Phoenix Athens Residency Artwork 5

When I first conceived of a nine-tile piece (Marginated) and a five-turned-into-four-tile piece due to one of the pieces being destroyed at a sandblasting facility (though then one of the four remaining tiles broke into two during sanding, so it reconverted to five total pieces-and-fragments), I had planned to paint an animal on the larger composition and a plant on the narrower one. I imagined it might be a tortoise and an olive branch, and as time passed and I gathered experiences and reference imagery, both ideas resonated more and more strongly.

Athens is named as such because Athena and Poseidon battled out becoming the city’s patron god through each giving it a gift. Poseidon gave a salt-water sea, while Athena gave the gift of an olive tree atop the Acropolis. The olive tree was deemed the better gift, and so the city was named Athens with the patron of Athena (and was punished with insufficient fresh water by Poseidon). Olive trees are ubiquitous in Athens and Greece, growing in the ground as well as in decorative containers throughout the city. They are easy to identify due to their iconic appearance. Their fruit, oil, and wood are each major industries, and squatters can even gain land rights by planting an olive tree on contested parcels. The olive branch has become a worldwide symbol of peace.

I decided to paint an olive branch with immature olives on it, and atop the roughened glaze sections, I kept its coloration standard while on the raw clay body I converted it into a hot/burnt color palette that bring global warming, fires, and drought to mind (as I did to a lesser degree on Marginated as well).

Once again, this piece can be displayed variably, and/or in combination with Marginated.

Symbolism, acrylic on five partially deglazed 19th century ceramic tiles and tile fragments, variable display dimensions with core dimensions of 17.25x5.5x.25", 2023.

Shelby Prindaville’s acrylic painting of an olive branch on partially deglazed 19th century tiles, displayed in its core composition.

Shelby Prindaville’s acrylic painting of an olive branch on partially deglazed 19th century tiles, displayed in an alternative layout.

Shelby Prindaville’s acrylic painting of an olive branch on partially deglazed 19th century tiles, displayed in an alternative layout.

Upcoming: People and the Planet Exhibition at Touchstone Gallery

My Aedes aegypti mosquito painting Hosts was juried into the upcoming People and the Planet exhibition at Touchstone Gallery in Washington, D.C. There is both a more selective in-person and a larger virtual gallery, and my work was accepted for both. When I applied, I thought given the show dates that I could make their mailing deadline after my return to the US, but they’d like it earlier than I expected so I had to elect to only exhibit in the virtual portion. The show will be on view from August 2-August 27, 2023!

Gallery info:

Touchstone Gallery
901 New York Ave NW
Washington DC 20001
202-682-4125
Open: Wednesday - Sunday 12-5 pm
www.touchstonegallery.com

A screenshot of the People and the Planet exhibition information from Touchstone Gallery’s website with my name highlighted.

Phoenix Athens Residency Artwork 4

I am so happy with how this overall project turned out! The tiles fought hard to keep their slick glass surfaces and people kept trying to persuade me to give up, but after a lot of failed attempts, I eventually prevailed in removing the top-most surface but leaving most of the glaze, crackle, and chip defects (and adding more defects of my own in the process).

From conception, I had planned on a nine-tile ceramic artwork and a five-tile-and-fragment ceramic artwork. One of the whole tiles ended up completely ruined while at the second sandblasting facility, so I was down to nine and four. I was initially pretty sure my nine-tile square artwork was going to be a tortoise, but I tried out a variety of compositions… and confirmed that a tortoise was my favorite option!

This project is exciting in that it is an experimental fusion between ceramics and painting, and it also uses as its substrate antique tiles from the 1840s. The multiple components means that I can display this piece in infinite ways; the “core composition” is of course the most resolved option but irregular spacing and/or scrambling encourages additional viewer appreciation for the artistry of each tile in its own right as well as introduces additional room for conceptual narratives around ecology, encroaching human environments into the natural world, negative space, abstraction, and time.

