, that she worked in the studio the day she died at 105 years of age.



Play Set Action Figures and Making a Two Part Mold

IMG_3530 IMG_3534 IMG_3541

The three small objects above are the first attempt at action figures for the play set.  Obviously based on Fisher Price toys from the seventies, I wanted the objects simple and direct and to work with the mold making technique that I am focusing on this semester.  I began with three small pieces of clay that I allowed to dry to leather hard.  Using sketches, I carved the solid figures so that they would have no undercuts so that they could be easily cast and reproduced.  For the video I am wanting to produce several identical objects that can be broken and replaced through the course of the filming.

When the figures were complete I then made forms for the molds using foam core and duct tape. I made the forms in two pieces because the openings are small and I wanted simple access for notching the bottom piece.  The top of the form was attached with more duct tape after the bottom half of the mold was cast.  Rather than setting the object into clay to cast the first half, I placed the figures directly into the wet plaster after it had a moment to slightly set.  This was a great innovation in several ways, however the figures did slip and move making the molds possibly unusable, especially in the case of the male office worker.

After the molds came out of the forms I separated them using hot water and cleaned them up with a metal loop tool.  While I love the little molds I made, there is no doubt there is much improvement that can be made on them.  I’m looking forward to another try.


first piece of the semester


While the play set progresses I have been working on a piece that focus’ on a ceramic work within a larger piece.  The larger object was influenced by a surrealist painting by Rene Magritte titled The Rape, but of course I added a nice hundred pounds to the concept and took rape out of the intention for the piece.  It is undoubtably another monster, but one that is not threatened from without or within.  In fact within is the little fat angel, a sort of child possibly or some inner protective force.

The little piece was crafted specifically to fit within the cavity and rest safely on the terrain of the interior of the monster.  My priorities were to have the object fit the space and to relate to the larger object both in composition and content.  The larger goal for the work was of course to continue to explore challenges the play set gives rise to.  Beyond the mechanics of getting the pieces to work together, I want to push the play set into some of the territory explored in earlier work.  The first play set is a rather external piece.  I would like to eventually bring the concept within as well an explore some of the issues that self portrait demands.  All of the play set work will rely heavily on video to complete the piece, this object is complete without that layer, though I may still produce a video for it.

IMG_3559 IMG_3557

Back in the saddle



A new semester began at FHSU this past Monday and I returned to the studio to resurrect the play set and prepare it for firing.  In spite of 6 weeks dry time and constant careful attention it cracked in several places.  Part of the reason for this was the massive walls of the “rock” body vs the very delicate interior of the space.  I used my favorite recipe for fire able fixes: 200 clay slip from summit brick (its primarily fire clay with lots of grog) Karo syrup and toilet paper.  This gets me great consistent results in stoneware clays with little follow up needed.





IMG_3413 IMG_3414


This piece is intended to serve as a prop in my next video project to be installed on You Tube.  As the project has taken its sweet time to be ready to fire It has allowed the concept for the work to evolve.  While I still intend to base the production of the video off toy commercials of the 80’s, I have increasingly wanted to say something real about work and employment based on my experience dealing with the twists and turns of my job over the last year.  The goal for this piece is to make a video and an object that on first glance is light and funny, but carries the human content and meaning that I need my work to contain.  Stay tuned, it goes in the kiln this morning.

My overall goals for the semester are to continue to search for the particular direction I want my thesis show to take.  I am confident video will be a strong component of the body of work and that the content will pull from the deepest artistic past in the ephemeral media of the present.  How that will look however has yet to be seen.


This semester art history will play a large part of that development.   Over the summer I took a painting class with Leland Powers, the chair of the art department at FHSU.  The research and paintings from the class became one of my most compelling projects yet in the grad school experience.  Here you see pictured 10 prehistoric art images, ranging in age from aprox. 38,000 years old to 5,000 years.  They are painted on 8″ x 8″ canvas’.  I am taking this interest into a readings class where I will focus on some of the older pieces coming from the Gravettian period in europe from 24,000 to 22,000 bce.  I am enthusiastic to see where this research leads my work

VIdeo Documentation

The next big project for the installations was to doccument them in video.  I have long wanted to get my work out to the world using video, and this project, because of its scale and complete non portability was a perfect place to start.  It also helped that there was a clear start and it finished within a super reasonable amount of time.  The down side of course was not having decided to make a video until the project was nearly complete.  Fortunately I take tons of pictures and video as a regular practice in my art making so there was more than enough material for the twelve minute piece Gabe and I put together.

This is my first video project ever and so I received tons of help in editing the film and in asking questions about the project that made for all around better work.  As I said the video was decided on after the piece was finished so while there was more than enough documentation there were things that I just didn’t have. For some of that we staged shots, for the rest it was left out.  A process that wont be repeated since i now know that video production will be an integral part of my work form here out.

The film was make entirely with iPhones and my mac book.  The computer worked great but the limit with the phones is one that will have to be overcome, especially mine which has a very limited memory which required uploading all the pics and videos once a day to clear the memory to take more.  ‘despite all the difficulty we put together a great video.

Since the production of this video I’ve made one myself so that I might  learn the program and participate fully in the production of future projects.  This video documents the erosion of the images on the panels over the last couple weeks