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Hello, it's me.

Hello out there.

I have taken a long break from this website, but it's time to spruce things up and look more professional. Stay tuned as I upload lots of images from Grad School and new content from my residency at Lillstreet Art Center in Chicago. 




Week Three and Eva Zeisel

( Here is a portion of an article of Eva Zeisel's life and death )

Eva Zeisel, a ceramic artist whose elegant, eccentric designs for dinnerware in the 1940s and ’50s helped to revolutionize the way Americans set their tables, died on Friday in New City, N.Y. She was 105.

Ms. Zeisel (pronounced ZY-sel), along with designers like Mary and Russel Wright and Charles and Ray Eames, brought the clean, casual shapes of modernist design into middle-class American homes with furnishings that encouraged a postwar desire for fresh, less formal styles of living.

“Museum,” the porcelain table service that brought Ms. Zeisel national notice, was commissioned by its manufacturer, Castleton China, in conjunction with the Museum of Modern Art in New York, which introduced it in an exhibition in 1946, its first show devoted to a female designer.

Ms. Zeisel’s work, which ultimately spanned nine decades, was at the heart of what the museum promoted as “good design”: domestic objects that were beautiful as well as useful and whose beauty lent pleasure to daily life.

“She brought form to the organicism and elegance and fluidity that we expect of ceramics today, reaching as many people as possible,” said Paola Antonelli, a curator of architecture and design at the museum. “It’s easy to do something stunning that stays in a collector’s cabinet. But her designs reached people at the table, where they gather.” Written by William L. Hamilton. Published Dec. 30, 2011 The New York Times. 


Interpellating Week Two

Sturken and Cartwright's second chapter was an informative and relatively understandable read compared to the dense, overabundance of verbage in Rosalind Krauss's  Welcome to the Cultural Revolution.

In response to all this talky talk, I'd like to share the words of the best art philosopher I know, Hennesy Youngman. In this short video, he discusses the ridiculousness of Damien Hurst and Hurst particular motivation for making art. Warning: the language he uses is brilliantly vulgar, so this is Not Safe For Work. 




I'm in my first week as a "special student" / post bacc-ish at S.I.U.C. So far EVERYONE has been super friendly and welcoming. I'm pretty darn excited to work with so many artists in an academic environment. Today I moved in to my community studio space and tomorrow I get to make clay. I'm heading back to the studio tonight just to throw and make something. -- It's been over a month since I've done anything with the move and all. It's gonna be a good year. 


Oh, Carbondale!

Oh so much has happened in the past few months....

First, there was quite a looong recovery period after NCECA. Someone said that it was fun when we look back on it, but brutally stressful and exhausting during the weeks leading up to and after. Couldn't agree more. I was only able to see a few (like 5) exhibits, luckily some of the best were inside the Train Station--- but even then, I was WORKING which sucked when it kept me from meeting new people and talking to those I know. 

Second, it was during the crazy NCECA week that it began to sink in that I was not getting accepted to graduate school, which began the mad dash of residency/post bacc applications. Needless to say I was bummed out. However, I sold the heck out of my cups and flasks and that helped my ego bunches, Thank you ceramic peers!

Third, Southern Illinois University of Carbondale has a wonderful masters program for ceramics. It was one of my top choices, and while I wasn't admitted into their program, I was pleasantly surprised when they offered me post bacc. I'm still making all the arrangements for moving/living and I presume I'll be going on the "ramen" diet to pay for it all, but I AM very excited to be taking a firm step towards my goal. Oh, and a wonderfully delightful and deliciously cool step out of steamy Florida. Ah..........

Fourth and lastly. I had to prepare for my exit show from SPCC, which was incredibly difficult because although I was inspired by the great work I had just been exposed to, I had no desire to be inside the studio. Literally forced myself to start working, but soon enough the juices were flowing and I was back in the game. 

I love Knick Knack Pattywhack. I may use it again sometime. Check out slides of my work in the gallery.