The subject is the larger, presumably male adult marginated tortoise I met on Mount Lycabettus - at least one group of locals call him Petros. When I was thinking about what to title this piece, I realized that marginated also means “marked or characterized by margins,” such that the word describes both the subject and substrate and therefore seemed to me to be the perfect title.

Marginated, acrylic on nine partially deglazed 19th century ceramic tiles, variable display dimensions with core dimensions of 16x16x.25", 2023.

Shelby Prindaville’s acrylic painting of a marginated tortoise on nine partially deglazed 19th century tiles, displayed in the core dimensions.

Shelby Prindaville’s acrylic painting of a marginated tortoise on nine partially deglazed 19th century tiles, displayed in a more conceptual, open configuration.

My Fourth Week in Athens

My fourth week in Athens was pretty friend- and tourism-focused! On Monday, I met up with a childhood friend who is now a Greek Orthodox nun, and then visited Sounion with the Phoenix Athens residency director and his college roommate where we took in the Temple of Poseidon and swam in the Aegean Sea. Tuesday I was able to get a little studio time in, and then my colleague and good friend Stacey came to visit that evening through Saturday morning! We hopped on a cruise to visit several Greek islands, and then stayed for two nights in Aegina. We did a four-hour ocean kayak tour (it was amazing but also as a solo kayaking novice, I think two hours might have been more within my comfort zone) around Agistri and several nearby uninhabited islands, rented bikes and biked part of Agistri as well, went swimming and snorkeling a number of times, and generally had a blast. We then returned to Athens and visited the Acropolis Museum and the Acropolis itself!

On Saturday, I tried to hunt down a local artisans’ festival Stacey and I had driven past in a taxi, and I finally found it… but it wasn’t going to open for a couple more hours so I decided to visit it on Sunday instead. I then spent the rest of the day in the studio. Sunday, I went back to the Monastiraki flea market and Plaka districts as they were nearby the festival (which ended up not being that exciting, but I would’ve wondered if I didn’t go!), and I purchased a carry-on-sized piece of luggage that should hopefully help me be able to get all of my artwork back to the US. (After research, shipping seemed less advisable than taking it with me, but I was already close to the weight limits on my way here and am making artwork that involves heavy materials.) Then that afternoon, it was back into the studio!

My Solo Show at Phoenix Athens!

As you can probably surmise, I tend to post a week or so after whatever it is I’m doing. It takes time to process photos, write up posts, title and measure artwork, and so forth. It’s also nice to space out new artwork posts, so that online viewers have time to appreciate each one! This means that though I’ve only published three finished pieces and covered three weeks here in blog entries so far, I’m actually part of the way through my fifth week and have finished six pieces of artwork with two more in progress… and my solo show is rapidly approaching.

Below are the show details and statement, for anyone who happens to be in Athens!

“Athenian Habitat” by Shelby Prindaville

Exhibition dates: 15 – 22 July 2023 at Phoenix Athens Gallery, Asklipiou 89, Athens, Greece

Reception: Thursday 20 July 2023 19:00-22:00

Shelby Prindaville is interested in the human role in shaping an ecological balance and creates art pieces centered on the beautiful fragility and resilience of the natural world. Her interdisciplinary art practice demonstrates the joy of contemplative engagement with nature as well as provides a taste of the sorrow a disconnect with nature can bring. 

Shelby encountered each of the animal and plant species depicted in her paintings on Mount Lycabettus during a sequence of hikes undertaken throughout her residency, and drew additional inspiration from ancient Greek ruins; the Greek history of conquest, influence, and cultural fusion; urban construction materials; Athenian museums’ broken artifact presentations; a spotting scope’s field of view; the etymology and mythological background of the Eurasian sparrowhawk’s scientific name; and the law of conservation of energy. 

While in residence at Phoenix Athens, Shelby has been working with new-to-her materials that have been locally or regionally sourced – concrete, broken segments of marble and paving stones – and in some cases, historically meaningful: papyrus and 19th century antique tiles.  These materiality explorations and her desire to give her finished pieces their best chance of long-term archival stability have necessarily involved experimentation and occasional failure or redirection.  She has visited two sandblasting facilities, used an angle grinder for the first and several subsequent times with a variety of different heads and attachments, tried out crackle paste, and limited herself to a color palette inspired by archaic natural pigments.

