Oregon Potters Association

14 Weeks and Counting

2012-01-31T10:23:00.000-08:00

The year is 1993 and a major change took place for Ceramic Showcase; the newly built Oregon Convention Center became the new "home" of Ceramic Showcase and to this day continues to be held there. With the move to the convention center, the show was able to expand, more members could participate and attendance and profits grew. And the Best of Show winner in 1993 was Dennis Meiners.

Dennis grew up on a wheat farm in Walla Walla, Washington and attended Washington State University where he earned a Bachelor of Fine Arts degree.

Best of Show 1993
Dennis Meiners

"The act of making things is a magical privilege for which I have made and will make many sacrifices. I have found that the objects that result from the act of making are secondary to being in the process of bringing those objects into existence. Whether the act of making results in a coffee cup, a sculpture, a drawing or a poem, the immersion in the process is a journey through an imaginative landscape where possibility reigns supreme and taking advantage of what is there is a chimerical game. I have compared this experience to riding a horse at night. The objective is to trust the horse, not fall off, and be awake to see where I have arrived when the light returns."

15 Weeks and Counting

2012-01-27T15:32:00.000-08:00

Well, I just squeaked in - with two days to go - this week's story is ready!

In 1992 the Oregon Potters Association starting taking on new projects. The OPA launched a project making mural tiles with homeless teenagers in Portland. We also began publishing a well-received annual map to potters holiday studio sales in Oregon. By the end of the year, membership had soared to almost 300 people.

I didn't have much information about Best of Show winner of 1992, Ellen Fager, and it took a considerable amount of time to track her down. Ellen is no longer a member of the OPA and as I learned, does not reside in the Pacific NW any longer. Ellen graciously agreed to write her thoughts and I held the presses, anxious to learn more about her and what inspired her work.

Best of Show 1992
Ellen Fager

"I was already making the fish teapots when Ed Thompson and I came to Portland in 1987. I had always been drawn to ceramic traditions (pre-Columbian Western Mexican, Iron-Age Iranian) in which function and representation are bound together in perpetual negotiation. After flirting with a variety of creatures, I found in these fish a rich, varied, contemporary (read:saleable) form with which to continue the discussion. A fish effigy that did not pour or store something would have been of no interest to me; at the same time, I would not have been satisfied with a teapot that was simply a "fish". This pot is one very particular species among the unglamorous little bottom-fishes living off the northern Pacific coast; anyone with a good guidebook should be able to identify him. Always a wheel-worker, I built these fishes from thrown sections, and that was important to me, too: underneath all the extravagant elaboration, there remained a core utilitarian craft.

The year after my fish won Best of Show, Ed and I moved back to San Diego. Ed went on to considerable renown in the local clay community, but, after a couple more years of struggle, I dropped out. I had taken the fishes as far as I could go with them, and, with two small children to tend to, I had neither the time nor the focus to develop something new. As the kids grew, I got involved with other things, and, though old potter-friends would prod me sometimes, I felt no inclination towards the work I used to do. It is only in the past year, since Ed's death, that I have returned to the studio, and found clay, after all this time, still ready to resume the conversation where I last left off. Once again, I am throwing, paddling, cutting and pasting, although it is now geometry, rather than the natural world, that is in dialog with use. Clay is the most wonderful material: it waits for you; it is humble and expendable; there is no end to the things you can do with it, up to that point where it quietly, steadfastly, asserts its limitations; it accepts the mark of your hand, and in that mark you see yourself and the path you have travelled.

What could be better than that?"

16 Weeks and Counting

2012-01-18T09:40:00.000-08:00

Best in Show 1991
Chris Gum

Chris Gum
1952 - 2004

To our great sadness, we have lost our friend and fellow potter, Chris Gum. Chris had been an OPA member for 23 years. He had been on the Board of both the OPA and Ceramic Showcase and had often been the voice of reason (sometimes to our chagrin) amidst chaos. Chris died in his home of unknown natural causes on June 29, 2004.

Chris made beautiful pots, and for many years he dug his clay from local stream banks and collected local feldspars and other materials for his glazes. His work was very careful and methodical. Efficiency was never a concern for him, he would rather be true to his work and its process. Chris's work was well known by potters and art appreciators alike, although Chris never wanted to be a famous person. Chris chose to move through this world quietly and modestly, doing his share of the work without demanding too much of the spotlight.

Chris had a passion for gardening. He probably felt that laundry sorting and truck washing were overrated, but he always took exquisite care of his plants. He was a good listener and never hesitated to express his opinions.

In the late nineties, Chris avoided attending OPA meetings (why deal with petty bureaucracy?) but he almost always came to Portland to visit his friends (the most important part of this group) on the days we held our meetings and thus we could all spend time with him. He was a wonderful friend and his sudden death has affected the entire pottery community in Oregon. We will all miss him terribly.

Thank you to Ellen Currans, Janet Buskirk and Anne Stecker, who provided these words, which were published in the August 2004 OPA member newsletter.

17 Weeks and Counting

2012-01-12T18:11:00.000-08:00

The years are starting to fly by and we are up to 1990. The OPA and Ceramic Showcase continued to experience growing pains throughout the 90's. An organization that started out as a small potters cooperative continued to grow and with growth came change. Although necessary, change was not always well received. In the end, members came together and realized that no matter how big the organization got, they were still that small cooperative - holding true to the values and ideals that were set forth by the founding members.

In 1990, the Best in Show was awarded to Michael Scrivens. Michael provided a bit of insight into how he found himself to be a potter. What he has written is so humble and I hadn't remembered his piece until I uploaded it for this post. The image that is shown and the way Michael describes the process makes it seem so ordinary but all you have to do is lay eyes on this piece and it is anything but.

Here's what Michael has to say:

"I was introduced to pottery in high school around 1969 and bought my first wheel in 1970 and worked in the basement of my parents home. I studied some ceramics in college at both Mt. Hood Community College and the University of Oregon - GO DUCKS!

Best in Show 1990
Michael Scrivens

For many years to come I worked primarily with Cone 6 white clay with a "dunk & brush" glaze technique. In 1989 I decided to do a complete change over and began using a beautiful terra cotta clay body. I was also developing a technique of spraying and masking glazes and underglazes. The resulting patterns were at times unpredictable and sometimes images would start to appear. One of these images was the image of a fish. The colorful fish image on a black background was chosen as Best of Show for the 1990 Ceramic Showcase as well as Best of Show 1990 Artquake.

Today, now 22 years later, with some breaks away from my pottery career, I'm still using the same beautiful terra cotta clay body and the glazing techniques with my pottery. I've shifted my focus lately to include a fairly new line of high relief tiles, which have been well received.

17 Weeks and Counting

2012-01-11T11:28:00.000-08:00

The Year is 1989 and both the OPA and Ceramic Showcase were at a crossroads. The success of Ceramic Showcase became overwhelming and the vision that the OPA had built itself around was being blurred. No one realized at the time that success would come at a price. How could the OPA maintain its vision and dedication to its members while being all consumed of time and energy to hosting a successful show? It was decided that a separate committee would be formed that would take on the challenges of hosting Ceramic Showcase so that the OPA Board could dedicate itself to building the organization and the membership. Thus, the Ceramic Showcase Steering Committee was born. Today that committee has grown to sixty-two members, all volunteering countless hours. It is truly a labor of love and one in which I am proud to say I volunteer wholeheartedly in. But enough about the organization for now - onto our award winner.

Best in Show 1989 award winner Marianna Crawford writes about her wonderful journey in clay and where is has taken her -

"Even though I have not been working in clay for almost 12 years, people still introduce me as a potter, regardless of what else I've been doing with my life. I can't say that I mind this.

In 1989, Ceramic Showcase was held at Montgomery Park. It was the first or second year that I participated in the show. I was a newcomer.

Before that, I had attended PNCA for a couple of years. My teacher, Frank Irby - who still teaches there - was tremendously supportive and influential to me. When it became clear that all I wanted to do was ceramics, he allowed me to use the studio at PNCA to my heart's content. When this gig reached the end of its feasibility, I rented my first little studio space at Thurman Street Pottery.

Frank helped me see that my work was about the inner space contained by a vessel. This simple understanding was like a compass that guided my career as a ceramic artist.

While I was at PNCA, a visiting potter from China came to work in the ceramics studio for an extended period. Apparently he was accustomed to having assistants do his production work. This, on top of the fact that he did not speak English, and a translator had not been provided, made him a sullen, unapproachable presence in the studio. However, I became fascinated with the way that he constructed his pieces. I could see how it was possible to build complex shapes, and my ideas about what I could do with clay suddenly expanded. Even though my work had little in common with his traditional Chinese vessels, the techniques that I gleaned from him catapulted me forward.

Best in Show 1989
Marianna Crawford

The piece that won the award in 1989 was one of the early pieces that evolved out of this new found inspiration. Needless to say, winning the award provided yet more wind under my wings.

One of the things that I love about clay as a medium is how it adapts itself to an almost infinite myriad of artistic expression. We make an impression on the clay, physically and metaphorically, every time we touch it, every time we make contact with it. My particular personality is inclined towards obsessive perfectionism - I fuss, experiment, try and err and try again, work a piece to the brink of disaster, get exhausted, give up, and eventually have a breakthrough, or come to accept what is there. As much as I admire and, at times, yearn to be someone whose work is loose, spontaneous and immediate, that is not who I will ever be. I like to think that everything that goes into my process becomes part of the beauty of the final piece. Inherent in each of my pieces is how it has been carefully shaped, handled, worked, considered, and loved, really. Clay has its rules, but it also seems to make room for all the unique and particular ways that we are.

Oregon Potters Association is a little that way too. It is a generous, democratic, inclusive organization whose members do not withhold their support for one another's success. Over the years, I have seen the Best in Show award given to newcomers, as well as old-timers. No particular style or technique is favored. There are no weird politics about who receives it. It is given by an honest group of potters to one of their own, out of pure and exuberant love of clay. For these reasons and more, it remains one of the greatest honors that I have been given in my life, and I am proud to be counted as a potter, still."

18 Weeks and Counting

2012-01-05T10:44:00.000-08:00

This week we are featuring Best in Show award winners from two years. Earlier in the week we covered 1987 and we now move onto 1988.

Best in Show 1988 was awarded to Dave and Boni Deal. Dave and Boni are an inspiration who have been collaborating not only in their art but in life. Here's a bit more about Dave and Boni:

Best in Show 1988
Dave & Boni Deal

"What an honor, having our raku "Cord-wrap" pot voted "Best in Show" by fellow potters at Showcase '88! Back then, pottery had been our family's livelihood for over a decade, and we were totally into raku, with Dave focusing on LARGE. This "Cord-wrap" piece is 27 inches wide.

Most of our artwork was then, as now, natured-themed. This was a natural outcome from meeting in a mountaineering club, and discovering a shared passion for the outdoors and for art. We eventually settled at our rustic mountainside home where kids were raised amongst pots. We strive to reflect the glory of our surroundings, God's creations, in our work.

The Deal kids

We are also motivated and inspired by those who purchase our work, our patrons, the angels who support us and keep us going. We've been blessed by those who have acquired our work over our 30 years of exhibiting at Ceramic Showcase, many who come back and tell us how much they enjoy their pieces. Thank you!

The work is still evolving, sometimes literally going 'round a circle past the beginning and 'round again, like recent "Batik Raku" pieces that hark back to Boni's fabric batiks of the 1970's. Dave continually explores clay forms, Boni pursues the imagery, both work on the glazes, and Dave carefully choreographs the final raku firings.

More info about Dave and Boni and dramatic photos of their firings can be found on their website, Dave and Boni Deal.

18 Weeks and Counting

2012-01-03T11:48:00.000-08:00

In this weeks post, two Best in Show award winners will be featured. We are running short of weeks until we open the doors to Ceramic Showcase 2012. Look for another addition of "Weeks and Counting" on Thursday.

Maria Simon
Best in Show 1987

The year is 1987 and the Best in Show award winner was Maria Simon. There was an article written on Maria by Dennis Meiners, OPA Member and Best in Show award winner in 1993 and 2007, for Ceramics Technical entitled "Bas Relief Tableaux". I've included a bit about how Maria described her process and what drives her to create.

