>A stone, ring, or other object, engraved with figures or characters supposed to possess occult powers and worn as an amulet or charm.
>Any amulet or charm.
>Anything whose presence exercises a powerful influence on human feelings or actions.
These pieces are emblems of personal storytelling, designed to reinforce or diminish certain ideas that we presently hold about ourselves. If we need to altar something in our own inner space, they can act as a constant reminder of the change we want to see.
>A prescribed or established rite, ceremony, proceeding, or service: the ritual of the dead
>Any practice or pattern of behavior regularly performed in a set manner
>A prescribed code of behavior regulating social conduct (eg: shaking hands).
>A hollow utensil, such as a cup, vase, or pitcher, used as a container.
These are containers for water and medicine, blessings, visions and light. Some of them are intended for everyday use, some are to hold memories of a person or event. While they may vary widely in material and design, they are united in spirit.
>A piece of artwork, such as a painting or carving, that is placed above and behind an altar.
These are meditative images to live with and absorb slowly over time. They strive to be minimalist in composition, with a transcendent effect. Borrowing from patterns in nature and symbolism, each one documents moments along a path of spiritual inquiry.
I’m just gonna go ahead and thank Mr. Drumpf for pushing me over the edge of reason, beyond rational response and on into ontological free-fall. You are an unwelcome chaotic force unleashed on the world through pent-up primate rage at an increasingly complicated problem set. I remain unimpressed by your antics and determined to spite your efforts through magic. Yes, magic. If you can’t be yourself in the age of ‘alternative facts’, when can you? Thanks for giving be permission to own something I’ve concealed for years. You, sir, have galvanized hedgefolk everywhere and given every unique snowflake cause to form an ice storm against your mal-intended designs.
The ‘Collective Closet’ is a social experiment in shared possessions. We share houses, hand-me-down furniture, tools with neighbors. Some of us share our cars, jobs, emotional burdens or even sexual partners. Clothing is personal, it’s not the same, is it? Could we set aside a portion of our often overstuffed wardrobes to experiment with the presentation of self among friends? There are occasional clothing swaps, yard sale season, thrift shops, how about adding into circulation textile pieces deliberately engineered to go on a journey and to tell a story, with a message somewhat that of Paddle to the Sea, “Please put me back in the water. I am Paddle-to-the-Sea”.
Yet another process I’ve been trying to wrap my head around this year, is where to settle on creating entirely unique, one-off handmade objects, or trying to make in limited quantities with subtle variations. Coming back around to ceramics, stencil cuts are something I’ve gotten into over the last two years for making a simple series. The images started out on New Years cards (we don’t do Christmas), and found their way onto hand-thrown wedding platters for friends and family. Then I got to thinking; what else can I apply these images to? While not having been much of a graffiti writer my day, I do appreciate the street-art crossover with sprayed stencil art, which has lots of social justice associations worth investigating later.
Personally, I like the spirit of giving, but dislike the shameless consumerism involved. I’m kind of more about creating an experience around the gift than the object itself. How to do this when you are a maker of things? Tell a story, your story, and sell that instead. Make sure that there are broad strokes that intersect with your audience in accessible ways, don’t over-intellectualize, don’t make people guess what it’s about, tell them. If your angle is obscure, find a way to humanize it and enable the buyer to tell their own story through the piece. Then your work has the potential to become, like the Velveteen Rabbit, real.
When it’s time to commit to a course of production, are you supposed to double-down on fabrication or philosophy? I find them to be like the chicken and the egg, feeding endless cycles of speculation on which supersedes the other. I’m not really a jeweler, but a sculptor working in miniature, just like I am not really a sculptor, I’m just an illustrator who doesn’t like static imagery.