tag:blogger.com,1999:blog-18831495731510571152024-03-06T08:58:45.235+10:00counter, original, spare and strangeShannon Garson
Potter's Diary
Shannon Garsonhttp://www.blogger.com/profile/11064168403096353543noreply@blogger.comBlogger39125tag:blogger.com,1999:blog-1883149573151057115.post-26474967419599211762012-12-18T10:09:00.000+10:002013-02-12T10:10:38.586+10:00Meaning through drawing<div class="separator" style="clear: both; text-align: center;">
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div.WordSection1
{page:WordSection</style><span style="font-family: Calibri; font-size: 14.0pt; line-height: 115%; mso-ascii-theme-font: major-latin; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;">When I started drawing the rock pools the drawings seemed to be
just about pattern and line and have no content.<span style="mso-spacerun: yes;"> </span>Without the narrative sustenance of an
intense personal history I saw pattern and colour beautiful and pristine but
unconnected to emotion.<span style="mso-spacerun: yes;"> </span>The rush of the
waves and overwhelming yellow/blue brightness of the shore pushed and pulled me
scouring my head and eyes.<span style="mso-spacerun: yes;"> </span>Limpets,
barnacles and periwinkles clinging to the rocks, closed, secrets hidden, even
when I prised them off.<span style="mso-spacerun: yes;"> </span>My eyes looked
and looked but just couldn’t see.</span></div>
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<span style="font-family: Calibri; font-size: 14.0pt; mso-ansi-language: EN-AU; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-theme-font: major-latin;">By contrast the bush is full of personal
history. Every step echoes and magnifies a million steps I have taken
before.<span style="mso-spacerun: yes;"> </span>Birds, creatures of legend and
metaphor, their swooping, gravity defying lightness and penetrating liquid
sounds are familiar and welcome.<span style="mso-spacerun: yes;"> </span>Here my
eyes looked and looked and saw what wasn’t there, there was too much narrative
getting tangled into the drawings.<span style="mso-spacerun: yes;">
</span> </span></div>
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<span style="font-family: Calibri; font-size: 14.0pt; mso-ansi-language: EN-AU; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-theme-font: major-latin;">Through being in these landscapes, taking photos, looking and drawing
again and again what was truly in front of me and not what was in my head the
meaning and emotional significance of the bush poured through the drawings into
the rock pools.<span style="mso-spacerun: yes;"> </span>By drawing I learn<span style="font-family: "Times New Roman";">ed </span>to
really see.<span style="mso-spacerun: yes;"> </span>By the end of the semester I
felt that the rock pool drawings on the pots had become an abstract rendering
of the experience of the rock pools, the bush drawings are still entangled in
my historical narrative.<span style="mso-spacerun: yes;"> </span>I’ve started
looking at shadows in the bush, and connections between twigs and branches,
details that I am not familiar with getting away from the recognizable
narrative of the bush and the birds, moving towards revealing the surprising,
overlooked yet intensely familiar beauty of the bush.<span style="mso-spacerun: yes;"> </span></span></div>
Shannon Garsonhttp://www.blogger.com/profile/11064168403096353543noreply@blogger.comtag:blogger.com,1999:blog-1883149573151057115.post-12984407648827047082012-11-14T09:24:00.001+10:002012-11-14T09:24:29.547+10:00Writng and MakingI notice as I try to bring the act of writing into direct contact with the act of making that there is a tendency to veer away from describing or even speaking aloud about what I'm working on in the studio. <br />
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Integrating writing into my studio practice is going to be a long process. It still seems quite separate as opposed to reading that is as much part of my making as breathing is part of living. Photography has become integrated and is now a process akin to drawing, a way of helping me see. The photography helps see and experience the landscape, coalescing it into line and pattern through photographs and then drawings signaling back to the experience of the initial sighting in a dynamic loop of communication. Photography, experience, drawing and making pots bouncing signals back and forth, becoming tighter and more resolved as the forms grow and the information is sifted and reduced to it's essence. <br />
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I want writing to become part of this process, so the writing is not merely a record of the process, a written history but part of the artwork.<br />
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<br />Shannon Garsonhttp://www.blogger.com/profile/11064168403096353543noreply@blogger.comtag:blogger.com,1999:blog-1883149573151057115.post-2736355578691387492012-10-15T08:55:00.000+10:002012-11-14T09:37:50.332+10:00Crafters- A Call to Arms<div style="font-family: Arial,Helvetica,sans-serif;">
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<span style="font-size: small;"><span style="line-height: 115%;">Making personal, deeply
embedded drawings on the Masters pots has affected the way I make tableware,
this in turn has developed my social and political ideas about the role of the
handmade and the part a maker plays in society.
