On a recent post to the New Orleans Photo Alliance concerning our current article in Louisiana Life Magazine "Parallel Worlds" by John Kemp, we found ourselves at the end of an angry rant about what photography is and is not. It reminded me of the arguments concerning many forms of new art work, including when the photograph came on the scene and was used for more than portraiture. In this day and age of electronics, artists are changing the landscape and boundaries of creativity. I personally am still fairly traditional in my mind about composing a work. The difference is in the method I use to compose it. My interest in photography has lead to a melding of both the pure photographic image and my own sensibilities about what I want to create. Is this less of a photograph because I use my photography to build another parallel world? I think not.
I am throwing pots again after a 3 year break. Cleaned up the old Shimpo RK wheel, fixed the bad switch and coils on the old Crusader kiln and threw 50 pounds of Daves porcelain. Porcelain is quite different from throwing my usual red body clay. Porcelain is much softer and a bit harder to throw since it does not hold its shape easily if too much water is used when throwing. A light touch and dry throwing style works best. It also has to dry very slowly to avoid cracking and must be wiped down when leather and past leather hard to remove any slip marks from when thrown. I have thrown about 40 pieces to fire.
Creativity is a state of mind. It derives from a need to share my vision. Artists are inherently observers of their environment. I see the uncommon around me and take note of minor items that most people would pass on by. Each of these are stored in my memory and in my photographs. When composing a work, the imagery is the stepping off point that evolves into the narrative.
Every artist has their own method of motivation. For myself, it is the time alone in my studio space to just think and contemplate ideas. Viewing my photographic images in my many digital files helps me see correlations. As I work through the image it may take many turns that are unexpected. I typically work in 3 hour blocks and then just need to get away from the art to let my mind rest. The art of making is a continual series of decisions which the artist makes and then may change their mind. It is the ultimate multitasking endeavor.
For the past two days I have been throwing porcelain in a workshop with Elizabeth Cohen. For years I threw functional stoneware which I sold art festival. However as with many things, pottery took a back burner to life, since in my spare time I wanted to devote myself to my painting, printmaking, and photography.
. It had been two years since I last worked on the potters wheel and before that it was 7 years. But like riding a bicycle, it is something that comes back to you quickly. Mostly I have work in red clay bodies without grog and glazed these with majolica painted with plant imagery in mason stains. This workshop was all about throwing with porcelain. Porcelain is a very different animal from other clays. You must be gentle, throw with very little water and even plan you path to final vessel a bit more carefully because the porcelain will collapse on you as you get the walls to the thinness you want. So throwing a bowl that would generally take me five minutes at the most, took much longer. Elizabeth was a wonderful teacher, sharing great techniques for working with porcelain and her own personal methods and concepts which motivate her work. Her works are very elegant and the lines of the forms mimic nature.
It made me want to set up the wheel in a better place at home so I will use it more. I will need to fire up the kiln to fire the works I created.
As an artist, I am always viewing my world from the standpoint of awe. Inspiration comes from seeing things that no one else may value. I look at everything as if it is potential imagery for a work. When doing photography, I typically shoot the little things and then combine them to create the work.
Artists are always thinking of time. Time to create, time to ponder, time to learn new things, and time to seek out avenues to show.
For most of us, me included, life, job, children, and home all have dibs on your time. For an artist, the sacred studio is the area where they can shut out the world and refuse the interruptions of life in order to focus only on the art.
So you want to be an artist or you feel the muse within you! What drives an artist is an overwhelming desire to create. It is not the desire to share the creation or even to be acknowledged for the creation, it is just the process and thrill received when creating the work. Of course, being recognized and making a living off your art is a great thing, but if someone is driving the creation of their art for profit only, the question I wish to ask is "where is the humanity in the art". At the point that an artist decides to create their work because it is the vogue of the day, the work becomes more about social design and less about fine art. This is not to say that design is a bad thing, it is all around us daily. It is just to say that a fine artist answers to only themselves and not the greater social need or desire.
Leslie Elliottsmith is an fine artist and for the past 38 years an art educator. She has worked in many mediums and feels no limitation on which to use or explore. Her overwhelming desire is tell a story through the imagery.