"The first time a person uses clay to make an object and shepherds that object through the drying and firing process, one receives a new take on the meaning of transformation. If the clayworker is truly aware, he or she notices it is not just the clay that changes, there is a change in oneself also. Magic happens. For some of us who persist in the endeavor of clay work, that magic happens again and again; that is why we put ourselves through such a torturous process, and the objects we make leave our hands to transform the experience of others, also again and again, on through the years.

Artists that work in clay are like poets in that neither usually makes large noisy things like symphonies or epic films. They provide us with discreet things that work quietly and steadily like a beating heart. Clayworkers and poets typically are not out to knock down walls, or to extend a hand to invite their audience to rise and participate in the dance. If walls are removed, they are taken down grain by grain.

Maria doesn't use complicated tricks or artifices designed to impress the viewer with what an accomplished craftsperson she is. Her excellent craftsmanship is unobtrusive. She is not waving her arms to point to her virtuosity. Simon is depicting, with elegance and simplicity of form, a psychic and emotional landscape that opens vistas for the viewer. In her quiet work there is much disquiet and, in the sureness of her pieces, much doubt.

To read the article in its entirety, please visit Maria's website, Maria Simon Studio.

19 Weeks and Counting

2011-12-29T10:22:00.000-08:00

In 1986, the OPA was 6 years old and the interest in Ceramic Showcase was so great that there was not enough booth space for every applicant. The OPA Board decided everyone would get only half the space as before (4X8 feet). The people who made that decision were members who had worked hard to see the show grow, yet they gave up part of their own space in order to accommodate new participants. At the same time, Showcase Chairman Dennis Meiners believed that we needed to buy ads and print a color poster. This was a gamble that paid off and the show continued to grow.

1986 Best in Show
Glenn Burris
(Original piece)

Best in Show 1986 was awarded to Glenn Burris. When I asked Glenn to tell me a bit about himself and his work, I found out some interesting information. Glenn had included a picture of the original piece that won Best in Show and a bit of history, this is what Glenn wrote:

"In 1986, I had been making pots for 18 years, 12 of those in Oregon. I was beginning to tire of what I had been doing and was looking for something new to hold my interest. I began loading a shino glaze up with clay to make it crawl. I applied the glaze thicker and thicker to make the crawling the main decorative element. I was excited and encouraged by my new direction and at Showcase I was recognized with the Juror's award.

1986 Best in Show
Glenn Burris
(replacement piece)

Change, success, recognition. The timing was perfect. Without change I don't think I would have received the award. This wasn't my first, last, or biggest award, but it remains the most important because of who it was from and how it directed my way with clay.

The original piece was broken a number of years ago and was replaced with the current one. The original was a little cruder, a little grittier, and pushed at the bubble a little harder. I see the internal struggle in the first piece a little more.

20 Weeks and Counting

2011-12-20T11:16:00.000-08:00

The year is 1985 and Ceramic Showcase is in its third year with Jeanne Henry as the Chair of Ceramic Showcase. 1985 brought change to the organization. Originally known as the Oregon Potters Cooperative, the name was changed to what is now known as the Oregon Potters Association.

Best in Show 1985
Patrick Horsley

Best in Show 1985 was awarded to Patrick Horsley. Patrick has been a member of the OPA since its cooperative days
and he continues to be active in the ceramics community. I asked Patrick to tell me about what inspires him and where he draws influence and this is what he had to say.

"My work has always focused on the idea of vessels and containers; the bowl, the plate, lidded containers. I also have a strong interest in glaze chemistry, color and texture and its power to engage the viewer and suggest a final function; utilitarian or non-utilitarian.

I have made pottery full time for forty years without a lack of ideas and things I would still like to explore. The clay and the fire seem endless in their possibilities. I work from drawings, closer to small scribbles on three by five cards, that I pile up as ideas emerge from landscape, both natural and manmade, from history, and sometimes even from other potters, both old and new. Pottery and clay are a much more complicated medium then people would expect.

The challenge of my work is to combine the many elements (handles, feet, spouts and lids) into a work that dances and presents a new view and image of a familiar form. My primary interest is in the process and the physical dance of making the pots."

The Stories Within - Sara Swink featured article

2011-12-19T09:48:00.000-08:00

Sara Swink
Legacy, 2010
photo by Harold Oxley

I was in Powell's the other evening and was thumbing through the pages of the December/January issue of American Craft magazine and stumbled upon a great article on Sara Swink, written by Carolyn Hazel Drake, both are fellow OPA members and I have to tell you I was tickled pink to see Sara's work and read Carolyn's words. What a beautiful collaboration. To read the article, follow the link.

The passing of a legend - Malcolm Davis

2011-12-13T09:44:00.000-08:00

Malcolm Davis died in the morning of 12/11. He had hip replacement surgery last Thursday, recovered over the weekend...and evidently collasped in PT Mon morning and died instantly."

His wife has requested no calls for a few days.

The following is from the AKAR website:

"I first touched clay at age 40 and knew immediately that I had been a potter all along. I love to make pots! For me, the joy and the challenge comes from making things that will become an intimate part of the daily lives of others - pots that will be held, eaten from, poured from, sipped from and perhaps even licked from. For me the making of pots is a way to celebrate the mundane rituals of daily life and to make them holy."

Malcolm Davis has been a full-time studio potter since 1984 when he left his previous life as campus minister. He took his first ceramics class in 1974 and since 1985 has maintained his mountaintop studio in Upshur County, WV. He is internationally recognized for his work with shino-type glazes, specifically for the creation of a unique ultra Carbontrap shino-type formula with a high concentration of soluble soda ash, which encourages the trapping of carbon in the early stages of the firing.

He is the recipient of numerous awards, including four grants from the District of Columbia Commission on the Arts and Humanities, and was a finalist in the 1995 Mid Atlantic Arts Foundation/NEA Visual Artists Fellowships. Other awards include the Purchase Award at the Ceramics Monthly International Competition (1999), First Place in the 1996 Strictly Functional Pottery Show, Feats of Clay XIII and XIV Merit Awards, Orton Purchase Awards in 1994 and 1996, Crosscurrents All Media Award at the Stifel Fine Arts in Wheeling (1990. 1996), WV Juried Exhibition Merit Award in 1996, and Awards for Clay Cup VII and Clay Cup IV.

He has exhibited at the Philadelphia Museum of Art Craft Show, the Smithsonian Craft Show and the American Craft Council Craft Shows. He has been an artist-in-residence at Artpark in Lewiston, NY; Baltimore Clayworks; Greenwich House Pottery (NYC); The Clay Studio in Philadelphia; Red Star Studios in Kansas City; Northern Clay Center in Minneapolis; Waubonsee Community College in Illinois and the Lee Arts Center in Virginia.

Malcolm’s work is included in collections at the American Crafts Museum; The Schein-Joseph International Museum of Ceramic Art, Alfred, NY; the Everson Museum, Syracuse, NY; Mobach Collection, Utrecht, Holland; Orton Permanent Collection; Arthur and Lillian Weiss Collection; Bailey Ceramics Collection; Old Church Cultural Center in Demarest, NJ; Highwater Clay Permanent Collection, Asheville, NH; American Art Clay Collection, Indianapolis, IN and the Twentieth Century Collection, Sarah Lawrence College in NY.

He has been featured in over 15 books and publications, he has published articles in American Shino by Lester Richter and Stayin’ Alive by Robin Hopper; and curated an issue of The Studio Potter Magazine on carbon trapping. The December, 2003 issue of The Studio Potter Magazine featured an extensive interview: “Malcolm Davis, Shino Warrior.” His work with carbontrap shinos was recently featured in Ceramica (Spain) and Ceramic Review (England).

Malcolm has taught and lectured widely throughout the United States and Canada, and has conducted Masters’ classes at Penland School of Crafts, Peters Valley Craft Center, Touchstone Center for Crafts, and others. Recent exhibitions include AKAR, Iowa City, Iowa; Blue Heron Gallery, Deer Isle, Maine; Blue Spiral 1, Asheville, NC; Santa Fe Clay and “Our Cups Runneth Over” at the Society of Arts and Crafts in Boston.

Malcolm recently curated a national exhibition of work with shino-type glazes, “Endless Variations: Shino Review 2005,” featured at the 2005 NCECA Conference in Baltimore. In 2007 he juried the 15th annual Strictly Functional Pottery National and was one of three presenters at the 20th annual NC Potters’ Conference in Seagrove. He also taught a two-week carbontrap shino workshop at La Meridiana in Tuscany in 2007 and 2008.

Here are a few other links to info and images:
http://www.18handsgallery.com/bios/malcolm.html

21 Weeks and Counting

2011-12-12T17:15:00.000-08:00

In 1984, Ceramic Showcase was in its second year and it was continuing to grow. The community of potters known as the Oregon Potters Association had grown to 150 members by 1984.

Richard Rowland-
Best in Show 1984

In 1984 Best in Show was awarded to Richard Rowland. I contacted Richard several weeks ago and asked if he would provide me with a little bit about himself and what inspires him to do what he does. This is what Richard has to say on the subject -

"During the late 1970's I was naturally uncovering ways to create ceramics using organic materials like seaweed, ferns, dead birds, salt, integrating form, color and context-always finding unique relationships that created certain resonance and open atmosphere. The Anagama process helped me continue developing the atmosphere that provided intimacy and a genuine way to connect community. The community was made up of passionate and diverse people. The rare model of diversity continues to grow.

In the late 1990's I started teaching at Clatsop Community College in Astoria, Oregon. I was given the opportunity to go back to school to study, make art and received my MFA from University of Tasmania in 2005. After studying abroad, I returned to my home in Astoria. I started the Bowl Project with the Clatsop County Women's Resource Center and the Tillamook Women's Resource Center and I have continued making bowls for them for an annual fundraiser. The women help collect and cut the wood, fire the kiln and take part in every part of the project. With other potters and students we are focused on quality, making for example, 1000 bowls and picking the best 500 to give to the Women's Resource Center project. The rest of the bowls and recycled into the hammermill and crushed up for grog to add to the new clay body for use the next year. I have dug tons of local clay for this years bowl project.

I received the Oregon Governors Art Award in 2005, which was awarded for my work in the community. I continue to work in projects related to utility and ritual that can benefit their needs. Currently I am helping develop a Plain Tree model of holistic health care at Columbia Memorial Hospital. This process includes art, both for the patients in the new Cancer Center and the rest of the hospital.

In the unfolding and integration of community and art, my vision is to match the character of the material process to the unique character of the community. It is a wonder that I have been given my life's responsibility as an artist in such a way that is reciprocal in nature. This accountability has encouraged me to build a second-generation Anagama kiln for the future."

22 Weeks and Counting

2011-12-05T14:06:00.000-08:00

1983 Ceramic Showcase Best in Show award winner
Ruri

We are starting a new series on the blog this week (well, to be honest, this should have been started 7 weeks ago, but I am hoping better late than never!)

In 2012, Ceramic Showcase will be celebrating our 30th Anniversary and to kick off the celebration, we are going to be highlighting the winners of the Best in Show Award.

In 1983, the first winner of Best in Show was Ruri.

About the artist

Since the time I came back from Japan as an apprentice under master potter, Tatsuzo Shimaoka, Mashiko, in 1977, my goal was to focus on establishing my own anagama because I was so intrigued by the whole process of wood firing, and also the transformation of the work when it came out. Although it took me 27 years, I finally made it happen with the help of dedicated friends in 2005.

Now I feel like I am finally starting in the direction of participating intentionally in the alchemy happening inside anagama, where all the natural elements (earth, water, wood, fire and air) and artist’s spirit all come together to give birth to a new life: claywork transformed and transfigured.

Whether it is a clay sculpture or a functional claywork, I have been always trying to express the Unseen through the Seen coming from Nature and all kinds of relationships, reflecting the state of my consciousness at the time. I play with forms and contouring lines and curves, which give positive and negative contrasts with surrounding outer space.

I use a coiling and pinching technique for my clay sculpture, and lots of thrown vessels are so often altered after throwing.

The name of my anagama is FuuKooGama (pronounced foo-koh gah-mah, meaning "wind and light kiln" in Japanese), which expresses itself eloquently the kind of work I continue to search, pursue and explore.

Ruri has been a member of the Oregon Potters Association since 1980.

Mark your calendars to see more of Ruri's work at Ceramic Showcase - May 4 - 5 - 6, 2012 at the Oregon Convention Center in Downtown Portland, Oregon.