Shelby Prindaville is the Art Department Chair, Gallery Director, and Associate Professor of Art at Morningside University in Sioux City, Iowa, USA.  Her studio practice combines her interests in the sciences and art.  She has been selected as a World Wildlife Fund tour artist, was invited to be the first-ever artist in residence at a veterinary school in the United States, and has previously completed twelve other artist residencies.  Her website artbyshelby.com displays her work across a wide variety of art disciplines including painting, mixed media, relief, sculpture, ceramics, and interactive installations.

Phoenix Athens Residency Artwork 3

This is my first Eurasian hoopoe artwork! It is painted on a natural tree trunk slice which I obtained here in Athens. The central element, the “seed,” is the unaltered center-most part of the wood as well as its hollow. It also subtly references the “mati” or “evil eye” which is a prevalent design in Greece.

I plan to paint at least one, maybe two more hoopoe pieces… though I may not have time to complete them while I’m here in Athens. We’ll see!

The Seed, acrylic on tree trunk slice, 15.25x15.5x1”, 2023.

Shelby Prindaville’s acrylic painting atop a tree trunk slice of two hoopoes on a branch.

Week 3 in Athens

That Monday was another studio day!

The next morning, I went back up the morning at tortoise time as I figured it couldn’t hurt to get some more tortoise photos, and I was still wanting some more hoopoe shots - I had seen the hoopoes out at both late afternoon and early morning, so I thought I might as well attempt both at once. I indeed got some more tortoise images, and then spotted a Eurasian jay from afar. After some time wandering and watching, I then found a hoopoe to photograph and with time, this one let me get relatively close for a spell before flying off. Then either another or the same Eurasian jay showed up in a tree above me. After that, I found another (or a previous) hoopoe, and this one seemed to truly understand what I was about. Occasionally, an animal I encounter seems to get that I’m not a threat in any way and am in fact someone they might want to show off for. After we spent some time together, this bird made direct eye contact with me and then sunbathed, which when performed by hoopoes has led to some long-term misunderstandings by ornithologists and bird enthusiasts due to their remarkable behavior. They spread their wings and flop onto their stomachs, and then recline their head all the way back until they are worshipping the sun. It is WILD. I am reserving my photos as I plan to paint and I think sharing reference imagery kind of spoils some of the magic in my artwork, but you can google it! As I was leaving, I met Giselle the puppy again, and she was determinedly enjoying herself despite her owner being several hundred meters away yelling for her to come. I gave her a swift cuddle!

That evening, I went with the other art professor to see a "new artists under 40” exhibition, and we met up with the other, former artist in residence (who stayed beyond her residency to vacation) and had dinner and visited a new-to-me neighborhood.

On Wednesday, I spent time in the studio and then attended a different, massive contemporary Athenian exhibition (50 curators were involved!) in the evening. Then Thursday through Sunday were all studio days since I knew I was going to be spending some significant tourist time in the following week.

The images in the below gallery are Giselle, and some photos from the second exhibition I attended!

Phoenix Athens Residency Artwork 2

This is my second finished painting completed as an artist in residence at Phoenix Athens in Greece! It depicts the wild sparrowhawk mother of the chick I previously painted. The Eurasian sparrowhawk’s scientific name is Accipiter nisus, with “accipiter” being Latin for hawk and “Nisus” due to the Greek myth of King Nisus/Nisos (who in most versions of the myth is turned into a raptor upon his daughter’s betrayal).

I’ve always been interested in syncretism and occasionally infuse religious references into my artwork. Working within various European, Greek, and Egyptian traditions and media and adding my own conservation-based values into the mix here, I was inspired to give this female sparrowhawk a halo. The word “halo” comes from the Greek language and is artistically used for Greek deities including Helios, Eos, and Eosphorous, but the stylization I gave mine is more traditionally associated with Christianity though it is believed to have originated in Iran.

