Coon Rapids

Whiterock Art Show Photos!

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Here are some photos from my three-person show Whiterock Art at the Betty Strong Encounter Center in Sioux City, IA! You can still check out this exhibition in person through November 13, 2022. I have 37 works on display, including 20 chromatograms, 15 site-specific ceramics, and 2 painted bas reliefs on panel using the polymer clay I helped create (QuickCure Clay).

As you can see, I arranged dried botanicals harvested from Whiterock Conservancy in four of my 41.816, -94.646 ceramic vessels to show this ceramic collection’s utility and connection to the landscape. My friend, former colleague, and master ceramist Susan Nelson inspired me to do this, as she often shows and photographs her ceramic work with ikebana, or the art of Japanese flower arrangements. I also placed a representative sampling of the small rocks, twigs, and other debris I cleaned out of the clay in a fifth display inside one of the smallest dishes.

At the reception for the show, I sold four of the 41.816, -94.646 ceramic pieces! I was pretty pleased with that, particularly because my price point for pieces in this collection was significantly higher than that of my stoneware work, given all the additional labor that went into this site-specific series. One of the buyers selected a piece holding dried botanicals, and another picked the vessel containing the rocks, twigs, and debris cleaned out of the clay body; both shared with me that they plan to keep those displays intact. That intent surprised me, but I’m happy that my decorative touches felt so appropriate that they’ll continue on beyond the exhibition!

My 41.816, -94.646 Ceramics

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In my three-person show Whiterock Art at the Betty Strong Center here in Sioux City, IA, I have 37 pieces on display! There are 2 painted reliefs, 20 8x8” chromatograms, and 15 handmade ceramics. I’ll post photos from the show and reception shortly, but right now I want to focus on those 15 ceramic pieces in detail.

My Whiterock Conservancy ceramic body of work is special in that it is 100% site-specific in every component. I dug my own clay out of the Middle Raccoon river beach cliff, cleansed it of rocks, roots, and other debris, and then I did not amend it (often potters mix additives into their harvested clay to improve elasticity or other desirable characteristics, but I thought that would weaken this collection’s conceptual power). Below are images documenting my clay collection!

I handbuilt 15 different vessels, and as I was doing so, I thought about if I should glaze them at all, and if so, would transparent glaze from non-local sources taint the project…? I shared this quandary with friends, including my wonderful former colleague and master ceramist Susan Nelson.

After a couple of weeks mulling it over, Susan arrived at a different solution: ash glazing. I learned from her that ash can be used as a glaze, often in combination with clay to lower its melting point and smooth out the finish. I reached out to Whiterock Conservancy co-founder Liz Garst to see if I could collect some of the ash they generate, and she was kind enough to collect me a gallon bag of ash from a slash pile burn primarily composed of invasive honeysuckle bushes.

I inter-library-loaned a book on natural and ash glazes and conducted a variety of tests to determine the best ash glaze mixtures, application methods, and firing temperatures - but I also had deadlines to meet that meant I couldn’t dally too long in the experimentation phase. I eventually settled on using three ash glaze mixtures that used different proportions of clay to ash mixed with water and put 6 pieces in a Cone 8 electric kiln firing and 9 pieces in a Cone 9 gas kiln firing. Below (respectively from left to right) is a still wet raw ware handbuilt bowl, bisque-fired pieces, my work study students and I experimenting with ash glaze recipes in the ceramics studio, and ash-glazed bisque ware awaiting its glaze firing.

Below are are the finished pieces in the 41.816, -94.646 collection. Those title numbers are the latitude and longitude of the artworks’ origin, and if you input them into a map application you’ll see a pin drop on Whiterock Conservancy near the river beach! I love that these ceramics are made of the land itself, and are glazed with the conservation efforts of people today trying to restore what we’ve lost in ecosystem health and diversity. The colors, texture, and variation resonate in this body of work, and I look forward to comparing these pieces with future geographic coordinate collections, as I plan to create site-specific ceramics from other localities as well.