Stephen Mickey's anagama kiln - Soulgama

2011-11-29T15:38:00.000-08:00

A recent article on Stephen Mickey's anagama kiln - Soulgama in The Columbian. Click on the link for some great insight into the amazing community of wood-fire potters and to read the full article.

Downtown Artistry: Opening Day November 9th 2011

2011-11-03T12:35:00.000-07:00

Downtown Artistry: Opening Day November 9th 2011: The 2011 Downtown Artistry Pop Up Gallery is almost here! Please join us November 9th from 11-7 for opening day. We've got a great line-up of local artists. Visit the calendar for a list of all of the events around this year's Pop Up Gallery.

Organized by Art Scout, Art Consultant, Bridget Larrabee featuring work by the Oregon Potters Association, Oregon Glass Guild, Made Craft Boutique, and local individual artists.

A collection of over 70 local artists with gifts ranging from artistic holiday cards to original paintings
Pop-up shop partners include downtown’s Clean & Safe District, Portland Business Alliance, Portland Development Commission, Downtown Retail Advocate, Downtown Marketing Initiative, City of Portland, Vizwerks, Stevens-Ness, and Bill Naito Company.

website: downtownartistry.blogspot.com
twitter.com/dtartistrty
facebook.com/myartscout

TWIST

2011-11-01T10:22:00.000-07:00

Twist

This is Sarah Chenoweth Davis's show to celebrate her term as ceramics technician at MHCC. She'll be showing with sculptor Dan Alley for the month of November.She hopes you'll be able to come to our opening reception, Thursday November 3, 6-9 p.m.

First Thursday turns 25!

2011-10-06T09:50:00.000-07:00

Tonight is First Thursday in the Pearl and it is sure to be a very festive evening as First Thursday celebrates 25 years!
Get out tonight and see art and help celebrate this vital part of the arts community here in Portland, Oregon. Some of the Galleries that will be open tonight:
Laura Russo
Attic Gallery
Camerawork Gallery
Portland Art Museum
Annie Meyer Gallery
Butters Gallery
Augen Gallery
Bullseye Gallery
Guardino Gallery
Museum of Contemporary Craft

and so many more - have a great evening exploring the Galleries or The Pearl!

What's New at Disjecta

2011-10-05T11:54:00.000-07:00

DISJECTA ANNOUNCES
CALL FOR CURATORS
Disjecta Interdisciplinary Art Center is accepting proposals for a curator-in-residence for its 2012-2013 exhibition season. The curator-in-residence will present a series of five to six exhibits from September 2012 through August 2013. At least three of the exhibits must highlight regional work from artists living and working in the Pacific Northwest.

Disjecta developed its Curator-in-Residence program to allow emerging local and national curatorial talent the opportunity to develop and expand the scope of their practice through a series of exhibitions in Disjecta’s dynamic 3,000-square-foot space. Rotated on an annual cycle, the program seeks to provide a nationally recognized curatorial opportunity in the underserved state of Oregon, stimulate significant contemporary discourse that is able to cross disciplines, engage new artists and patrons, and raise the visibility of Portland’s art scene.

Jenene Nagy, Disjecta’s first curator-in-residence, selected six artists for solo shows during the 2011-2012 exhibition season, including Iranian-American artist Tannaz Farsi. Farsi’s first solo exhibition in Portland, “Losing Themselves in a Distance to Far Away Heights," opens on Oct. 8 (see below).
Proposals for the curator-in-residence position are due by Friday, Nov. 18, 2011. For details about the position, visit disjecta.org or click here for the PDF.

___________________________________________________________________________________________________
Losing Themselves in a Distance to Far Away Heights

A New Installation by Tannaz Farsi

Opens Saturday, October 8 from 6 to 9pm
October 8 – November 5
Gallery Hours: Fri – Sun 12pm – 5pm

What does it mean to live the dream?” This is the question artist Tannaz Farsi asked Iranians this past summer in preparation for her first solo exhibition in Portland, Losing Themselves in a Distance to Far Away Heights. In gathering information, Farsi – herself an Iranian-American – sought answers from Iranian immigrants, those living in exile, refugees and those still living in Iran. Her conversations, conducted via email, focused on breaking through the American cliché of “living the dream” and engaging her participants in a discussion focused on issues of nationalism and cultural identity as it relates to the individual.

Farsi attempts to conflate civic and devotional space in an effort to better understand the systems that both bind and loosen us from our geographic locations and cultural identities. The objects in the exhibition – simple, pared down forms acting as icons – together with the use of documents and drastic shifts of scale are reflective of Farsi’s larger body of work that continuously situates the personal as political. The installation seeks to inspire conversation around tensions created between the actual space of the gallery and the psychic space of the work.

Tannaz Farsi is the Assistant Professor in Sculpture at the University of Oregon in Eugene. Her work has been exhibited nationally at venues including the Tacoma Art Museum, the Urban Institute of Contemporary Art Grand Rapids, Mich., Ohge Ltd., Seattle, Wash., and Sculpture Center, Cleveland, Ohio. She has participated at residencies at Bemis Center for Contemporary Art in Neb. and the MacDowell Colony in N.H.

Her work has been acknowledged with an Individual Artist Fellowship from the Oregon Arts Commission, and this past year, Farsi was a finalist for both the Brink Award offered through the Henry Art Gallery in Seattle, Wash. and the Portland Art Museum's Contemporary Northwest Art Award. She received her BFA summa cum laude from West Virginia University (2004) and her MFA at Ohio University in Ceramics (2007). Farsi’s show at Disjecta is made possible through the University of Oregon Faculty Research and Creative Work Grant and the MacDowell Colony Fellowship.

___________________________________________________________________________________________________
OBJECT LESSONS
Michelle Liccardo & Ralph Pugay

Opens Saturday, October 8 from 6 to 9pm
October 8 – November 5
Gallery Hours: Fri – Sun 12pm – 5pm

Object Lessons by Michelle Liccardo and Ralph Pugay is an installation that captures the many absurdities associated with functioning in a world of ever-present uncertainty and relativity. This collaboration capitalizes on the artists' sense of humor and imperfect sculptural styles to create a large scale diorama that operates as a sort of alternate version of The Myth of Sisyphus. In Object Lessons, the small figures that must tumble down a large staircase while trying to avoid the many obstacles in their path arrive at the bottom injured, yet jubilant. Find out more at: vestibule.disjecta.org

OPA Holiday Guide

2011-10-03T15:08:00.000-07:00

Hi All You OPA Members!

It's that time again.... Time to participate in the 2011 OPA Holiday Guide. If you want to find out more about it, check out the registration form attached, or give me a call/email. The reg forms/checks/digital photos are due by October 14th or the sooner the better. Thanks and good luck with your holiday sales this year!

THE DETAILS!

Holiday Studio Sale Guide Application

Please provide:

NAME:

TELEPHONE # AT SALE:

ADDRESS OF SALE:

DATE(S) OF SALE:

HOURS OF SALE:

TEN WORD DESCRIPTION OF WORK:

(If sale includes more than one person, use a separate sheet of paper)

MAP: Please provide either a digital file or drawing of a map to your sale location. It can be the immediate area and main streets around your location.

If sale includes a non-OPA member, include name and 5-word description of work (to be included if space allows)

FEE: Please make checks payable to Jennifer Lakeman

$40 for one person (100 flyers allotted)

$75 for two people (200 flyers allotted)

$95 for three or more people (300 flyers allotted)

If you will need more flyers, tell us now. There will be an additional charge for extra flyers.

PHOTOS: PLEASE INCLUDE A PROFESSIONAL COLOR OR BLACK & WHITE PHOTO OR DIGITAL IMAGE OF YOUR WORK. Digital files must be 200 to 300 dpi at final printed size (approximately 2” x 2”). Please do not send postcards, computer printouts or color photocopies.

DEADLINE: OCTOBER 14th

Please mail this form and a check to: me! I'll send my address if you are interested.

Printed flyers may be picked up at the November general OPA Meeting.

Please contact Jenny Lakeman at 503-413-0641 or jennylakeman@gmail.com to make other arrangements if you will be unable to attend.

Thanks all!

OPA potters on Artbeat

2011-09-25T11:24:00.000-07:00

http://www.opb.org/programs/artbeat

A few happy potters at Art in the Pearl

2011-09-04T10:34:00.000-07:00

Charles Gluskoter, Ken Standhardt,

Barb Campbell, Kris Paul

2011-08-09T08:40:00.001-07:00

http://blog.oregonlive.com/kympokorny/2011/08/cover_package_northwest_garden.html

Peninsula Clay Artists Workshops

2011-08-02T21:38:00.001-07:00

Upcoming workshop - Social Marketing

2011-07-18T12:42:00.000-07:00

Are you new to social media scene? Don't quite know the difference between a tweet and an update? Can't figure out how all of this comes together to help you build your business and get your name out there?
Well, this might be just the answer!

JULY 30 WORKSHOP

Social Marketing 102: How to be Interesting Without Being Overwhelmed
Instructor: Diane Gilleland
11:00 am - 1:30 pm
The Lab at Museum of Contemporary Craft
724 NW Davis St.
Register today ($10 per person, non-refundable, includes light snack, coffee and tea)

Summer creativity and community service

2011-06-24T17:01:00.000-07:00

See you at the Empty Bowls Booth at the Safeway Waterfront Blues Festival

It's summer time and I'm done with teaching till August. It's time to change my direction for a few months. I plan to do many things this summer but on the top of my list are three things to do with creativity and community; increasing my clay studio time and darkroom time (yes - I mean as in film photography darkroom), donating to and working at the Empty Bowls Booth at the Safeway Waterfront Blues Festival, which benefits the Oregon Food Bank; and lastly to take a digital sabbath (as it's referred to by a friend).

It's kind of funny to think of a digital sabbath as I am sitting here blogging, when my intention is to not use this very thing. I think that most of us get so involved in our relationship with the internet that we forget to take a break from it and have life without it for an evening, a day, or even a week. The internet helps in many ways, but for so many it also has become a time consumer. Time that used to be used in other ways, like taking a walk... alone, without the phone or emails, or time to just sit, and day dream, or in my case- work in the studio uninterrupted, is spent on the computer or other technologies. I had my first digital sabbath last week, four days of no technology. It was hard to come back.

As for community and the Empty Bowls, read on: Oregon Potters Association coordinates an annual fund-raiser at the Safeway Waterfront Blues Festival to benefit Oregon Food Bank. OPA collects hundreds of pottery donations of all types, sizes and shapes throughout the year.OPA members then sell the donated pottery—often at bargain prices—at the Empty Bowls booth, near the main gate, at the Waterfront Blues Festival.

I am looking forward to helping raise money for the Oregon Food Bank, greet the many people that come back year after year to buy our bowls and to have a great time with my fellow potters - all while listening to some of the best blues in the country. I'll be at the Empty Bowls Booth on Saturday eve! Hope to greet some of you!

This years event is July 1st – 4th at Portland’s Waterfront Park.

http://www.oregonpotters.org/emptybowls.htm

I have come to the studio and the darkroom issue. With the weather being just the way I like it, it's going to be hard to be disciplined to stay indoors. I have so many ideas and sketches from the past two months of not working in clay and about 10 rolls of film to develop. I start tomorrow - my summer job - wedging clay, forming armature, rolling slabs, and sketching. I look forward to the feel, the smell, and the sound of the work.

As for working in the darkroom, I think that will have to wait for one of our famous summer rainy days.

Fundraising Event Tonight to benefit Japan @ MoCC

2011-06-10T09:06:00.000-07:00

It's Juneuary in Portland, again.

So we're heating it up with a party!Come celebrate your craftivism! Join us next Friday, June 10 for an Etsy Global Craft Party! We've teamed up with Quilts for Quake Survivors and Mercy Corps' Japan Relief Fund to help out some folks in need, while we craft up some fun.

During the day, visit the Museum of Contemporary Craft during regular business hours, 11 am - 6 pm. Stop by the "Lab" to lend your hand to the Quilts for Quake Survivors quilting bee, courtesy of Susan Beal (author of Modern Log Cabin Quilting), and Modern Domestic. We'll also have a host of craft activities scheduled throughout the day.Then at 6:00 pm, the museum doors close and we transform the space into our crafty party land. We've lined up a DJ, food, beer, wine and a bunch of give-aways to keep the party rolling. It's a sliding scale "ticket" ($5-$25) so give what you can. All proceeds go directly to Mercy Corps' Japan Relief Fund.

We hope to see you there!