This is Syncretism, acrylic on papyrus, 24x16.5”, 2023.

Shelby Prindaville’s acrylic on papyrus painting of a female adult Eurasian sparrowhawk with a halo, titled “Syncretism," 2023.

Second Week in Athens

I had a studio day on the 19th. I tried to sand more of the tiles with the rotary sander attachment, but the sanding pad gave out after the first one. Dimitri suggested I buy a different, heavier-duty ribbed sanding head, and we went to a neighborhood hardware store to do so. They didn’t have it in stock, but ordered it in for me and said it’d come in later in the week. Then on the 20th I set an alarm for 7:30am, as I was told by people I asked on my previous mountain visit that the tortoises are most active and likely to be seen around 8-9am. Waking up so early and then doing an intense hike first thing isn’t my favored order of events, but I kept telling myself I had a date at “tortoise time” and it helped! This time, I entered the mountain from the place I had exited on my last visit, as I’d been told that it’d be more likely to see tortoises on that side. I had dropped GPS pins on some fountains that I had hoped might attract some tortoises who wanted a drink, but neither had gathered any as I checked them.

I wandered a while without any sightings, and eventually my path crossed with a worker who was swapping out garbage bags. I assumed someone who follows all the trails swapping bags would be a great resource, so I asked her about turtles (in my experience, few people who primarily speak other languages know the word tortoise as most languages just have one word for both turtles and tortoises, and turtles is the much better known English option). She didn’t speak much English but the word and my mimicry of them worked, as she did clearly understand the question. She managed to get across that they are here in general but she didn’t know in specific where any might be, and then she summoned another fellow I’d seen several times over and together they discussed my desire to find turtles, had a meandering conversation that included the local fox that can sometimes be found at night, and eventually lasted long enough for another passerby to arrive - and when they included her in the query, it turned out she was headed for a spot where tortoises frequently hang out in the morning because people feed them lettuce (as she was planning on doing)!

We walked together with her dog to this new site, and it turned out she is British, lives in Athens, and recently spent some time in the USA as well, so we had a lot of conversational topics to explore. When we eventually arrived, we were in luck! There were two tortoises already feasting on some lettuce, and she added hers to the mix. I took a bunch of photos, and after a spell a hoopoe showed up so I paused to photograph it. This hoopoe didn’t let me get as close as my previous one had, but my camera settings were way better, so overall I got a few decent shots. Then I went back to photographing the turtles, but by this time a group of locals showed up to add fruit to the pile and they had a bunch of dogs with them, one which would not stop barking at anyone who wasn’t in their group (including me), so I didn’t hang around too much longer though I did make the acquaintance of Giselle, a cute, friendly puppy, when she plopped herself into my lap while I was trying to photograph the tortoises.

The next day, I decided to visit the National Archaeological Museum. It is an immense collection that takes several hours to explore, and while I did the whole thing at once, I think there’s a limit to how much you can really register and retain, and to do it properly you might want to do it in three or four visits. I really enjoyed seeing how they exhibited partial finds (like frescoes or vases that were broken, needed to be pieced together, and were missing segments), and I was reminded of how beautiful oxidized bronze is. My one complaint is that they have no water fountains anywhere; you have to order and pay for water in the basement cafe (which has a permanently long line) or drink from your hands from the bathroom sinks.

I then spent more time in the studio! The new sanding head came in on Thursday, and I picked it up that evening. The next day, I tried it out on a piece of concrete first to get the feel for it (and it powered through the concrete). I then tried it on a tile, but it just buffed it so that too was a no-go. In between all of these and my previous attempts, Dimitri and the other artists in residence tried to help brainstorm but also kept suggesting that what I wanted to do was impossible. I credit my ceramics knowledge with the fact that I knew it wasn’t! I bought a new velcro head and 4 sanding heads of 40- and 60-grit, and went at the tiles again. This time, I got through almost all of the top layer of the glaze (but left a lower layer intact but now much more receptive to paint)! It turns out, the brand new sanding pad and velcro head were successful (though I also still think liquid/cream etching acid would have worked a treat). I did need to use a new sanding pad per tile, as the irregular surface meant I needed to use the very edge of the pad to get into the lower areas and that quickly ate up the perimeter, but the pads only cost 50 cents each so that was a reasonable expenditure. I went back to the hardware store and bought another 6 pads, and sanded away.

