My classes have started this week. I love teaching, such an intimate way to explore with another person. I have had two of my adult classes over the last two evenings and am so happy to bring teaching back into the ground of influence.
Tuesday is a beginning wheel class with 9 students. It is a diverse group ranging in age from 14 to 60+. It has been some time since I taught wheel to adults and I was a bit nervous about my approach fearing that teaching kids for so long, I might be to careful with them but all went very well. Every one was able to keep a piece and seemed to have a great time.
This evening was a sculpture class. Truly this is my favorite class to teach and I was worried I would have to kill it as it had been doing quite poorly in attendance for a year. Moving the class to a week night did the trick. The class is full at 10 students and all did well. We worked with pinching and attachments. I am hoping to structure this class differently from past sculpture classes, giving less of a project and just introducing various techniques for the first hour and then allowing people more creative space for the second hour. It went well and no one got stuck for ideas.
Friday the Arts Academy begins and I am excited to see some of my dearest short friends. I have kids in that program that I have been teaching since they were 6 who are now middle schoolers or older. Its a rare gift for a teacher to get to work with a student over many years. Its one of the best things about being a community studio teacher.
The next pair in the series is titled Singing and Listening. It depicts the courtship of a young couple. This is a piece that has evolved a great deal in my thinking toward it. initially it was the beginning of a deep relationship that I was most interested, but I have been very curious about the role of singing in a world with no ears.
There are two ways that the story typically develops, first as a lead element in the making of a piece. I get an idea and build it, very straight forward. The second way is more interesting in that it leads more places. When sculpting I am focused on form and material primarily and forget the narrative that drives the piece. I did not intend to have a singing monster, but following the lead of the clay, found one anyway. The second piece was made in reaction to him, as a means of explaining him. It was during the build that I decided to have the horns be hearing organs.
This has worked deeply into the culture of the monster world. The singer holds an important place in the community. Lacking hands, writing or written language has never developed. All knowledge traditions are oral, the singer is the keeper of culture and history for his group. A young singer begins to train in memorization at an early age and typically recite the stories daily so that no fragment is lost. Despite this care change does occur over time. One of the many ways I am planning to record the stories of the monsters is in the songs. Presenting them like gospels of the bible would account for the difference in stories throughout time. It is in this way that I plan to tell the story of how we lost our hands and became monsters thousands of years ago.
The bird on the purple monsters head is another inconsistency that I have yet to understand. These early pieces were made before I had considered how large the world would grow. I may find a way to account for the bird being as unchanged as it is but in the end the piece may need to be remade.
This is the second piece created in the monster series, “Sleeping and Watching”. This piece was very important for moving the story forward. For many people this piece is pretty horrible, until I explain that the baby here is not dead but sleeping. Because of the horns and the body changes I needed a different way for the monsters to reproduce.
The first pair set a precedence for a shift in gender thinking. The piece that looks female is Gabe and the piece that looks male is Jenirae. I carried this idea further with this work in letting the males give birth. The baby rests in a segment of his fathers body which he separates when the baby is ready to be born. All monsters are born skeletal, the exoskeleton is excreted over the first few years of life and continues to grow throughout the life span of an individual.
As for the face of the father I have yet to understand the significance of his laking a mouth and nose and having instead that bony ridge. I have considered several explanations but none satisfies the rules of the world. The idea came from a sketch and it was important to use it at the time so I am sure I will find a satisfactory explanation for it eventually. Its actually great to have pieces of the work that I cant really understand. Its part of what keeps me so interested in this project.
The title for this piece also set rules for the growth of the project. Truly the work is about human relationships but in titling the piece I began to consider that they also represent interior relationships. There are always parts of ourselves that sleep and others that watch. The title is meant to point to this.
This piece was the first of the series that I call the monsters. This work revolves around a story that is added to as the pieces are built. In this blog I hope to work out the details of this story. This piece was based on my best friend and his wife and their wonderfully close relationship. It was after they were made but not yet finished that I considered they might be something more.
Originally I thought of them as busts. On closer consideration and with the beginning of the next pair I began to think of them as complete creatures. Humans, after some cataclysmic change that took our hands thus our ablity to make things. What we see that remains is their relationships.
Most of the monsters are presented as pairs or groups of threes. Revolving the work around relationships has given it an urgency for me as my own long marriage has dissolved. Dancing the line with biography in the work has been important so that it does not become tied to a moment in my life but can still carry the urgency of real experience. I have found looking outside my own concerns and thinking about the relationships of others very helpful in this.
This work makes its gallery debut next month. At the opening I am planning to have the creation story of the monsters finished to read. I’ll continue to work that out here in my blog
This is my latest drawing for class. I am trying to draw every day. Its a wonderful discipline, one of the best things about being back in school as I rarely gave myself time for this before. I spent about three hours on this in one shot. There are elements of this that I really love and bit that seem like student work that needs more practice. oh well, hard to please seems to be a mark of an artist
Hi. Im Kate Fox, this blog is to document my life and work as an artist-graduate student also to document the life of my studio and students.
I am a ceramic artist in residence at the Sangre de Cristo Arts and Conference Center in Pueblo Colorado and a graduate student in my first semester at Fort Hays State University in Kansas.
I have been a professional working artist for 15 years and been in my residency for almost 10 years. In that time my work has evolved from primarily wheel thrown functional pottery to figurative sculpture and sculpted tile.
Teaching is also an important part of my discipline as an artist. My students range in age from three years to seniors and I teach both hand building and the wheel. I find teaching to be both a challenge and an incredible inspiration to my own work
Personally my life is changing in every way. New school, new apartment, new living arrangements… Change is the rule to be sure. How will these changes impact my work and how will art inform my life? these things too will be a part of the discovery of this record and exploration.