Nice event coming up

2011-06-06T09:49:00.001-07:00

A word from NCECA

2011-06-04T07:30:00.000-07:00

Dear NCECA Members -

It's the night before our May Board meeting and I thought I'd share some thoughts with you as the team is about to go forward with budgeting, and programming for Seattle, etc. (These are my favorite meetings because we get to talk directly about ceramic art and work to craft the best program we can from the submissions we have received from our members.)

I haven't written you since before the Florida conference. Like all conferences there were strengths and struggles. What I heard about the exhibitions was generally very good although I also heard they were spread out too far. (Each city has its own unique challenges.) I heard good things about programming, but it was a bit of a walk between the hotels and the convention center. We will break down our survey results regarding the conference during the May meeting.

There was some talk of the attendance being down for the 2011 conference. This was certainly the case. Although I had thought that Florida would be a conference destination that would draw many attendees due to its East Coast location and sunny climes at the end of what has been for many a long, hard winter. These predictions did not pan out and our registration numbers were down significantly. While this made the feel of the conference a bit more intimate to my mind, a lot of people missed seeing many of their friends who have regularly attended the conference.

There are other ramifications of having low conference registration numbers, not the least of which is budgetary. This is your organization and I want to reassure you that we are healthy regarding our fiscal status. We estimated pretty wrong on our conference revenue numbers. Although the cost of participating in NCECA's conference is a great value compared with those produced by other similar organizations, the cost of travel, lodging and food make the decision to attend the conference a difficult one in challenging times. This Board is acutely aware that the earned revenues derived from this annual event represent our major income for the year. When our numbers are down the organization can suffer, but this year we also managed to control spending in a few areas and we have also done very well with our investments. The Board and staff's fiscal discipline combined with the good fortune of the market have effectively enabled us to end the year with a balanced the budget. We ultimately strive to respond to membership interests and provide the best programming possible as this would enable us to achieve our budgetary goals through high levels of conference attendance. The reason is that this guiding principal best meets our educational mission to have our clay people experiencing our clay programming.) [We'll project more conservatively for next year.]

Finally, I am happy to report that we will be budgeting in direct response to our new Strategic Plan. Often budgeting simply echoes how money has been spent in the past, and certainly our traditions and historic patterns will continue to influence our budget, but with a Strategic Plan in hand we can really choose to put our money where our values are.

Enjoying my work on NCECA's behalf,
Keith J. Williams

A Major Success for Clay in Education

2011-05-14T07:27:00.000-07:00

Congratulations to everyone for another successful OPA Showcase!

We are thrilled to share with you that the Installation Gallery raised approximately $3,200 for Clay In Education due to YOUR generosity of ware and commitment to this project. We had less than 20 pieces remaining (which we donated to Empty Bowls) on Sunday from a total of 300 artist contributions. It was simply wonderful for us to have you checking in on our progress throughout the weekend and for donating more ware as we ran out.

Being the first display inside the main doors gave us an exquisite opportunity to act as “the welcome wagon” for all artists, wax poetic about your work, and direct customers to your booths. Often we looked up your work schedule to direct customers wishing to immediately find you, where to go. And most importantly, we spoke about Education in our communities and imparted OPA’s commitment to keeping the arts alive and well for future generations.

We feel tremendously blessed to have had our helpers Ana Quinn, Jason, Kirstin McNamera, Lon Jones, and Kevin Khari who were always in the spirit of fun - from set-up to greetings customers to tear-down. What an energetic, royal team to work with!

In our creative meetings we refer to ourselves as the “Three Of Cups” because we are always on the same page to the clarity point that we can easily complete each others sentences. Now that’s a committee! We truly hope other committees enjoy this kind of repartee and shared vision – it makes the tasks at hand so joyous and productive. And for us, lifetime friendships have resulted – the best blessing of all.

The Three Of Cups wish to thank you so kindly for partnering with us to take Clay In Education to new heights. They say “It Takes A Village” to nurture a vision. We say “It Takes OPA” !

Jen Tonneson – Chayo Wilson – Renee Shearer

Meet an OPA Member: Frank Gosar

2011-04-19T07:56:00.000-07:00

Three things about Frank that have nothing to do with clay.

1. Was a children's musician with two albums out.

2. Hosts the KLCC Saturday Cafe radio show for the past 20 years.

3. Editorial cartoonist and rubber stamp designer.

Remember to Play!

2011-04-04T19:44:00.001-07:00

I remember one of my first conversations with Nils Lou. I knew he had a vast amount of knowledge and experience in the ceramic world, and I wanted to elicit some invaluable advice. I was trying to explain to him what I wanted to do with my ceramic work. I wanted to do something fresh and new; I wanted to do things that hadn’t been done. This can be a difficult thing to achieve in an art form that has been around for so many thousands of years. At that point, I was unable to properly explain what I wanted to do with my work, and Nils thought that perhaps fame, or making a name for myself was what I wanted.

Time went on as I continued talking with Nils at whatever chance I had; and I caught wind of a new book that Nils had recently written entitled “The Art of Play”. I bought it as quick as I could, and within a few days had completed the book. As I read I fell more and more into the book, realizing that this was in fact (though perhaps an unintentional) the answer I was seeking to the question that I could not even properly formulate.

I’ll cut straight to the point. I had come to a place in ceramics where I could no longer ignore the line between work and play. I could make plenty of mugs, plates, or whatever, but it started to feel like work. I would think to myself, “I don’t want to make mugs right now”, and then that is exactly what I would do. I wanted to create my own work from a place within myself, and be concerned more with the act of creation than the end product.

“The Art of Play” speaks directly to this issue. Nils explains the importance of creative play, as well as how so many of us may have forgotten to do so. By focusing on the creative activity of play, we no longer become blocked by an end product we have already envisioned in our mind. We free ourselves from normal constraints we might carry into our creative lives. Nils is conveying a message that many of us may benefit from, myself certainly included.

This is of course, a meager attempt to summarize an inspirational concept Nils conveys. If you wish to get to the meat of “The Art of Play”, I suggest giving it a read. I also understand that as creative artists we cannot simply do away with making products that will be well accepted by the public, or by making series of mugs and so on. I suggest rather (and am still searching for), a balance between the two. A balance between creating a genuinely unique piece of art that is playful and functional. I suggest that we see the importance of taking some time to play while forgetting the rules and ideas of salesmanship, that we take a risk and start to make something that we have no idea of how it will turn out.

If it strikes your fancy, give it a try. It might be neat to see what happens, or even to share it with others.

Ceramic Showcase highlighted by Alaska Airlines

2011-03-29T18:58:00.000-07:00

Ceramic Showcase has been highlighted in the current issue of Alaska Airlines in-flight magazine featuring the work of OPA Member Colleene Little. Talk about friendly skies!

In the Press

2011-03-25T09:48:00.000-07:00

This month's Ceramics Monthly has a blurb about Ceramic Showcase 2011 and features the work of OPA member Scot Cameron-Bell.

If you are in Portland or will be traveling to the Portland area the weekend of April 29 - May 1 make sure you stop by the Oregon Convention Center and checkout Ceramic Showcase which is part of the Gathering of the Guilds.

Ceramic Artists Respond to the Crisis in Japan

2011-03-24T10:38:00.000-07:00

I recently received this post from NCECA and thought that I'd share what the ceramic community is doing in response to the needs of the people in Japan.

The astoundingly destructive events that occurred along the Northwest coast and inland communities in Japan to which we awoke on the morning of March 11, 2011 fill us with grief. The images coming to us via television and internet are so vivid, devastating and heart-wrenching. Our hearts go out to the survivors even as they stoically deal with days on end of uncertainty and confusion. Many of us involved in NCECA and the broader realm of ceramic art hold a special affinity for Japanese culture. Of even greater and more intimate impact, many of us also have dear friends and/or family there. The scale of this event has and will continue to affect thousands of people, and survivors in Japan are likely to need our assistance in the months and perhaps years ahead.

NCECA has received a number of e-mails following the terrible events that have transpired as a result of the earthquake and tsunami. NCECA includes great numbers of engaged and responsive individuals that do remarkable work in their communities every day. It is not so surprising then to observe the speed, tenacity and creativity that have emerged in the hours and days following the disaster.

In response to inquiries and calls to action received from our membership NCECA reached out to CERF+ to see if they could provide any guidance on charitable action and giving. One resource which they hoped to share with NCECA's membership is the Network for Good's list of first responders. CERF+ has also put feelers out to the arts community in Japan about artists and cultural workers who could use our support further down the line and NCECA plans to keep membership informed about what they uncover.Through personal e-mails from friends in Japan and following the mainstream media and blogs, a great deal of confusion persists on how those of us far from the loss and damage can best provide assistance to the people most affected. At this time, many of the agencies and NGOs collecting donations are not yet authorized by the Japanese government to provide aid where it is needed. For this reason and at this moment, although some members have suggested they would like to see NCECA launch a new initiative at the upcoming conference, it has been determined that it would be too late to do it well and too soon to provide adequate clarity about how the money would be put to appropriate use.

NCECA does want to call its membership's attention to Handmade for Japan which is a project launched last week by Ayumi Horie. She, Ai Kanazawa Cheung, and Kathryn Pombriant Manzella have mobilized to solicit, promote, and auction handmade pieces of art generously donated by talented artists throughout North America and Japan to raise money through an online auction on March 24-27 for relief efforts to assist the victims of Japan's catastrophic earthquake, tsunami, and nuclear emissions. Previews of the auction items will are available in English and Japanese through Facebook pages and Twitter updates. All inquiries in either language should be sent to handmadeforjapan@gmail.comThe initiative received some wonderful coverage last week through a New York Times blog. Handmade for Japan states that 100% of all net proceeds collected via the auction will be donated to Global Giving's Earth and Tsunami Relief Fund. The auction will begin on eBay on Thursday, March 24th and end on Sunday, March 27th. Auction items will be listed under the "Handmade for Japan" seller ID, and NCECA encourages its members and followers to view and bid generously.NCECA will continue to update its organizational Facebook page with a links to ceramic-centric events like Handmade for Japan that have the goal of providing resources for Japanese disaster relief.

Additionally events developed by NCECA members can also be posted on the NCECA website so long as sales are geared towards charitable relief.

Additionally, following the event in Tampa, NCECA will donate a percentage of proceeds from the conference onsite merchandise sales to a relief effort.This crisis is not one that will soon be resolved. The people of Japan, including those working in ceramic arts and education are likely to be in need of kindness and support for the foreseeable future. Given the nature and scale of the concerns, NCECA's board will consider additional efforts following the conference in Tampa, possibly for the 2012 conference in Seattle. Thank you to all whom following this event, shared ideas and information about how NCECA can respond in the midst of this critical time.

Craft Perspectives Lecture - Tonight @ MoCC

2011-03-17T09:07:00.000-07:00

Elissa Auther -
Fiber Over Time: From the Sixties to Now

March 17, 6:30 pm
The Lab at Museum of Contemporary Craft
724 NW Davis St.

Free and open to the public. Doors close at 7 pm in consideration of the speaker.

Museum of Contemporary Craft and the MFA in Applied Craft and Design host Elissa Auther for a public lecture titled "Fiber Over Time: From the Sixties to Now" providing insight into Laurie Herrick: Weaving Yesterday, Today and Tomorrow, which opens the same day.Drawing on her recently published String, Felt, Thread: The Hierarchy of Art and Craft in American Art, Elissa Auther will discuss how Laurie Herrick's weavings fit in historically with the decades in which they were made. Auther is the founder of Feminism & Co.: Art, Sex, Politics, a program at the Museum of Contemporary Art Denver, that explores feminist social, political and artistic issues through creative forms of pedagogy. She is Associate Professor of Contemporary Art, University of Colorado at Colorado Springs.Learn more about Elissa Auther and Laurie Herrick: Weaving Yesterday, Today and Tomorrow.

OPA General Meeting this Friday

2011-03-10T13:08:00.000-08:00

Don't forget the General meeting this Friday, 3/11 at the Multnomah Arts Center. Potluck dinner will start at 6pm and the meeting will begin at 6:30pm. Bring a dish to share and don't forget to bring your own plate, bowl & cup - help us cut down on waste!

It is time to pick your booth for Ceramic Showcase, meet up with fellow potters and have a great time. It is always one of the most attended meetings of the year, so come on out.

