Elizabeth Priddy on thu 15 dec 05
I am convinced that the work of this artist,
http://www.followtheblackrabbit.com/
was influenced by the changes that Voulkos
brought to the table. Whether influenced directly,
which I doubt due to age, or by the environment
of loose and free expression, her work is definitely
not the ceramics of the 1940's!
I happen to love it, despite its rather dark imagery.
Sometimes life is dark. And even though the
work is dark, the making sounds like a celebration
of expression and then a return to control and
craftsmanship.
And her figures, while powerful and maybe even menacing,
don't carry the same quality of "sinister" or "meanness"
that I feel in Ron Myers' similar images. I can relate
to them better.
i hope some of you will go to her site and see it. It is
like the energy of Voulkos with a cohesive vision based
in figurative art. Very cool.
EP
Elizabeth Priddy
Beaufort, NC - USA
http://www.elizabethpriddy.com
---------------------------------
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Randall Moody on thu 15 dec 05
Thank you for that link!! I see the work influenced more by Rembrandt
Bugatti than Voulkos. You can tell that the sculpture has spent a great dea=
l
of time really seeing the animals.
On 12/15/05, Elizabeth Priddy wrote:
>
> I am convinced that the work of this artist,
>
> http://www.followtheblackrabbit.com/
>
> was influenced by the changes that Voulkos
> brought to the table. Whether influenced directly,
> which I doubt due to age, or by the environment
> of loose and free expression, her work is definitely
> not the ceramics of the 1940's!
>
>
Jim Kasper on thu 15 dec 05
I have been admiring Beth's work from afar for several years. I was introduced by some conversation here on clayart. I can't wait for a chance to touch some of it.
Just recently I sent a link to my nephew who is a budding sculpture.
I don't see any obvious connection to what little I have seen of Voulkos.
In the broader sense, I remember the metaphor of the flapping of the butterfly wings in Africa having an effect on North american weather.
Regards,
Jim
>
> From: Elizabeth Priddy
> Subject: Voulkos' influence on modern ceramists
>
> I am convinced that the work of this artist,
>
> http://www.followtheblackrabbit.com/
>
> was influenced by the changes that Voulkos
> brought to the table. Whether influenced directly,
> which I doubt due to age, or by the environment
> of loose and free expression, her work is definitely
> not the ceramics of the 1940's!
Zafka Studios
Jensen Beach, FL.
http://zafka.com
lela martens on thu 15 dec 05
> http://www.followtheblackrabbit.com/
>
> >
> I happen to love it, despite its rather dark imagery.
> Sometimes life is dark. And even though the
> work is dark, the making sounds like a celebration
> of expression and then a return to control and
> craftsmanship.
>Hey Elizabeth!
Thanks for the site, I had deleted my connection to it by mistake.
I also love her work. Amazing facility, craft, art.
Hug to the little man from Lela
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Elizabeth Priddy on thu 15 dec 05
I think the connection is in the handling of the clay
in the initial stages. The willingness to push it past
the point where it can stand alone. Her descriptions
of making the initial piece is very violent, very willing
to hurl and tear the clay to make the form.
People were kind of cautious about it, making sure that
the seams stayed tight, that the plates all matched, no
regard for the breadth of the capacity clay has, more
interest in its limits.
I made these pieces back in the early 80's that were
about abuse. I would nearly form a figure at about
1/10th scale and then put it in a corner and beat the
hell out of it. Two sides of it would retain the form and
the other would be all fists and knuckle marks. I would then
carve to make the two flat sides very figurative and leave the
beaten side like it was. I stopped with the series because
the next step would be to make it life size and I had no way
to fire it. Now that I know more about how to join and hollow
and work with the very large forms, I am going to complete
the series that I had in my mind. And Voulkos and Stichter-
Cavener are where I looked to see the limits of what I want to
do, and the method mainly of Beth.
But this is going to take time and a lot of clay and a coffin
size pit-fire. So some of it is going to have to wait for
summer. Until then, I am going to do it over and over in
my mind. That method works for me. I visualize making
it and then go over it in my head until I really "know" how
I am going to make it. Never fails. That is how I work, be
it a large sculpture or a small handle.
EP
Jim Kasper wrote:
I have been admiring Beth's work from afar for several years. I was introduced by some conversation here on clayart. I can't wait for a chance to touch some of it.
Just recently I sent a link to my nephew who is a budding sculpture.
I don't see any obvious connection to what little I have seen of Voulkos.
In the broader sense, I remember the metaphor of the flapping of the butterfly wings in Africa having an effect on North american weather.
Regards,
Jim
Elizabeth Priddy
Beaufort, NC - USA
http://www.elizabethpriddy.com
---------------------------------
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Geoffrey Gaskell on fri 16 dec 05
Jim Kasper wrote:
> Just recently I sent a link to my nephew who is a budding sculpture.
Sounds quite marble-ous! In this condition does he resemble those unfinished
pieces by Michelangelo?
Geoffrey Gaskell
http://www.geoffreygaskell.co.nz/
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