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.

My April 2022 Raku Ceramics

I just completed another raku workshop this past weekend, and as I was looking through my files I realized I’ve not yet published the raku pieces I made at my last one in April 2022. Clearly I should do that before sharing my latest workshop photos and products!

On my April 2022 raku workshop, I wanted to try to carbonize various plant fronds or leaves onto the surface of my pieces. This was a complete experiment, and it was mostly a failure. I tried a variety of ferns and tropicals out, and one after another, they burned away without leaving a trace. Here are some plates that I attempted to salvage after that didn’t work out. With the first, I pivoted to a sugar and horsehair application. With the second, I tried to use ferric chloride to stain the surface with plant leaves that weren’t carbonizing, but they just left those not-terribly-appealing ferric chloride splotches.

Once I realized those techniques were not working, I tried etching fern fronds onto a plate in a “baked potato” aluminum foil saggar firing; it kind of worked, but I think it’s underwhelming. Since none of those plant techniques were doing super well, I just put a litho carb copper glaze onto my final plate.

I also made a rounded crackle vessel and the glaze turned out really well, but the ceramic physically cracked due to thermal shock so it’s got that permanent asterisk associated with it.

I glazed this spherical vessel with copper glazes (Copper Sand is on the exterior and I think that’s Midnight Luster on the interior), and it came out looking like a little planet! This one’s a definite favorite.

And finally, the one plant piece that turned out beautifully and justified all the failures: this is another “baked potato” saggar firing, and the Muehlenbeckia axillaris vines I used carbonized perfectly into this vase’s surface.

I also lost a large platter-like vessel (it broke into quite a few pieces and was not salvageable) and had another plate fuse with a kiln brick and lose part of its bottom. I eventually recycled that broken platter-like piece in my rock tumbler!

My Upcoming Summer 2023 Artist Residency

I am very excited to announce that I will be a Villa Exarchia artist-in-residence at Phoenix Athens with director Dimitri Yin in Athens, Greece for six weeks this summer!

I hope to create a new body of artwork atop substrates that speak directly to the age and history of Athens: papyrus, old ceramic tiles, and marble. Dimitri has shared that I will be able to visit a population of endangered tortoises residing nearby, and I look forward to documenting them as well as other fauna and/or flora in the Athenian ecosystem.

This will be my first time in Greece, and it will also be my first international artist residency since the pandemic descended (though it will be my ninth international residency and thirteenth residency total).

Είμαι πολύ ενθουσιασμένη! (That hopefully is Greek for “I am very excited!” I’ve been learning a little Greek in anticipation of my stay, but it’s pretty slow going as switching to a new alphabet is difficult for me.)

UPROAR Magazine Cover Image and Feature!

Louisiana State University’s School of Veterinary Medicine just launched a new magazine, titled UPROAR. For its inaugural Spring 2023 issue, my painting Wild Card is on the cover and a feature story on my trailblazing artist residency is inside! Here’s a digital version to check out, with some screenshots included below. Hopefully I’ll receive contributor’s copies in the mail soon!

LSU School of Veterinary Medicine’s inaugural Spring 2023 issue of UPROAR Magazine has cover artwork by Shelby Prindaville as well as a feature story on her trailblazing artist residency.

LSU School of Veterinary Medicine’s inaugural Spring 2023 issue of UPROAR Magazine includes a feature story on Shelby Prindaville’s trailblazing artist residency.

LSU School of Veterinary Medicine’s inaugural Spring 2023 issue of UPROAR Magazine includes a feature story on Shelby Prindaville’s trailblazing artist residency.

LSU School of Veterinary Medicine’s inaugural Spring 2023 issue of UPROAR Magazine includes a feature story on Shelby Prindaville’s trailblazing artist residency.

LSU School of Veterinary Medicine’s inaugural Spring 2023 issue of UPROAR Magazine includes Shelby Prindaville’s cover artwork and a feature story on her trailblazing artist residency.

My Artwork Illustrates a Chemical Review on Frontal Polymerization!

Frontal Polymerizations: From Chemical Perspectives to Macroscopic Properties and Applications” by Benjamin A. Suslick, Julie Hemmer, Brecklyn R. Groce, Katherine J. Stawiasz, Philippe H. Geubelle, Giulio Malucelli, Alberto Mariani, Jeffrey S. Moore, John A. Pojman, and Nancy R. Sottos, published by American Chemical Society (ACS) Publications on February 24, 2023, is a 62-page chemical review. My QuickCure Clay sculpture Catalyst illustrates Section 5.4.4. Frontally Polymerized Artwork in Figure 40 along with other QCC artists’ works.

The above article title links to the online review, and here’s the PDF version. Below is the relevant page!

Frontal Polymerizations: From Chemical Perspectives to Macroscopic Properties and Applications Section 5.4.4 with artwork illustration by Shelby Prindaville.

A Reminder to Check Out the SCAC's 34th Annual Youth Art Month Exhibition

The opening reception and awards ceremony of the Sioux City Art Center’s 34th Annual Youth Art Month Exhibition was great! I enjoyed getting to meet some of the artists and seeing their family and friends celebrate their accomplishments. If you’re in the area and haven’t yet checked it out, it is open through April 9, 2023.