On the 25th, I decided to visit the Sunday Monastiraki flea market and then walk through the touristy shops of Plaka. The flea market was a bit of a disappointment, in that it’s mostly fixed tourist shops, a few antique stores, and a handful of street vendors, but the tourist shops throughout both neighborhoods went on and on. Most of them sold approximately the same type and range of goods, but every so often you could find one that had different wares. The prices in these neighborhoods were astronomical though. A tablecloth I liked cost 80€, a decorative plate cost 26€… it was clear you’d pay a large markup for anything you wanted. The main tourist shops included olive wood stores (featuring various cutting boards, serving tools, games, etc. made out of olive wood), jewelry stores, shoe stores, general tourist shops with shot glasses, mugs, dishes, statuettes, bags, and T-shirts, and edible gift stores with boxed baklava, halva, teas, and olive oil. There was also the occasional bookstore and art gallery mixed in.

Phoenix Athens Residency Artwork 1

Here is my first finished painting completed as an artist in residence at Phoenix Athens in Greece! It depicts a wild sparrowhawk chick in a somewhat stylized nest of branches.

This is Potential, acrylic on papyrus, 24x16.5”, 2023.

Shelby Prindaville’s painting of a wild Eurasian sparrowhawk chick on papryus.

My First Week in Athens

I arrived in Athens on Monday, June 12th in the late afternoon, and by the time I got my checked luggage and took a taxi to my residency, it was around 6:30pm. I greeted my hosts and their two artists in residence. The residency director, Dimitri, showed me to where I’d be staying and mentioned he didn’t have time to prepare it as he would have liked but hoped it would be acceptable and that he knew I wanted access to A/C (I had requested that if possible given that it can get up to 104°F/40°C in the summers), which this apartment has. Then we went out for drinks and invited a field biologist friend of Dimitri’s, as I had asked to have him show me some of the local fauna and flora on the nearby Lycabettus mountain. It is also the highest point in the whole city (and is inexplicably titled a hill here, as in Lycabettus Hill, but I assure you - and have photographic proof - that it is not!).

I returned back home and went to bed. I awoke in the middle of the night and discovered a large cockroach, so the next morning Dimitri brought a can of spray over. Unfortunately, it turned out to be a bigger infestation than the can of spray could resolve, so he then spent hours patching crevices and holes in the place with cement, caulk, and tape, and finally a couple days later an exterminator came. Since then, I haven’t seen another (fingers crossed)! In the midst of dealing with that, my bathroom plumbing also flooded the place with contaminated water, and we’ve since had three plumber visits - I now have a brand new toilet, too. I’m hoping that was all my bad luck for the trip, right at the beginning!

I’ve had great luck, too, though! On my second day here, I went up Lycabettus with my new field biologist friend (somewhat confusingly for narrative purposes, he’s also named Dimitris so I will just refer to him as the field biologist). He brought his very nice birding photography gear, including a tripod and scope, because he has been observing a sparrowhawk nest and was happy to show it to me. It was AMAZING. I had a great time observing them; I’ve seen both adult and baby raptors up close before at LSU Vet Med, wildlife sanctuaries, and/or zoos, but to intimately see a healthy, wild sparrowhawk family through a scope was magical. We then climbed to the top of the mountain at sunset to get a bird's eye view of the city and the Acropolis.  A few days later, I went on a five-or-six mile walk around the Athens city center and the base of the Acropolis with one of the other artists. I next visited the National Garden, as I was hoping to find one of the native tortoises. I did not, so I went back up the mountain the following afternoon to try to spot some, but then heard from other people in the trails that they're mostly around in the early morning.  However, the trip wasn’t wasted as I then ran into a Eurasian hoopoe. Unfortunately, I had the wrong camera settings still running from the previous evening and didn't realize it, so those photos are not usable.

