Here are a few of photos of the in-progress work for Skeletal Ceramics. The first image has some of the bones used in their respective vessels, followed by two more images of the raw ware or green ware. I didn’t take photos while glazing because I was doing it outdoors in 98*F weather so I was sweaty and covered with glaze - as well as acutely aware that I probably needed more glazing time than the shop would be open for!
equine
LSU Vet Med Artist Residency Artwork 8-19
This is Skeletal Ceramics, assorted handmade stoneware vessels imprinted with or formed around various canine, equine, and swine bones from the anatomy lab, 2022.
I made this body of ceramics start-to-finish on site at the LSU School of Veterinary Medicine and with purchased supplies and firing assistance from Southern Pottery Equipment. The canine, equine, and swine bones used include skulls, jawbones, various vertebrae, scapula, femurs, and sacra. The glazes used were an Amaco Shino Cacao Matte Cone 5-6 Glaze (SH-32), a Spectrum Satin White Hi-Fire Cone 5 Glaze (1121), and a Spectrum Satin Mottle Hi-Fire Cone 5 Glaze (1122). I applied the Cacao Matte to all the textured/impressed areas and then sponged off the outer surfaces, then put on a generous two coats of the Satin White, and then painted a little of the Satin Mottle on kind of haphazardly and then more carefully at the lips. I fired to Cone 6. I was really happy with how this combination performed, as they do look like bone themselves! Seven of these pieces sold during the exhibition to three different buyers.
The anatomy lab allowed me to take the bones I’ve been using back with me so that I can continue to develop this collection, so stay tuned for more.
LSU Vet Med Artist Residency Journal 2
in Residencies
Over that first weekend, I attended the Baton Rouge Bromeliad Society Show & sale, went to a Beatles cover band concert by the Remnants (they did play one CCR song, which is more my jam), listened to the artists’ talks for the Baton Rouge Gallery’s current four-person exhibition, spent some time in my host Rob’s studio (mine still hadn’t been made available to me yet) and took a 4.5 mile walk around University Lake to try out my new camera!
Let me back up. After I agreed to take on this residency, I applied for and was awarded a Morningside University Ver Steeg Faculty Scholarship Grant to help cover associated costs. These include the mundane, like mileage, but also the exciting: a new camera and larger substrates than I have been typically using as well as more paint/mediums.
My old camera is a Sony RX100 II, and I adore it. However, it is eight years old and it’s having ever-more-serious issues; when I wrote the grant application a couple of months ago, I shared that “it is having problems focusing, retracting its lens, and opening and closing its automatic lens cover.” However, it has now also factory-reset itself and then later during a photoshoot the screen showing the previous photo wouldn’t clear and the camera behaved as though I was taking a new photo of the previous photo including trying to adjust focus. It’s not dead yet, but its reliability is heavily faltering.
Eight years is a significantly-above-average lifespan for a digital point-and-shoot camera, and I am a heavy and hard user; this camera has been to the Amazon rainforest, Iceland, and everywhere else I’ve been in the past eight years, and it has put up with internal condensation, ants, and all sorts of environmental conditions. My previous two cameras maybe averaged three years each? So I have a lot of respect for the Sony RX100 series.
My new camera is therefore the Sony RX100 VII. On my test-drive walk around the lake, I took photos in shade, in light, of still objects, of animals, from close range and at distance. Some differences I noted pretty quickly: the zoom appears to be better, and there’s a forced-focus feature. Much like on a cell phone, you can press on the large glass touchscreen view on the back of the camera and force the focus. At first, I was absolutely in love with this feature. I still think I’d elect to have it, but there is a downside; any time you touch the back glass, you’ll set it - even if you don’t mean to touch it at all. Then you have to figure out that it’s been set, and at that point you will need to manually clear it.
When I returned to the vet school on Monday, I was given the keys to the kingdom: my badge which allows me access to my studio as well as all other gated-off areas not for public access, and the door key to the studio itself (a temporarily converted conference room). This week I also met with an epidemiologist specializing in mosquito-borne viruses, wildlife medicine, and integrative medicine. I visited the clinical skills laboratory and the histology labs, spent a bit of time in the farm animal and equine areas, got to watch a red-shouldered hawk release, and began to delve into my studio practice.
In addition, I went out to dinner one evening with my former graduate school professor and mentor Kelli Scott Kelley, and then we took in a jazz concert afterwards!
Also a big thanks to Sandy Sarr, the LSU School of Veterinary Medicine’s Communications Coordinator and my primary point of contact, for documenting my residency so well. I rarely get so many good photos of myself in action!