Bill Sanchez, the Empty Bowls chair, is organizing an OPA group photo and would like everyone to bring a piece to hold up and then if you'd like, donate to Empty Bowls. Bill, Renee and Jeanne will be accepting donations. Donations are also being accepted for the "Queen of Cups" installation that will benefit our Clay in Education fund.

Ceramic Showcase takes place at the Oregon Convention Center April 29th, 30th and May 1st, 2011.

Workshop at MHCC

2011-02-25T07:02:00.000-08:00

Mt.Hood Community College is proud to host Yoshihiko Yoshida a master potter from the Mino area in Japan. He will present visual images in the Visual Arts Theatre on the evening of May 27, 7:30. Yoshida will demonstrate his work in the ceramic studio on Saturday May 28th from 9:30 to 4:30. Contact lynn.horn@mhcc.edu to make a reservation for this one of a kind workshop. Yoshida was a student of National Living Treasure Arakawa.Prices are $35 Students and OPA members. $50 non member or non student.

Meet an OPA Member: Mary Huels

2011-02-14T12:59:00.000-08:00

Three things about Mary that have nothing to do with clay.

1. Is a Forester for main income and fights wild fires

2. Avid gardener

3. Tall because she had to out grow three older sisters to avoid hand me downs

Era Messages: Selections by Garth Johnson-MoCC

2011-02-09T12:05:00.000-08:00

January 27, 2011 – July 09, 2011

Curated by: Garth Johnson

Museum of Contemporary Craft invites artist, writer and educator Garth Johnson to curate an exhibition drawn from the Museum’s collection. As Johnson’s curatorial debut in a museum environment, Era Messages focuses on works from the 1960s to 1980s that exemplify particular moments in the history of craft. As Johnson explains, “This exhibition seeks to examine work that is timely rather than timeless – craft that is evocative of its era rather than existing in the netherworld of timelessness.”

Garth Johnson is an Assistant Professor at the College of the Redwoods in Eureka, CA. He writes about craft, blogs at ExtremeCraft.com and is the author of 1000 Ideas for Creative Reuse. His DVD, ReVision: Recycled Crafts for Earth-Friendly Living, was released by Eyekiss Films in 2009. His artwork was also recently featured in a solo exhibition at the Clay Studio in Philadelphia, PA.

100 Plates at Mary Lou Zeek Gallery in Salem

2011-01-29T17:10:00.001-08:00

Mary Lou Zeek Gallery

Click on the link above to check out the submissions by OPA members - so many great plates for such a great cause!

Upcoming Workshop - Lisa Orr presented by Local Clay

2011-01-16T11:57:00.000-08:00

the grand finale - the pots emerge

2010-12-31T12:55:00.000-08:00

It was an amazing two weeks at Georgie's - 300+ pots made for the OPA's Empty Bowls event in July at the Waterfront Blues Festival.

This collaborative project would not have gotten off the ground if it weren't for OPA Member Renee Shearer's passion and devotion to Empty Bowls. And a single bowl would not have been thrown if it weren't for Georgie's Ceramic Supply. Georgie's provided the work space, the clay, the glazes and the firings to get this project complete.

Thank you so much Renee and Georgie's - from all of your fellow OPA members

And now what you've all been waiting for - the bowls!!!!

More images to follow. Bill Sanchez recorded several videos as well as additional photos and I'll get those posted shortly.

I am looking forward to unpacking all of these bowls at the Blues Festival and I think several will make an appearance at Ceramic Showcase 2011.

Stay tuned

The glaze continues to run on Empty Bowls

2010-12-31T12:38:00.000-08:00

Natalie Warrens joined the crew to lend a hand in the glazing.

as did Michelle Gallagher

the Day 7 crew busily glazing the last of the 300+ pots that were made for Empty Bowls.

Lon checks out Natalie's technique -

Good thing Denise isn't thirsty - Latte was one of everyone's favorite glazes by Georgie's

with this team - you know the pots are going to be gorgeous! Have you ever seen such a stylish bunch of potters?

Empty Bowls volunteers

2010-12-29T10:55:00.001-08:00

Mami Yamada shows how to glaze with flair!

Lyn Schultz volunteered two days and helped out with all of the glazing.

Kris Paul has been playing in the dirt and the glaze and Mami approves!

Mitch and Janet team glaze.

and they have fun doing it too!

Deb Shapiro was Team Leader for the day and shows first time glazer Diane a few tricks.

a fearless leader she was

and at the end of the day, we were all still for of smiles. A great day spent with Lon, Deb, Meaghann, Mami, Pam, Kris & Renee!

Dawn, Lon and Meaghann get to glazing.

Christine Hurayt showed off some beautiful brushwork!

OPA Members will be hard at work on Wednesday and Thursday, so if you've got a few hours to spend, come on down to Georgies and lend a hand. Glazing and loading the kilns will continue until the last bowl is done!

the bowls, they just keep comin'!

2010-12-27T15:13:00.001-08:00

We are onto week 2 at Georgies. Over the weekend all of the bowls were loaded into 7 kilns and fired and Monday began the unloading process and the beginning of glazing. Needless to say, Georgies has been amazing!

When we need a little break, there is always someone ready with a joke, story or in Bill's case, a few tangerines and an impromptu lesson on juggling.

Our OPA President, Margaret Synan-Russell and Showcase Chair, Brenda Scott adding their inspiration to the collaborative pieces.

Denise Krueger embellishing bowls made by OPA members.

The rag-tag crew at the end of the day. Worn out but still smiling!

It was a great week - more posts to follow.

Today News Channel KGW came for a visit as well as the newspaper. I can't wait to hear how that went.

another great Empty Bowls day

2010-12-22T22:02:00.001-08:00

Day 2 & Day 3 and the bowls are stacking up. Pat Brame went big and then shared a few great tips with all of us and in the spirit of collaboration, the tips and ideas flowed all day. We all loved playing with Renee's handmade chatter tool and we all starting embellishing two beautiful pieces that Alan threw the other day. I think that at the end of today there were 300+ pieces in various stages of completion and thanks to the crew at Georgie's they will be fired and waiting for everyone on Monday to start glazing!

Each piece is being signed with a phrase, a word, a thought of kindness and compassion. Come help us pass along this beautiful message.

If you've got a few hours, your help would be greatly appreciated. Don't forget, this is all about giving back to our beautiful community of Portland, to each other and to the OPA. Renee and the gang will be there tomorrow from 9am - 4pm and then back again starting on Monday. It is only a few hours - come be part of this great project.

And again, none of this would have been possible without the generous support of Georgie's. In the true spirit of the season, they have been inspirational and so giving. Let's pass that on.

Empty Bowls Collaborative Project @ Georgie's

2010-12-21T20:53:00.000-08:00

OPA members, family and friends gathered for the first day of the Empty Bowls collaborative project. Spearheaded by OPA member, Renee Shearer, OPA members showed up at Georgies to kick off this two week project. A huge thank you goes out to Dick Tonneson and the entire staff of Georgies, we could not have done this without you. Georgies has donated the space, the clay, glazes and firings to ensure that this project is a major success.

Thanks to all that showed up on Monday; Meaghan Kunzmann, Halima Wolfgang, Dawn Panttaja, Georgine Longfellow, Ken Pincus, Alan Higinbotham, Lon Jones, Ann Brucker, Diane, Renee and two up and coming clay enthusiasts!

If you haven't stopped by, the OPA crew will be working Wednesday and Thursday of this week and Monday through Thursday next week. Stop by and lend some moral support or roll up your sleeves and help throw, trim, embellish, glaze and help pack the work at the end.

Give Handmade for the Holidays

2010-11-24T11:22:00.000-08:00

Before you head to the mall for the craziness of after holiday sales, consider heading to a local artists studio sale to find beautiful art created by local artists. You'll find treasures worth giving and I am sure that the recipient of a handmade gift will treasure the piece you find for many many years.

OPA members start opening their studios this weekend. More artists will open the first weekend in December and those will be posted shortly. A studio sale guide is available on the Oregon Potters Association website. Many of the studio artists have invited fellow artists to participate in their holiday sales so you'll find an amazing array of art.

Chris Baskin will be open 11/26 & 11/27 from 10am - 4pm daily

Rhoda Fleischman will be open 11/26 from 5pm - 9pm and 11/27 from 10am - 4pm

Patrick Horsley will be open 11/26 from noon - 5pm & 11/27 & 11/28 from 10am - 5pm

Jacquline Hurlbert will be open 11/26 & 11/27 from 10am - 4pm and 11/28 from 11am-4pm

Ken Pincus Pottery will be open 11/26 - 11/28 from 9am - 5pm daily

Stark Street Studios will be open 11/26 - 11/28 from 10am - 5pm daily

From all the members of the OPA we thank you for visiting our studios and we wish everyone a very happy holiday season.

Volunteers

2010-11-09T12:23:00.000-08:00

Just a few shots of our stylish volunteers during our workshift at the Oregon Food Bank.

Twenty-two members, family & friends gathered to help bag beans for an evening of fun.

Thanks to all that showed up! and thank you Renee for sharing your pictures.

10,000+ pounds! Way to go team.

Ken Pincus & Friends Celebrate 70th Anniversary of Saga Goryu Hokubei Shisho

2010-11-04T10:33:00.000-07:00

Dentou

"Tradtions"

If you are out and about this weekend, stop by the Buddhist Daihonzan Henjyoji Temple in SE Portland for a beautiful exhibition and demonstration of ikebana with Ken Pincus, Motoko Hori and Anne Iverson. There will also be an ikebana demonstration by Kakihana Sensei representing Daikakuji Headquarters on Saturday, 11/6/2010 at 1pm.

Exhibition Details:

Saturday & Sunday, 11/6 & 11/7/2010

Noon - 4pm

2634 SE 21st Ave

Portland

Suggested donation $5.00

Deadline approaching - RACC project

2010-10-19T12:32:00.000-07:00

*** PUBLIC ART OPPORTUNITY, Portland, Oregon***

Request for Qualifications from Artists for PGE Park Public Art

The Regional Arts & Culture Council (RACC) in Portland, Oregon invites artists/teams residing in the United States to submit qualifications for a public art opportunity at PGE Park, a sports stadium for professional soccer, in Southwest Portland. With this current renovation, the stadium will become the permanent home of the Portland Timbers, who will be joining Major League Soccer. The art budget for the project is $100,000. Applications must be submitted using the CaFÉ website.Go to www.racc.org/public-art/racc-public-art-opportunity-pge-park for information and links to RFQ and CaFE website.

Deadline: October 25, 2010, 11:59 p.m., Mountain Daylight Time.

Lecture @ PNCA - tonight!

2010-10-19T12:25:00.000-07:00

CRAFTPERSPECTIVES LECTURE
Philip Tinari - Postures in Clay
Tuesday, October 19, 6:30 pm
Swigert Commons, PNCA Main Campus
1241 NW Johnson Street
Free and open to the public

In conjunction with Ai Weiwei: Dropping the Urn (Ceramic Works, 5000 BCE - 2010 CE), Philip Tinari discusses the practices of Jingdezhen porcelain production in the context of Ai Weiwei's approach to contemporary Chinese ceramics.Tinari is founding editor of LEAP, a new bimonthly journal of contemporary Chinese art based in Beijing and published by the Modern Media Group. Since 2007, he has run the publishing imprint, editorial office, and translation studio Office for Discourse Engineering. He is a contributor to Artforum, and is the founding editor of artforum.com.cn, the magazine's Chinese-language website. He has written and lectured widely on contemporary art in China, for publications including The Wall Street Journal, The New York Times Magazine, and Parkett.

Portland Open Studios

2010-10-08T13:48:00.000-07:00

Have you ever been curious about what other artists studios look like? How they have set-up their spaces and what little tricks they've come up with to make working more efficient or easier? Well, this is the first of two weekends here in Portland where artists open up their studios to the public and there are many OPA members involved this year. Tour the studios of Babette Harvey, Jeanne Henry, Amy Maule, Sara Swink, Pam Grow, Careen Stoll and Kris Paul along with artists representing all mediums. Purchase a tour guide by following this link to the Portland Open Studios website for a list of retailers.

Portland Open Studios Dates:

October 9 & 10, 2010 - 10am - 5pm

October 16 & 17, 2010 - 10am - 5pm

Hope to see you on the tour!

Helping the Oregon Food Bank

2010-09-23T15:32:00.000-07:00

Call to action -

In addition to volunteering when the OPA works at the OFB in October, there is another opportunity happening right now, and the Food Bank needs our help.