Interspersed between all of the above events was studio time! I began work on two different sparrowhawk paintings on papyrus and have been trying to get the surface of the 19th century tiles I acquired in Amsterdam to become more receptive to paint, as I want to use my OPEN Acrylics atop them and would like the resultant work to be relatively archivally stable. First, I tried hand sanding to no success. Then I tried a rotary sanding attachment on an angle grinder, but the surface of the tiles is not actually flat so it left a lot of pockets of shiny glaze. I decided to see if I could find a store capable of etching my tiles instead, as etching liquid/cream or sandblasting would uniformly work on irregular surfaces. I took the tiles to a glass store that told us they could sandblast them, but when I arrived it turned out their sand was far too fine and it would not result in the type of more open surface I was looking for, so they sent me to a sandblasting factory. There, they assured me they could do it and that I should come back the next day to retrieve them and pay. However, the next day it turned out the glaze was too hard for their sandblasting material, and they could not do as I’d asked after all.

The food here has been uniformly delicious, and Athens is in my opinion the most vegan and vegetarian-friendly city I’ve been to, which has been a very pleasant surprise! I knew the Mediterranean diet would lend itself pretty well to my vegetarianism, but there are an abundance of purely vegan restaurants around and several servers have proactively offered vegan modifications to vegetarian dishes.

A Two-Day Layover in Amsterdam before Athens!

I recently headed out to my artist residency, Phoenix Athens, in Athens, Greece, and added a short layover en route in Amsterdam. The flight sequence to Athens from Sioux City is really long; my trip back will take about 24 hours in transit. Add in jet lag on top, and that sounded like a lot to handle all at once. I’ve also never been to Amsterdam so it seemed like a good idea to check it out, burn off some jet lag, and trim down the flight time by lopping off a few hours and saving those for later.

I arrived at my Airbnb in Amsterdam around 11am; check-in wasn’t until 2pm but they let me store my luggage until then. It was up 4 flights of stairs, so I was happy once they were fully upstairs! I then took a tram to the Waterlooplein Market, planning on looking for antique tiles I want to use as an artwork substrate. I found a few but none of the type (or in the quantity) I wanted so I then walked to a section of the city center that had a clump of antique stores and asked at each of them. Eventually, I located the perfect store and bought 12 antique tiles and tile fragments which I want to try to use, and 1 additional “sacrificial” test tile as I need to figure out how to remove the glossy surface of the glaze in order to increase the archival nature.

At that point, I was quite tired and really nauseous. Jet lag can present as nausea, so I decided that was the likely culprit. I was also carrying 13 tiles, which is not insignificant a weight, so I decided to return to the Airbnb, drop the tiles off, take a (hopefully short) nap, and then go back out to explore and have dinner. The room was quite hot as the weather was unseasonably warm and the place I booked didn’t have A/C, but I was tired enough that a fan was sufficient and I took a 90-min nap. Then I went back out and explored more of the city center, had a vegan sushi dinner, walked past the Anne Frank house, and toured a part of the red light district.

The following day, I visited the Nieuwmarkt and the floating flower market, walked De 9 Straatjes (The 9 Streets), took a canal tour, and ate at a vegan burger bar. By the next morning, I was still a bit jet lagged, but it was much better - and I was off to Athens!

More Advocate Press Coverage of My LSU SVM Artist Residency!

The Advocate just published this feature on the LSU School of Veterinary Medicine Dean and his vision for the future, which of course includes founding the artist residency I was the first to complete last year! It includes one of my paintings as well (see my screenshot to the right).

I've Finished a New LSU SVM Artwork: Overlooked!