Here’s some local press coverage which also highlights my role as the juror:

My juror statement, printed in the show brochure:

It was a pleasure to jury the Sioux City Art Center's 34th Annual Youth Art Month Exhibition. Making artwork is a hallmark of the human experience; it is personal expression through creative risk-taking and problem-solving. Youth arts education has been linked to students' increased civic engagement, critical thinking, emotional intelligence, innovation, interdisciplinary synthesis, and motor skills. As viewers, I hope that - as I did - you see pieces in this show that bring you joy, challenge you, expand your horizons, and teach you something new.

To the artists: thank you for sharing your time and talent! Whether your work made it into this show or not, please continue to create and share your art; every piece has its own voice and power. In fact, the quality of submissions was so high that it was very hard to narrow them down to the pieces I eventually selected for display. I prioritized choosing a diversity of subject matter, art media, and techniques in 2D, relief, and 3D. I'm very excited to see the exhibition professionally installed, and I hope you are too!

My Upcoming Northwest Iowa Group Sierra Club Presentation!

The Northwest Iowa Group Sierra Club invited me to give an artist lecture about my ecologically-focused studio practice at their upcoming Tuesday, March 28th meeting!

My presentation will be from 6-7pm with a Q&A and reception afterwards, as a small selection of my paintings and 100% wild, site-specific ceramics will be on display and I will offer prints, greeting cards, and magnets for sale. My friend and colleague Terri McGaffin will be giving my introduction and helped organize this event along with Jeanne Bockholt. I’m excited to share and discuss my work with this environmental conservation organization!

This event will be held at the First Unitarian Church located at 2508 Jackson St in Sioux City, IA. This programming is free and the public is encouraged to attend. 

(If you’re available earlier, they’ll be hosting a potluck from 5-6pm as well in the basement - I’ll be there too!)

My 39.57, -97.66 Ceramics

After I made my 100% wild, site-specific Whiterock Conservancy ceramic collection entitled 41.816, -94.646 Ceramics, I knew I wanted to add other geographic coordinates to my oeuvre. Upon discussing this wish with family and friends, my father suggested that I might be able to get some wild clay from the brick plant Cloud Ceramics in my hometown of Concordia, Kansas. We brainstormed different supplies of ash for me to create custom ash glazes with, and settled on ash from my parents’ Republican River Valley firewood and the local Cloud County landfill (they burn organics like fallen tree limbs).

Several calls and trips my dad took to fetch the requisite media later, I had two different colors of native clay as well as the two aforementioned sources of ash. The clay from the brick plant arrived in dry chunks, and it had a lot of rocks and different densities of clays embedded in the pieces. After trying a couple of other methods (sifting and straining), I ended up going back to my tried-and-true, low-tech solution for cleaning the clay: meticulously smushing little pieces of it by hand to remove the debris and equalize consistencies.

I began working on this series in late November. I had a deadline of mid-February if I wanted to include 100% site-specific ceramics in my solo show in the Frank Carlson Design Room. That’s a turnaround of less than three months! I tasked my studio assistant work study students with helping me clean the clay, which helped speed up the process. I also tried to keep the pieces relatively small to maximize the number of pieces I’d be able to complete.

Here are some photos of the process!

As you can see above, after we cleaned the clay I handbuilt 30 ceramic pieces (15 out of each clay color) and bisque fired them. I then separated them into two different firings: half went into a cone 8 electric kiln firing and half went into a cone 9 gas reduction firing. After sifting the ash and removing all the larger chunks, I created 9 different custom ash glazes: 8 using all possible combinations of yellow clay, grey clay, landfill ash, and fireplace ash in 1:3 ratios, and 1 hybrid glaze with 1:1:1:1 proportions of each. I wasn’t sure what any of the glazes would look like, so I ensured each color of clay and kiln setting had the full range of options and asked my work study students to take copious notes so that we could learn from the results.

Here are my 39.57, -97.66 Ceramics! I managed to finish these in time to include in my Frank Carlson Design Room solo show. I like them all, but I am particularly in love with the ones that came out of the cone 9 gas reduction firing. I’ve only fired a few times in gas kilns so far, and this is the first time I’ve gotten really good reduction - it’s gorgeous! I like them so much that I want to make more (and larger) pieces to add into this collection, and glaze with a little more intention now that I know what the custom glazes I created will do. The clay cleaning process is tedious enough that there is a limit to how long I’ll want to keep working with each wild batch of clay, but my interest hasn’t waned in the Concordia series yet.

NC State University Honors Philosophy Seminar Guest Lecture

I’ve had a great time so far at my North Carolina State University visit; I’ve already participated in an honors lunch, the moral leadership panel, and an honors dinner with students. Today I'll be guest lecturing in NC State University's honors philosophy seminar HON 355 Feelings of/from Technology: Analog Bodies in Digital Spaces on art, technology, and the New Aesthetic!

If you’re interested, here’s the course description: “While we live in a Digital Age, we have only begun to understand its full significance. What new possibilities arise in a virtualized future? Can we escape scarcity, this planet, even death? What problems might our technologies solve? Modern technologies also raise new existential challenges: Why has the increased prosperity that technologies provide been met with seemingly impoverished and unhappy lives, loneliness, and alienation? How does technology mediate our sense of identity and the relations we have with society, nature, and ourselves? This course will explore the phenomenology of technological life - that is, the descriptive study aimed at looking at the relations between humans and our world, a technologically-mediated world. We will use this experiential and descriptive approach to consider the moral dimensions and psychological and sociological consequences of digital and emerging technologies, especially information and communications technologies (ICTs) like the internet and social media.”