I received the below information this week and if you've got a few mintues, and want to help out, read the following and follow the link.

So far 8050 has taken the pledge to help.

Hello OFB Volunteer Community!

Remember back in March when we participated in the "We Can Do This" challenge? Thanks to your help, we won a truckload of food equivalent to 150,000 meals!

Now there's another opportunity to win Oregon another truckload of food! September is Hunger Action Month, and Feeding America is asking people who care about hunger issues to pledge to take action. The food bank that receives the most pledges wins!

All it takes is a few clicks. Here's what to do:

1. Visit our website: http://r20.rs6.net/tn.jsp?llr=6jeyz8n6&et=1103698029669&s=30106&e=001AKwlfPegpzcR_4D4AfBfdkSDKj7f7Y77jZlcSQ8LTZLXj3uWfm7Oi88BmY-PA6rzsDw_042AjIMnTX3kkL-h4yQHbw9S0bgHmJ7X81mACZG19FRf28hIzlnLs8uSOc9S
2. In the bottom left corner of our home page, you'll see an orange box called "Take the Pledge".
3. Add your name, email address and zip code and click "Pledge Now".

That's it! Competition will be fierce, so please tell your friends in Oregon!

Thanks so much! If you'd like to keep up-to-date on positive actions you can take to help fight hunger in Oregon, join us on Facebook by clicking here.

Linkin' Up with the OPA

2010-09-05T18:36:00.000-07:00

If you are in Portland tomorrow, Monday, Labor Day, stop by the OPA tent at Art in the Pearl. We'll be across from the Museum of Contemporary Craft for the day introducing kids to clay.

Tomorrow marks the third year in a row for the Links project and with 600+ links and counting, it will be an amazing day. Twelve OPA members will be volunteering throughout the day to introduce the kids to what they do in their studios each and every day. I have been so fortunate to have working alongside me for each of the past three years, Dawn Panttaja. On his second year in the booth, Mark Chapman. And joining us for the first time, OPA President, Margaret Synan-Russell, Showcase Chair Brenda Scott and fellow OPA Board Members, Denise Krueger and Tamara Bryan as well as fellow members, Melissa Ray, Chayo Wilson, Barbara Hertel and Rosemary Tobiga.

It is going to be a great day in the Park Blocks and I hope you stop by and say hi.

Creative Block

2010-08-26T11:45:00.000-07:00

So my question for all of you out there is...How do you get out of a funk? When you are having a creative dry spell or feeling uninspired or unmotivated, what is it that gets you going again? Do you have tips? I can find all sorts of advice and techniques for writers block or for 2D artists, but I don't feel they apply to potters. I'd love to hear what you do.

thoughts on handmade

2010-08-14T10:09:00.000-07:00

At a recent OPA meeting we were all trading ideas and thoughts and Finance Committee member, Cynthia Clother, shared a thought by her son, Chris.

"I feel rich in life when I eat out of something homemade."

I can't think of a better way to state it. Everytime I open my cupboard and reach for a bowl, mug or teabowl, I cherish all of the handmade pottery that fills my cupboard and my life.

I hope you'll share your riches, too.

A Rookie's Meanderings

2010-08-07T09:36:00.000-07:00

There is so much to learn in the world of ceramics. Not just in the methods and techniques of creating ceramic work, but also in relationships, networking, collaboration, sales, business etiquette, and the list could go on forever. Being a relatively new and young ceramicist myself, I am learning so many new things every year, in all of the said realms. What I would like to focus here however, is the art of the craft fair.

Entering this world can bring about many new learning experiences, whether they are learned the hard way, or whether they are shared by kind individuals you come across along the way. There are so many things to learn about! What kind of canopy should one get? What color should the top be? How should the booth be set up? Where did they get those nice display shelves? Is there an easier way to transport all this work? How should I price my items? I could fill volumes with the questions I have asked myself about the world of art fairs, and the answers I have found.

I have learned many things by trial and error--for example, recycled plastic shopping bags may not be the most elegant way to present sold work to a customer (though of that I am still guilty, I must admit). This summer I learned something else though, something which inspired me to write this blog. I learned that there are so many nice people in the art fair world that are most willing to offer helpful advice and conversation. I have had many insights and learned many things about how to improve upon what I am doing--all from fellow artists generously sharing their experiences and information.

This also led me to the realization that many who attend these art fairs are not competitors or rivals of any sort; rather they are comrades, friends, and smiling faces who want you to do well, who want the world of art to continue thriving. Every art fair, gallery opening, and art function I attend I find myself learning something valuable. For that I would like to extend a big THANK YOU to all those friendly artists who make creating and selling artwork that much better.

Ai Weiwei - Dropping the Urn @ MoCC

2010-08-06T10:11:00.000-07:00

If you're down in the Pearl - check out the latest exhibition. And if you still haven't seen the works on David Shaner, they are still on display. Two great exhibitions at the Museum of Contemporary Craft.

Ai Weiwei: Dropping the Urn

Ceramic Works, 5000 BCE – 2010 CE

July 15 – October 30, 2010

Curated by Richard Torchia and Gregg Moore

This exhibition of internationally acclaimed artist Ai Weiwei features his iconoclastic use of Neolithic vessels, blue-and-white Qing and Yuan dynasty replicas, and a work that consists of one ton of “sunflower seeds” crafted from porcelain. This artist’s first solo museum exhibition in the United States makes its West Coast debut at Museum of Contemporary Craft.
The exhibition is accompanied by a fully-illustrated catalog featuring four essays commissioned for the exhibition and appearing in both English and Chinese translation. Essays include contributions by Philip Tinari, Dario Gamboni, Stacey Pierson, and Glenn Adamson, as well as the first English translation of an interview with Ai originally published in his White Cover Book (1995). The exhibition catalog is produced in collaboration with Office for Discourse Engineering, a Beijing-based editorial studio, and will be distributed in the U.S. by RAM Publications.

Sara Swink @ Hanson Howard Gallery

2010-08-02T13:58:00.000-07:00

OPA Member Sara Swink will be showing at the Hanson Howard Gallery in Ashland beginning with the Open Reception August 6, 2010 from 6:00pm - 9:00pm. The show will run through August 31. If you are in the Ashland area, stop by the gallery.

Sara's figurative ceramic sculpture explores ideas about how the natural world intersects with one's psychological nature in a new body of work called "One's Own Nature".

Also being shown: Paintings by Kentree Speirs

Hanson Howard Gallery
82 North Main Street
Ashland, OR 97520-2782
(541) 488-2562

Meet an OPA Member: Meaghan Kunzman

2010-07-12T10:23:00.000-07:00

Three things about Meaghan that have nothing to do with clay.

1. Likes to kayak
2. Has a yellow dog. Molly
3. Grew up in Florida. West Palm actually

Studio Visit - Susan Roden

2010-07-07T09:15:00.000-07:00

Over the past few months we've been taking a peak into the studios of our OPA members. Here is a peak at the new kiln that OPA Member, Susan Roden, has built and the results from her first firing.

Susan writes: "A year ago, I took down my gas-fueled pottery kiln, that I had built about 25 years ago. It took me almost nine months to build a new kiln on the same spot. This time I made it able to fire both natural gas (propane) and/or wood.

I knew that the pots would be different and I had many expectations, though I tried not to get my hopes up too high.

The first wood-fueled firing was Saturday, June 19. After a few days of cooling, it was opened Tues, June 22.

I was very pleased with the results.

Empty Bowls to feed the hungry

2010-07-01T09:39:00.000-07:00

It's that time of year again, Blues Festival Time, and that means it's time to check out the Oregon Food Bank and OPA booth were they will be selling hand crafted bowls to help feed the hungry. You can find more about the story of empty bowls on our website, www.oregonpotters.org.

So go down to the Waterfront Blues Festival this weekend July 2 - 5, gates open at 11 am and close at 10pm. Listen to some great music and buy a beautiful bowl for yourself or a gift and know you are supporting a great cause.

Museum of Contemporary Craft Community Show and Demo Series

2010-06-09T16:33:00.000-07:00

On Monday at eleven a.m. sharp, I walked through the doors of the museum to meet with Kat Perez, the Exhibition Coordinator at the Museum of Contemporary Craft, to hand off the artwork for OPA's Community Showcase.

I hadn't coordinated an exhibit like this before, and so was curious to experience the installation and the actual placing and arranging of the pieces in the case. I also hoped to be involved in that process, but wasn't sure if Kat would need or want the help. As it turned out, she was very willing to have me take part. As the museum is closed on Monday, I had to be admitted through the side door and ring a buzzer to be let in. I felt somewhat official and important! As I went through the day, I had feelings that I was involved in something worthwhile... like we were all contributing to the world of art and giving pleasure to the museum's audience. It felt good. I documented the process, much to Kat's chagrin! She and the museum's curator, Namita Gupta Wiggers humored me with some candid shots.

Kat had a very neat and tidy reception waiting for me and the pieces, three long sturdy tables covered in a cushion padding, and an empty case, that morning vacated by the Bead Society. Kat said she had been working toward these shows becoming concept based, and so the theme we chose "Emerging" worked in well with her future plans. I wrote a small piece to accompany the exhibit.

EMERGING
Members of the Oregon Potters Association (OPA) create an astounding variety of work. Though each artist and their work are unique, they share the inherent ability to create something new. Their artwork evolves over time, with the emerging new qualities coming through education, experimentation and the sharing of ideas, techniques and processes. It is this emergence, or the showing of change over time, which makes "the making" so exciting and keeps the artists coming back to the table or wheel for decades.

Perhaps next time we can make more of a process of this show, if and when we are invited again. The pieces were chosen with a jury of six artists and we had 30 submissions. The case is fairly small, so we were limited to the number of pieces we could include. All the submittals were wonderful. Kat Perez seemed genuinely impressed by the work we selected...

We gently unwrapped the pieces and set them on the tables, and I noticed that Kat was extremely careful with them, setting them down with mindfulness. Then after some time, which felt like a truly meditative consideration, we began placing the pieces one by one into the case. We started with the larger pieces, as Kat said she felt it helped to work around them. Then other pieces followed. Soon we started to coordinate the work into groupings which she hoped would create stories within the case. Certain pieces worked well with others, but not at all with some... and we found after two hours of moving and switching the art around, a strong and unexpectedly harmonious solution. It was wonderful to see how Kat considered shape, color, texture, height, and chose all of the wooden blocks and bases for each piece. It is more of a project than I could have imagined to create a properly composed exhibit case and Kat is a master!

(from left to right: Ginger Steele, Sara Swink, Kris Paul, Dara Hartman)

Kris Paul's raku was the last to place. Where does this wild card belong? (I know you'll be laughing at that, Kris!). We tried it in a number of locations. As it turned out, it felt most harmonious between Sara Swink's brooding thinker, and the tall ebony of Dara Hartman. Of course! We should have seen that from the beginning. It wasn't until Namita, the Curator, aimed her trained eye at the case, that Kris' piece was properly positioned with her suggestion. The verticality of Kris' piece went best further toward the center between the two pieces. And Ginger Steele's lovely teapot and cup moved to the outside... directing the eye inward with it's spout. Namita knows her business!

The other groupings went together a bit more easily as we discovered which pieces "played well" with others. Brenda Scott's piece, a wood fired vase had bits of green in it. That and it's sheen finally found a home with Kristy Lombard's tall and lanky teapot, Michelle Gallagher's "Baby" on wheels, Chayo Wilson's dainty and ancient cups and Megan Chalmer-McDonald's other worldly sea creature. The largely green story. I won't go through how everyone was placed or by what means... but I'll say it was a real pleasure to handle all of the beautiful work and really study each piece. What a beautiful process it is and I told Kat that she has quite a job!

(from left to right: Michelle Gallagher, Brenda Scott, Chayo Wilson, Kristy Lombard, Megan Chalmers-McDonald)

(from left to right: Victoria Christen, Debra Nelson, Jan Edwards, Rhoda Fleischman)

(from left to right: Pat Berman, Larry Nelson, Jan Richarson)

I left so that we could all get to our lunches and Kat promised to work her refining magic on the display. She schedules an entire day or more to the set up of each of these Guild shows. She also has to create the signage, including the tags for each work identifying the artist and the title. She sent me photos of the finished display so that I could share them with you all.