Upcoming: Whiterock Art at the Betty Strong Center!

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You may remember I attended an artist residency at Whiterock Conservancy outside of Coon Rapids, IA, in summer 2021. My good friend and colleague Terri McGaffin had already completed a residency there that spring 2021, and turned me on to the opportunity. Another Sioux City artist, Pauline Sensenig, then followed suit this summer 2022.

All of us will be exhibiting our work in a three-person show called Whiterock Art at the Betty Strong Encounter Center in the Lewis & Clark Interpretive Center in Sioux City, IA, from October 2 - November 13, 2022. The reception will be on Sunday, October 2nd at 2pm, and I hope you can join us - there will be a reception and presentation by Whiterock’s own Liz Garst, co-founder and Board of Directors member of Whiterock Conservancy.

I designed our show logo, postcard, and poster (viewable at the exhibition) - below you can take a look at the digital postcard.

Show postcard back design

Whiterock Conservancy New Artwork: Surface

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I just finished my second relief from my Whiterock Conservancy residency earlier this summer! This piece depicts an American bullfrog, Rana catesbeiana syn. Lithobates catesbeianus, floating on the surface of one of Whiterock’s turtle ponds.

Here are a couple of process pictures of the underlying QuickCure Clay relief. I began by sculpting the above-water portions of the bullfrog, and then added patches of algae as well.

After I finished the relief elements, I began to paint! I’m pretty pleased with the end result. I finished this piece with two coats of gloss varnish to contribute to a wet appearance.

This is Surface, 12x16x2”, QuickCure Clay relief and acrylic on basswood panel, 2021.

Whiterock Conservancy New Artwork: Attuned

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This is the first figurative piece I worked on at Whiterock Conservancy - a relief portrait of a small species of frog I found in abundance at the river shoreline. The Blanchard’s cricket frog, Acris blanchardi, is an endangered or threatened species in three states so far and is listed as a "Species of Greatest Conservation Need." It is considered a type of chorus frog, and is one of the smallest species of frogs in Iowa. Surprisingly (to me, at any rate) it is also considered a type of tree frog despite being semiaquatic and therefore not having the toe pads of their arboreal brethren.

As always, I began with a contour line drawing. My goal with this piece was a stylized, squashed relief reminiscent of antique bronze relief doors, so after finishing the drawing I began laying in the QuickCure Clay relief. Here are two process photos showing the beginning of that QCC work.

At this point, I got too involved in the actual creation to pause, so we’ll skip ahead to the finished work! This is Attuned, 14x11x1.35", QuickCure Clay relief and acrylic on basswood panel, 2021.

Attuned by Shelby Prindaville, Whiterock Conservancy 2021 artist in residence.

Whiterock Conservancy Journal 3

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On the ninth day, we visited the farm again (and I took some photos of a few farm animals and the inside of the historic Garst Farmhouse!) because I wanted to wander around the large and relatively clear Garst Home Pond; I brought the underwater camera I purchased for scuba diving with me and hoped to take some cool fish photos! However, I didn’t think this plan through very well, as I wore my normal tick-prevention gear of long pants and sneakers (sprayed thoroughly with Off! Deep Woods repellent), so I didn’t want to wade in if I could help it. Luckily there were a few spots with large enough rocks at the edge where I could get on top of them and then submerge the camera to capture initially flighty but ultimately curious bluegill fish (Lepomis macrochirus)!

We then stopped off for a wardrobe change and I forded the river with the walking stick this time to harvest some more “blue” clay, which made the whole journey much easier! After this, my last two friends departed, and I was on my own for the rest of the residency.

I spent the whole of the tenth day working on the base drawing and then some of the sculptural elements for a mixed media frog relief.

On the eleventh day, I worked on artwork some more as well as investigated the town of Coon Rapids a bit more - I visited the antique store, the bakery/café, and the Mexican restaurant. I also stopped into Adel, IA, to check out Harvey’s Greenhouse as I’d been told they have multiple greenhouses, with one entire one being devoted to cacti and succulents. In the evening, Liz Garst stopped by and we chatted, I showed her my work thus far, and she tried to tell me of a site she thought I might try for red clay… but when my navigational ineptitude was making it clear I’d never be able to check it out based on her verbal instruction, she then took me on a short Gator ride to physically point to the location!