I’m beginning a new artist residency, but I still have some paintings I’d like to do from my summer 2022 artist residency at the Louisiana State University School of Veterinary Medicine so I worked on them before I headed out! Last summer I had begun, but not yet finished, the contour drawing underpinning this painting of two juvenile possums. I worked on the background this past fall, and began to paint it at the beginning of this summer! The background is a chemical stain from the anatomy lab; I’ve had some trouble with the lightfastness of the veterinary stains I’ve tried in the past, which is why I gave this one so much time between setting it down and painting atop it! Both due to the time involved and my research, I have more faith in this particular stain’s staying power. This stain is called orcein and is derived from lichens, and it has been used as a fabric dye in addition to scientific usages.

This is Overlooked, acrylic and orcein stain from the LSU SVM anatomy lab on Aquabord panel, 24x18x1.5”, 2023.

My Favorite Ceramic I've Made Yet: My Last April 2023 Raku Saggar Piece

I have a lot of my own ceramic pieces that I love, and there are a number of those that I plan to keep for myself for the foreseeable future! I’m pleased with each of the ceramics that came out of my recent April 2023 raku workshop; that work spans the realm between good to fantastic. One piece I made is my favorite ceramic I’ve made yet, though, which is a hurdle that was relatively easy to pass when I was a beginner back in early 2020, but is now a much rarer event.

This piece, like the others in this series I’ve made, was dipped in three coats of ferric chloride, wrapped in Muehlenbeckia axillaris or Creeping Wire Vine and then aluminum foil, and saggar-fired in a raku kiln. It is finished with kitchen wax.

Ceramic glazing in general is a lottery; there are a lot of variables and some are outside of your control. I think I won that lottery with this vessel!

April 2023 Raku Crackle and Saggar Ceramics

This is my second post reviewing my April 2023 raku workshop ceramics! This one will cover two of my three “baked potato” aluminum foil saggar-fired ceramics and my clear crackle piece.

Based on my experimentation using plants at my April 2022 raku workshop, I only had real luck with saggar firing Muehlenbeckia axillaris, colloquially known as Creeping Wire Vine. I therefore used it again! Below is a plate that was dipped in three coats of ferric chloride and then wrapped in the vine and then aluminum foil and fired. The Muehlenbeckia axillaris impact is relatively subtle because it mostly went white to medium gray, but the plate overall turned out well. The very first time I did this “baked potato” technique, I used a matte clear acrylic spray. The second time, I went with gloss. I didn’t really love either, so this time, I went with applying a kitchen wax. I really like the way the wax looks, so I think that’ll be the winner moving forward!

Next, I did the same process with a vase - on this piece, I also sprinkled just a little sugar on as well for some small-scale spotting in the design. This one’s interesting as the Muehlenbeckia axillaris is more apparent, and it produced the full value spectrum on the same vase; the top vine piece is white to light grey, while the bottom vine carbonized a lot more and turned medium grey to black.

And finally, I chose to do a clear crackle on a small, necked vase. Handbuilding necked vessels is tricky, and I complicated matters with this piece by leaving my building process evident on the outside to contribute texture (while smoothing it for structure and stability on the inside). This was quite risky; I knew there was a good chance this piece could crack or break with thermal shock due to the thinner seamed areas. However, I was fortunate - it made it through the firing completely unscathed! I wanted to enhance the seams and stress spots that I had intentionally retained, so I painted over each of them and the lip of the vase with wax before glazing with Clear Crackle on the exterior. As I’ve explained before, this means the glaze doesn’t stick to the waxed areas, and the wax burns off in the kiln. The exposed, unglazed clay body then carbon traps the smoke in the post-kiln reduction atmosphere, turning a dark, smoky grey. I finished the piece by putting kitchen wax on the unglazed areas.

Again, none of the “cracks” in the below piece are structural - they are all decorative and this vase is fully sound.

Morningside Student Designed the New Sioux City Garden Club Logo!

Miriam Moore’s new Sioux City Garden Club logo design!

I love to partner with community organizations in art department coursework with beneficial, real-world projects. This semester, I agreed to host a design competition within our graphic design program for the Sioux City Garden Club! Their president, La Vone Sopher, reached out to me and we worked out a plan: students in Graphic Design I and II would submit logo designs, and the club would proffer a $50 first place (and use that logo) as well as a $25 second place prize.