I can truly say that our work is in the best of hands at the museum. They treat art with the utmost respect and care. And they have a huge appreciation for the artists of our guild and all the other guilds. They express a sincere desire to encourage, support and be a part of our strong and vibrant arts community. I felt relieved when I got into my car to head home... with a wagon full of empty boxes!

Thank you to everyone who submitted work. It was such a pleasure seeing the variety our guild represents!

The show is up now, so please go take a look and keep in mind the process involved in placing every piece. I think you'll enjoy what you see. Also, keep watch for the demos scheduled every Saturday beginning June 19th from 1 pm to 4pm, going through the month of July.

June 19 (1 pm start time)

Jan Richardson & Tea Thanhbinh Duong

June 26 (1 pm start time)

Larry Nelson & Debra Nelson

July 3 (1 pm start time)

James DeRosso & Brenda Scott

July 10 (1 pm start time)

Michelle Gallagher & Victoria Christen

July 17 (2 PM start time)

Ginger Steele & Rhoda Fleischman

July 24 (1 pm start time)

Alissa Clark & Renee Shearer

These should all be wonderful. So I hope you can attend!

Its a small clay world

2010-06-08T19:30:00.000-07:00

Last week I made the trip from Portland, Oregon to the town of Cannon Beach on the coast. My purpose was to re-establish a presence on the coast as my current work involves octopi, and it seems like a natural fit.

Here I digress. When I was at California State University, Chico in the 70's one of my instructors, Vernon Patrick, participated in an exchange program. He went to Texas for a month or so. When he returned he said to me, "Your cousin says "HI"".

All that I could say was "What?".

Vernon said, "Your cousin Rob (McClurg) says "Hi"". Vernon went on to tell me that he stayed at my cousins place while he was in Texas on the exchange. The school was East Texas State, in the town of Commerce.

I had just gotten into clay the year before, and hadn't heard from Rob in years. It turned out that Rob had just gotten into clay at the same time that I had. What a flash!

Fast forward to last week.

While I was in the gallery that I had chosen to represent me, a customer asked the proprietor if it was alright to take some photos of some of the work. Of course, she was asked the purpose. The customer replied that she wanted to send them back home to friends in Michigan. She continued that normally she would be back there taking classes at Oxbow, but had some family business to take care of out here in Oregon. This caught my attention because cousin Rob has taught wheel throwing at Oxbow for years (yes, we stay in touch).

I said to her, "My cousin taught at Oxbow. His Name is Rob McClurg. Do you know him?"

It turns out that she has taken his course three times. She asked me if I knew why he wasn't teaching this year, and I explained what was happening in his life and what he and his wife, Donna Berrati, (also an artist) were up to.

As I left the gallery I was struck by what a small world it really is on this clay ball that zooms across the universe.

TheGr8tfulPotter

2010-06-07T10:20:00.000-07:00

This is a little video by OPA member Jeanne Garrett. Jeanne is a Flight Attendant and while working dreams about being in her studio. So while she was not able to be in her studio she put this little video together and I think it's brilliant. Jeanne is also Co-Chairing the OPA's Empty Bowls event this year with Bill Sanchez. This is a great event that raises money for local food banks. The OPA sets up a booth at the Waterfront Blues Festival each year and has raised over $200K over the last 10 years for the Oregon Food Bank.

I Love a Ten Dollar Cup

2010-06-06T11:44:00.000-07:00

This is Spring Studio Sale time of year, and as always, I visited Janet Buskirk and Jim Koudelka's sale over on SE 46th, just north of Hawthorne. If you haven't been there, it's high time. One can expect a wonderful collection of artists showing their work. During the sale events, Janet and Jim generously share their beautiful place with pottery and jewelry friends alike. Of course, it's mainly dedicated to pottery and they usually have from 5 to 10 different artists represented.

For the last few years I have bought pieces made by Janet, that is, until I felt I had a critical mass of her work... large coffee cups with saucers, wonderful textural plates and little cups I use for wine. I bought one of Jim's coffee cups last year and I just love it from year to year. Their work is built to last both in the utilitarian and visual sense. I never get tired of looking at or using these pieces.

This year they are hosting a new artist called Ji-Min Lee (at least she is new to me). It's funny... because at the OPA board meeting this last week hosted by Kris Paul, I coveted the cup Kris was drinking from... a beautiful cup with what looked like a grouping of small baby heads painted on it. I picked it up at the end of the party and admired it's qualities up close. No time to ask about the artist, what with trying to find my car keys and the tour of Kris' AMAZING studio. Honestly, she wins the "Best Studio" Award! Especially designed for her by Willie, her husband... with big picture windows looking out to their woods, where she often gets a view of the dear eating her garden! I was treated to a Kris Paul naked raku piece when she saw how luscious it felt in my hands! Thank you Kris! Kris' collection of cups is inspiring!

So, it felt somewhat synchronicitous to find Ji-Min Lee just a day or two later there at Janet and Jim's. I so connected with her use of color and the illustrative vocabulary and was gently reminded of both Jan Edwards and Victoria Christen's work. Of course, she has qualities all her own, but it felt like a related visual language. (Her cups are featured in the photos. And don't you just love the dark coffee color against the blue of the cup?). She offered her work at wonderful prices too (My cat loves a Ten Dollar Cup! in the photo), so I couldn't help bringing home some of her work... even though my cupboards are running over. When one no longer has space to put another cup... one is forced to ask the question... "How much is too much pottery?" Is there such a thing? And my answer to this is... "BUILD MORE SHELVES!" One can never own enough pottery.

I had a marvelous time a day later at Jan Edwards Spring Studio Sale. She hosted a wonderful and sunny Spring Sale party. I tell you... if you ever want inspiration... just go visit Jan. Throughout her studio, you'll witness her endless and bountiful creativity, all around her home and everywhere you look there is beauty. I love her delight in the painted image. Natural imagery, such as birds or trees or leaves, landscapes, figures and abstract patterns and shapes are her subject matter. And the terra cotta clay with her special brand of coloration is so vivid and alive. I brought home a delicious small leaf shape platter (in the photo). It came in handy this morning to serve my kalua and cream French toast! (Gotta add the recipe to the next cookbook!)

Both sales are still going on today (Sunday, June 6th!) So, check them out!

Janet Buskirk and Jim Koudelka & Friends SPRING STUDIO SALE

4614 SE Salmon St. Portland, OR 97215 at corner of SE 46th and Salmon 503-231-2810

JAN EDWARDS’ 20 & 20 CELEBRATION In thanks for 20 Years of support in my studio I’m offering 20 %off on all Claywork by Jan JUDITH ROSE’s jewelry will be 10% off

SHOW & SALE

Friday, June 4 / 5PM to 8 PM

Saturday, June 5 / 10 AM to 5PM

Sunday, June 6 / Noon to 5 PM PARTY

Saturday June 5 . 5PM -10PM

(Music on the deck with Kevin Shay Johnson)

at Jan Edward!s Studio

2650 SW Custer Street Portland

Enjoy!

Jenny

Meet an OPA Member: Julie Asbury

2010-06-02T10:52:00.000-07:00

Three things about Julie that have nothing to do with clay

1. Grows African Violets

2. Lived in Fairbanks, AK for 13 1/2 years

3. Spent 24 hours in Shemya, in the Aleutians

Studio Visit with Renee Shearer

2010-05-26T10:18:00.000-07:00

When I first arrived in Oregon (from Austin, Texas) October 15, 2007, I found studio space at Dorothy Steele's spot near the Ross Island Bridge. With seven clay artists in house, we changed the studio name to Ross Island Pottery and promoted our work together for awhile. This was a great space and resource to one new to Oregon and Portland. Needing more space for production after awhile, Meaghan Kunzmann and I moved to St. Johns into the old Columbia Sportswear Building - but the 17 mile one-way commute became a challenge for both of us even though we loved our space and the building community of multi-disciplined artists.

Then I broke my ankle in four places when I slipped on the ice during the snow storm in December 2009. Recovery took about 14 months and made claywork, markets and shows challenging. Needing to be closer to home, I posted an ad on Craigs List saying exactly what I needed, the preferred mileage radius to where I live, and how much Iwanted to pay - and within thirty minutes of posting I received an email from a woman who had a home and workshop/garage she had bought from alongtime potter - she welcomed me wholeheartedly and I'm very happy with my space.

My studio photos here show that it is the perfect amount of space for one person - with 220 and water - and I love the overhead door for load-in and out and natural light during the warm months of the year. The privacy of a residential neighborhood has afforded me good creative focus as well as a safe, great environment to teach adult students one-on-one. I have been throwing for 15 years and selling for 10. Mostly I produce wheel-thrown functional tableware with Armadillo Clay's (Texas) Cone 6 Buffalo Wallow(yes I ship it in - yikes) and predominantly Spectrum Glazes. Even though the clay is very "plastic" - I throw exceptionally thin and I chatter the outside surface and stain it with Chocolate Velvet Underglaze to evoke the look and feel of the bark of a tree. I also add three-dimensional characters and wax-resisted silhouettes (like a cast-shadow) which distinguishes my work from others. I promote my work as: Useful - Playful - Artful. In the summer of 2009, I purchased a small, used slab roller and a BrentExtruder (yes, I'm the one who got it at the estate sale) and have been tinkering with Georgie's Cone 6 Gmix and Georgie Glazes. So in 2010 I have a new body of work and experimentations with traditionally shaped vases and watering can shaped vases which have "ribbons" flying all over the place. Iuse balloons to suspend the ribbons until the piece is dry enough to fire. I'm having a lot of fun with this and the pieces have been selling very well. These are not items I will take to market because of the fragility of the construction - best to have them in stores instead of being transported constantly. Teaching one-on-one has fueled my ideas for creative bunny paths I'd like to go down this year - an unexpected gift from the ones I teach.

fixing cracks with gold

2010-05-25T17:07:00.001-07:00

So I was watching the Sunday Morning Show and there was this man who hot glued everything! Which got me thinking about the cracks that had developed in my organic pods during the firing process and I thought, why not. So out came the glue gun and gold leaf flakes and I'm thinking that there is some potential here. I've tried using gold in so many different ways but it has always looked flat and well, forced. So, I'm really not sure about this - it is foreign but it isn't trying to hard - or is it? Let me know your thoughts / critiques / comments / or your experiences using gold to fill cracks.

berries

2010-05-20T15:39:00.000-07:00

I'm waiting for my strawberries to ripen (they seem early this year) so that I can use Brenda's berry bowl that I got at showcase. What's next? more pots .....

What's next?

2010-05-18T09:52:00.000-07:00

Ceramic Showcase has come and now I am wondering - "What's Next?" If you've got an upcoming show, Gallery opening, Studio tour, firing - whatever - we'd love to hear what you are up to, my fellow OPA members. I for one have been busy in the studio preparing for my Summer art show tour and I've been taking some time to tend to the garden. This year I've added 2 apple trees, 3 blueberry bushes, and another raised bed. I'm delighted that the seeds that I planted in early Spring are going gangbusters - sugar snap peas, heirloom beets, a mix of lettuces and spinach. And the starts aren't too much further behind. My mouth is watering in anticipation for the tomatoes, eggplants, squashes, cucumbers and the host of herbs that will be flavoring many dishes throughout the summer. Not to mention the canning that will be done to hold us through the winter. So, what are you doing?

Showcase all weekend

2010-05-02T11:30:00.000-07:00

Showcase is in full swing of course ending 5:01 on Sunday. No time for photo's so here's just a peek. there's nothing better than a weekend with 200 potters!

SHOWCASE

2010-04-28T15:55:00.000-07:00

Setting up the gallery space. just a quick snapshot of the beginning stages.

Something to be passionate about

2010-04-24T07:48:00.001-07:00

Sacagawea Health Center is providing health care for children insured or not. Check out there website for more information on this wonderful organization. Our members have been donating art to there auction since the beginning. There will be more great donations this year also.

Speaking of Wood-fire

2010-04-21T08:24:00.000-07:00

2009 OPA President Victoria Shaw finally had a chance to wood-fire with the crew at Soulgama in Brush Prairie, WA. It was great having Victoria's gentle spirit at the firing and she was giddy like a school girl during the whole thing, especially the unloading. The kiln gods were kind to all of us and Victoria got some wonderful wood-fire effects on her Stone Healers and Totem pieces. I look forward to seeing them all together at Ceramic Showcase.