On the twelfth day, I worked on artwork some more.

The thirteenth day brought a thunderstorm! This was welcome in that the area desperately needs rain, but unwelcome in the sense that I had planned to try to go to the potential red clay site but couldn’t given the weather. I also couldn’t bike either! Instead, I continued to work on artwork and during a pause in the rain took a stroll down to the river beach.

On my last full day, I adventured again! In the morning I took the Gator the same route Liz showed me to try out a different site for red clay; the way becomes impassable by UTV at a certain point, so I had to hike the rest of the way without a trail. This meant wading through grass that in some cases was taller than me, and the ground in some areas was still sodden from the rain! I made it though, only to find it was much the same as the other cliff my friends and I had tried. Ah, well; I gave it my best efforts this go-round and perhaps this unfinished business will call for a future residency here again at some point! I worked on artwork in the afternoon, as the daytime temperatures toward the end of this residency were in the mid-90’s, and in the evening, I biked the Steve Garst trail from the Visitor’s Center into Coon Rapids. Along the way, I passed by a pond that had wild river otter in it! I felt blessed, but also a bit frustrated; I was wearing shorts since I was biking and the very tall grasses, nettles, and other plants surrounding the pond made it impossible to photograph through well but were also not pleasant on the skin as I tried to get closer. I also had a height disadvantage! So the best photographic proof I have is pretty Nessie-level in quality, which also means I don’t have good artwork reference imagery, but it was a really cool experience nonetheless.

The following morning, I packed up all of my artwork and belongings, cleaned the place up, finished my entry in the Whiterock River House Journal (a physical guest book), and headed out in the early afternoon! The final photos in this slideshow are of the River House itself.

Whiterock Conservancy Journal 1

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On my first day here, I unloaded my car which I had packed with art supplies, groceries, my bicycle, and a small suitcase. I’m staying at the River House, which is a very nice three-story house filled with art and books. I then headed over to Liz Garst’s house - she is the founder of the Whiterock Conservancy - and spoke with her and a couple members of her family for a while before heading back to the River House and testing out the Gator UTV.

The second day I met two of the groundskeepers here, and one - Amanda - took me on a small tour of the prairie loop, the abandoned log cabin and turtle pond loops, and discussed with me some ideas on good pigmentation and animal sighting opportunities. I shared with her that I have had a deep desire to see a wild tree frog for the past few months, and she replied that she sees them occasionally and will keep an eye out. I also rode my bicycle on the main trail loop that goes down through the campground and out past the turtle ponds, and met a couple of very nice women camping on the way! I spotted a number of turtles from afar as well as some frogs, geese, and dragonflies. I also harvested some plants and soil samples with the intent of doing some new chromatography artwork. In the evening, two of my friends joined me as my guests for about a week of my two-week residency!

On the third day, my friends and I ate breakfast together and then took the Gator UTV out for a spin, and I taught one of them how to use it. Then I biked the turtle pond section while they Gatored it, and we met at the top of the hill and hiked the Bluebell Trail together. It took us about 4 hours to get back to the UTV, but that was at a very leisurely pace and we collected a lot of chromatography material along the route! On the way back home, I passed Amanda and stopped to say hello; she remarked that she had seen a tree frog as well as a toad about five minutes previously near a tree and pointed it out. I hopped off my bike and went to search the radius, and I miraculously found the tree frog! He even held really still on the branch he was on while I took him out of the brush and permitted a decent amount of photos before he got froggy on me. That evening we were all invited to cocktails at Liz’s house where she shared more about Whiterock’s mission of conservation and sustainable agriculture as well as her family history - including a visit from Soviet Union premier Nikita Khrushchev during the Cold War to learn about hybrid corn from her grandfather!