Students in these two courses submitted 26 designs, and there were a lot of quality options for the garden club to choose from! The board winnowed it down to six, and had the club members vote to select their first and second place designs. Graphic design and history major Miriam Moore’s logo was the winner!

I like to take on these sorts of projects - even though it invariably adds to my workload - because students get to work with actual clients, the top designers receive compensation, and all students create portfolio pieces while the winner sees their work enter the community. It also raises both the winning artists’ and our art department’s visibility… particularly when we issue press releases about the successful conclusion of the partnership!

Here’s the Morningside University press release (complete with a quote from me), which was picked up by KWIT and a KTIV television interview.

Morningside's Class of 2023 Graduation!

Me and one of our brand new alumni at the 2023 Morningside University graduation ceremony!

This was a special year for me, as this graduating class is the first I’ve had at Morningside University where I’ve seen them through from start to finish - it’s my fourth year here, too!

Graduation was on Saturday, May 13th, and it’s always heartwarming with a dusting of saudade. I’m excited to see my students continue to progress in their professional and personal lives, but it’s always a little sad not to have them around nearly as much as I’ve become accustomed to. New students will be arriving in the fall, though, so the cycle will begin again!

April 2023 Raku Copper-Glazed Ceramics

I’m going to do a few different posts about my April 2023 raku workshop pieces because there’s a lot of good work to share. In this first one, I will review my copper-glazed pieces!

Below is a platter, which has some texture on its surface; I imprinted an equine femur into the clay body thanks to bones I was allowed to keep using from the LSU SVM anatomy lab. I first glazed it with White Crackle, then wiped the white crackle back down so that it stayed in the impressions, and also applied it to the rim. Then I glazed over the top with Copper Sand. I thought this would impact the coloration, but the white crackle (at least at that thickness) only really affected the sheen; where it was applied the glaze is glossy rather than matte. Though it’s not precisely what I envisioned, it’s a strong piece.

Next, we have a small, leaning vase. I chose to apply wax to the rim and throat. Then I glazed the exterior with Copper Sand, keeping in mind that the glaze doesn’t stick to the waxed areas. In the kiln the wax then burns off, allowing the unglazed clay body to carbon trap the smoke from the reduction afterwards. I was planning on staining the raw clay, but I ended up holding off as the variably smoky surface is interesting in its own right. I need to actually decide, as I will want to wax the raw surface if I don’t stain it.

This is probably the biggest of my raku pieces this go-round. This vase vessel has Litho Carb on the inside and Copper Sands on the outside. (I really like Copper Sand as it’s pretty predictable in its behavior for me, which is a rarity when doing raku.) The interior lip has an abalone-like appearance!

Next, we have my “golden bowl.” This piece is glazed with Dakota Potter’s new Peacock on the interior, and once again uses Copper Sand on the exterior. One of my students kept hovering her hands above it and singing reverential “aaah” noises!

And below is my final copper raku piece of the workshop! This one is an oddball shape; I wanted to push myself to make some handbuilt, necked vessels and in doing so created this flora-inspired vessel. I glazed it with Litho Carb on the inside and Midnight Luster on the outside.

April 2023 Raku Workshop at Dakota Potters Supply

Now that I’ve gotten the last workshop’s pieces published, I can tell you about the one I just finished! It took place on Saturday, April 22, 2023. Despite that late April date, the weather was decidedly more wintry - it was 34 degrees Fahrenheit with snow on the ground when we arrived, and I think it warmed up to around 40 by the time we left 8 hours later. Fortunately, the inside of the garage/storage room we glazed within got a bit warmer with the help of some space heaters, but I was still happy I wore my snow boots for extra warmth!

Possibly due to the weather, though, I had my best raku luck yet! I brought nine pieces, and all nine survived without even one crack - and my glaze results all fell on a scale of good to fantastic. I’ll share those with you shortly, but here are some photos from the workshop day itself first. In attendance from Morningside University was me, our ceramics instructor Paul Adamson, alumna Deb Allard and student Hannah Nichols.