Victoria will be featured in an article in the Portland Tribune next week. Keep your eyes open for that one, it's going to be a great article.

getting ready for SHOWCASE

2010-04-20T09:21:00.000-07:00

I'm sure I'm not the only person looking for wing nuts and pliers, gathering lights, extension cords and duct tape in preparation for set up next week. Happy gathering everyone. See you at the show. (And those little plastic ties-can't forget those.)

The Allure of the Woodfire

2010-04-19T12:04:00.000-07:00

If you look around in the ceramic world today, chances are you’ll find a good amount of wood-fired work out there. The popularity of this firing method seems to become greater each year. I noticed this and asked myself, “Why are so many people making wood-fired pots? What’s the big deal?”. Wood-firing is not exactly a new method; in fact it is just the opposite, so that can’t be why so many people are excited about it. It’s not a short-cut or easy way out by any means. In fact, as far as I can tell it is probably one of the most labor-intensive methods of firing, so that’s probably not the reason for such excitement either.

It wasn’t until I had the opportunity to join in an anagama firing at the East Creek Anagama kiln that I fully understood why people love wood-firing so much. Sure, some enjoy getting the most textured, ash-covered pots possible; but others enjoy a very smooth surface, colored gently by the fire and ash. The results from wood-firing are as varied as the potters that choose to do them. I think the greatest reason for participating in wood-firing is just that--participating. Wood-firing is such an interesting and enjoyable experience. Getting together with a group of good friends and fellow artists around a wood-kiln is the perfect mix of artistic collaboration and shared work. Sure it takes a lot of work, but it also gives you that precious time in which so many great conversation occur; time that helps to form strong and lasting friendships.

The end results of the fired work are always exciting and surprising, and ultimately enjoyable. But the results of time spent and work done together is equally exciting as well. All This being said, I would love to know why you do wood-firings, or why you do not, or why you never would or always will. Feel free to respond to this blog with your take on the wood-firing phenomenon.

Sketchy Potters

2010-04-12T09:11:00.000-07:00

This year at Ceramic Showcase we are raising money for Clay in Education by raffling off sketches from our potters. They are one dollar raffle tickets and there will be over 40 sketches to be won. This is a different avenue for us and shows another side of our creative process. Many potters and ceramic artists sketch out ideas for future pieces or maybe even to improve current work. I'm looking forward to seeing all these sketches and getting a glimpse into the creative methods of our members.

Glaze results - needs work but there is potential

2010-04-10T08:20:00.000-07:00

The kiln cooled and the test cylinders emerged and for a ^6 oxidation firing, the results aren't bad. I learned which glazes worked well together and which were disastrous combinations. The glazes that I made up and used were Pete Pinnell's Tomato, Tom Coleman's Yellow Matte, Satin White w/Nutmeg & Sybil's Black Stain and Hesselberth/Roy's High Calcium Semimatte 2 w/6% rutile. The firing schedule was a slow cool set by Pete Pinnell for the Tomato glaze.

So now it's time to start playing with layering these glazes to achieve depth and movement. I'll be looking like a mad scientist very shortly and will hopefully have some more good results to share.

Are you working on glaze combinations? Have you had results that you'd like to share? We'd love to hear about what you are working on in your studio.

Meet an OPA Member: Margaret Synan-Russell

2010-04-08T12:47:00.000-07:00

Three things about Margaret that have nothing to do with clay.

1. I have built 2 cabins from scratch in the wilderness.

2. I have visited all of our National Parks and all of our Capitols.

3. I was raised in Amityville, NY

^6 Oxidation Test Firing

2010-04-06T08:49:00.001-07:00

I'm in the process of running the first of probably many test firings. I'm experimenting with five matt to semi-matt glazes in several combinations and layers with a controlled cool to see if I can get more depth out of a ^6 oxidation glaze. The kiln is now got a brain/controller and this is the first computer run test program. The kiln is one it's way down right now and should be ready to unload Wednesday evening. Results and photos to come and if I've achieved success, I'll post the glazes, recipes and firing schedule. Keep your fingers crossed!

Studio Visit with Jeanne Henry

2010-03-25T13:14:00.001-07:00

Tamara Bryan caught up with OPA Member, Jeanne Henry, in her studio during the SE Portland Art Walk. Thanks Tamara for another series of great photos!

inspiration

2010-03-20T21:14:00.000-07:00

Ginger Steele so perfectly described pulling a handle that I was inspired to throw some larger cups and try it myself. As a hand builder pulling handles is something I never really learned and have attempted only a few times. I think I got it after the tenth cup. Check out Ginger Steele's blog- very informative and well done. It even inspired a cartoon and a photo.

Meet an OPA Member: Mel Perrigo

2010-03-18T21:29:00.000-07:00

Three things about Mel that have nothing to do with clay.

1) She just started a cheesecake business!
2) She is deathly afraid of spiders and emits an unique yelp when they are encountered
3) She believes each month should contain a 'National Day of Dress-up' because Halloween is just not enough.

Studio Visit with Michelle Gallagher

2010-03-17T11:50:00.000-07:00

A look into OPA Member, Michelle Gallagher's studio shot by Tamara Bryan during the SE Portland Art Walk.

Studio Visit with Jeanne Garrett

2010-03-14T21:14:00.001-07:00

During the recent SE Portland Art Walk, OPA Photographer, Tamara Bryan caught up with fellow OPA member Jeanne Garrett.

OPA General Meeting

2010-03-09T10:26:00.000-08:00

Last Friday was a big night for OPA members. It was an evening to take care of business and catch up with members. Friday was dedicated to good food and for all OPA members that are participating in the upcoming Ceramic Showcase, it was the evening to pick your booth. First up, Janet Buskirk, followed by Ellen Currans and the rest of the membership. While everyone was waiting to choose, it was time to enjoy an amazing spread of food and chat, meet new members and enjoy everyone's company. It is an evening where we all get a chance to socialize, catch up with friends and meet members that many only know by name or the work that they do. New Member-at-Large, Tamara Bryan has taken on the role of OPA Photographer, enjoy the images that she captured during the evening.

Meet an OPA Member: Jen Tonneson

2010-03-02T11:14:00.000-08:00

Three things about Jen that have nothing to do with clay.

1. I have two wonderful boys, 22 and 18, who are at the center of my universe.

2.They share that space with my husband, Stan, and my 16 year old Airedale,
Jake (my best friend and constant companion)

3.I love pancakes!

MoCC - New Exhibition - David Shaner

2010-02-27T08:14:00.000-08:00

NEW EXHIBITION - Land Art: David Shaner

March 10 - August 7

Museum of Contemporary Craft

724 NW Davis St.

Free for Museum members; $3 general public

What is the relationship between craft and the Land Art Movement of the late 1960s and early 1970s? While Robert Smithson's monumental Spiral Jetty (1970) is an example of a heroic and gestural conceptual work in a remote location, David Shaner's work from the early 1960s through the 1990s reveals a concurrent, domestically scaled yet quietly sensual relationship between art and the landscape of the American West.

Through works drawn from the artist's estate and the Museum's collection, along with photographs and personal notes taken by the artist, the exhibition reveals how broader cultural interests in conceptual art and the land, ecology and materiality are explored through an artist known as a "potter's potter."

deadline upcoming for Sandy Mountain Festival

2010-02-25T08:46:00.000-08:00

Just a reminder that the deadline to apply to the Sandy Mountain Festival is this Sunday, 2/28. The Festival is scheduled for July 10 - 11, 2010. The 38th Annual Festival will be held in Meinig Memorial Park. For more details visit their website - http://www.sandymountainfestival.org or call the Festival at 503.668.5900.

MoCC-Circle of Guilds event

2010-02-23T13:26:00.000-08:00

The OPA is a member of the Circle of Guilds and this is shaping up to be a great event. If you are free on Friday evening, put this event on your calendar.

I Heart Art: Portland
Connecting Portland’s Vibrant Community of Makers
Hosted by Etsy.com, Portland Etsy Team, Pacific Northwest College of Art and Museum of Contemporary Craft

Friday, February 26, 6:30 pm
Pacific Northwest College of Art, Main Campus Building, Swigert Commons
1241 NW Johnson Street
Free and open to the public

Etsy, PNCA and the Portland Etsy Team host an “I Heart Art" meet and greet at PNCA on Friday, February 26. This public event brings together the PNCA student body, the Portland Etsy Team, members of the Guild Council Program from the Museum of Contemporary Craft, and the thriving local arts and crafts community of Portland.

The event is a great opportunity for Portland-based makers to network and learn more about this burgeoning partnership and future opportunities for professional development. Featuring light food and drink, music, button making, Gocco printing and more.

Getting Around Portland, OR

2010-02-22T17:16:00.000-08:00

If you have spent any time in Portland these days you already know that construction is going on all over the place. Lots of new routes and they change daily. There is help though. Before you plan your trip take a look at these sites and get the up to date information to make the trek easier.

http://www.portlandstreetcar.org/constupdates.php
http://www.portlandonline.com/keepportlandmoving/

Happy travels.

Today and Birthdays

2010-02-21T20:12:00.000-08:00

It's Sunday evening and I haven't spent as much time in the studio today as I had planned. The calls of the sun, the dirt, the garden, all kept me outside. As the evening came on all I wanted to do was read. I started thinking about sculpture - abstract, expressionist, realistic, all kinds.
Here's a Happy belated birthday to sculptor - Barbara Hepwood. b. Jan 1903, d. 1975. Who said, "The sculptor must search with passionate intensity for the underlying principle of the organisation of mass and tension - the meaning of gesture and the surface of rhythm."

For February let us say Happy Birthday to Constantin Brancusi, b Feb. 1876, d. 1957, who found his inspiration from many artists both in 2D and 3D. One of his favorites, is also one of mine, August Rodin...... which makes me think of driving out to the Maryhill Museum next weekend.
In thinking about how wonderful this weekend has been I close with words from Rodin, "Nature is always beautiful. We need only to understand what she shows us".

Links out of the kiln

2010-02-19T10:52:00.001-08:00

The links have finally gone through their first firing. Whew! Many were loaded in the kiln as blank canvases that will now get glazed, some had underglaze that will be left but the most important thing is that they all survived. I can't wait to get some potters and children over to help with the next phase so they can be ready to go on display at Ceramic Showcase at the end of April! More updates to follow...

Meet an OPA Member: Deb Moen

2010-02-11T07:47:00.000-08:00

Three things about Deb that have nothing to do with clay.

1. Was an avid bowler plus I taught. Carried a 190 average, life high game - 289, life high 3 game series - 680. Secretary/Treasurer about 25 years and some years included 4 leagues a week.

2. Played the Licorice Stick (Clarinet) in school from 5th-10th grade until I found bigger and better subjects of interest.

3. As long as I can remember, I have always collected wheat pennies. They don't seem to be circulating much any more. Own a couple Indian Heads and one dates back to mid 1800's.

It's all about the process

2010-02-10T13:20:00.000-08:00

OPA Member, Ginger Steele writes: I've started a process blog so that potters who have taken my workshops, and other interested clay junkies can have a second look at how I make my stuff. Dimensions and tool information are incuded. I am pretty exacting in my work, so there are many details for those who wish to incorporated some of these techniques into their own process. If you'd like to take a look at the blog, it is at http://www.gingersteele.blogspot.com/. Feedback is greatly appreciated!

DIY @ MOCC

2010-02-05T10:50:00.000-08:00

COMMUNITY SHOWCASE Etsy: Do It Yourself Now through March 6 - The Lab at Museum of Contemporary Craft Free with Museum admission View locally-made work that represents how the Portland DIY community is tapping into Etsy.com's innovative way of connecting people to the handmade, as well as empowering their customers to become makers themselves.

Experimenting with Cone 6 oxidation

2010-01-27T10:35:00.000-08:00

I've been experimenting with many of the glazes that Pete Pinnell, John Britt and Steven Hill have been publishing lately and getting some terrific results. Thankfully, I was able to install new elements in my kiln, which has improved my firing schedule tremendously. As well as finding a local Cone 6 porcelain with a great glaze fit. I'll post some pictures shortly.

Anyone out there playing with Cone 6 oxidation?

I'd love to hear about your successes!

Meet an OPA Member: Kris Paul

2010-01-26T13:48:00.000-08:00

Three things about Kris that have nothing to do with clay.

1.I love cooking and would host a dinner party every evening if I could.

2.I adore being Auntie Krissy to six beautiful nieces.

3.I have a kick-ass tattoo!