I have listened to and read <a href="http://www.blogger.com/%3Chttp://67.199.24.190/conference09/?page_id=1688%3E." target="_blank">Garth Clark’s interconnected addresses that given to the American Crafts Council in 2008 and 2009 “How Envy killed the Crafts” and the follow up “Palace and Cottage”. </a>
One issue that Clark addresses is the ubiquity of crafts in rural areas
and the role this plays in rural regeneration and economy. Clark points out that rural crafters rely
upon studio sales, bring money into the local economy and are part (In the US )
of a billion dollar industry. The
positive affirmation given to working artists by referring to their jobs as an
industry is something that has not received any attention in Australia. When we in Australia refer to the “Arts Industry”
we are referring to a large range of people working as bureaucrats to
distribute art dollars and display art.
I think artists could empower themselves by taking back to the term
industry for the makers. Using
industrial terms such as “small businesses” and “manufacturers” positions
artists within the mainstream economic model that is the dominant discourse of
government in our country. Emphasizing
the economic input from artists to communities quantifies the value that
artists have in contemporary Australia.
Arts discourse has been dominated by talk of grants and handouts when in
reality working artists are taxpayers.
Artists manufacture, export, import, employ and spend within our
economy.</span></span></div>
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<span style="font-size: small;"><span style="line-height: 115%;">In focussing almost
completely on university Fine Arts courses with an emphasis on concept over
material skill craft education leads to graduates who see themselves as
“artists” and buy into the hackneyed, romantic notion of an artist starving and
working mainly for love, needing “inspiration” before they are able to create
anything. The recent decimation of the TAFE system and the reluctance of
universities to commit to the teaching hours needed in the studio for comprehensive
skills development within the crafts has led to a dearth of graduates with
practical skills. For crafters to gestate and survive after
university there has to be a renewed focus on the studio crafts as an industry.
Skill, knowledge of materials, and economic necessity can easily overcome
neurotic ditherings about “inspiration”.
I personally, am inspired to make several dozen well designed, fast selling,
pieces of tableware when my electricity bill comes in. I don’t need to wait anxiously for the muse
to appear. Confidence in my skills as a result of repetition and deep
familiarity with my materials makes this robust, economically driven approach
to making into a sustainable business. </span></span></div>
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<span style="font-size: small;"><span style="line-height: 115%;">The etomology of the word
“amateur” stems from the Latin root <i>ama-re</i>
meaning “to love”. Originally used
without the disparaging connotations associated with the word today, an amateur
was someone pursuing a pastime for love without any thought of pecuniary
advantage. This has become the modern definition of an artist in popular
imagination. We must position the crafts
as an industry and crafters must take back the primary position within the
debate over advocacy and funding. We
need to be treated like a professional body of taxpayers, manufacturers and
part of the mainstream economy. Give us
tax breaks, money for advocates and developing markets and for God’s sake buy
our work. Every government office in
Australia should have a cupboard full of locally made coffee mugs. Government
department budgets for entertainment and catering expenses should be spent on
Australian tableware, Australian furniture and Australian textiles. An appointment with an elected representative
should take place in a room furnished completely with products of our own
crafting industry. This would create
demand and supporting local industry is the least we can expect from our
governments. </span></span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ607KxhoRPBkFsTM8ScAoKO6-GZMomswxOIO3KNbvcvvhEC5TTVKyHOji7PY7NiM7LhLQIK4tU8L5yn36kTtEYGnGqry0HZHkxBNHrWeGeAEbda7TdG1FzXU0EiGBFX417wLG2MvtF_8/s1600/IMG_3107.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ607KxhoRPBkFsTM8ScAoKO6-GZMomswxOIO3KNbvcvvhEC5TTVKyHOji7PY7NiM7LhLQIK4tU8L5yn36kTtEYGnGqry0HZHkxBNHrWeGeAEbda7TdG1FzXU0EiGBFX417wLG2MvtF_8/s400/IMG_3107.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Pottery music fusion performance at a local food festival. Trumpet, djembe, and wheel!</td><td class="tr-caption" style="text-align: center;"> </td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<span style="font-size: small;"><span style="line-height: 115%;">It is artist's responsibility to
speak up. Appear locally, and convince our
towns that handmade bowls, crafted object are something everyone can own. Write to your local member of parliament and
ask why visitors to the council chambers are being served coffee out of mugs
manufactured thousands of miles away.
Don’t donate your work. Point out
the economic sense and political mileage and sheer pleasure to be gained by
supporting the craft industry in a completely practical way, by buying and
using craft.</span></span></div>
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Shannon Garsonhttp://www.blogger.com/profile/11064168403096353543noreply@blogger.comtag:blogger.com,1999:blog-1883149573151057115.post-27932097766336389412012-10-10T19:31:00.000+10:002012-11-03T20:40:36.435+10:00Fighting WindmillsChoosing to make handmade tableware is quixotic in this age of mass production.<br />
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I believe the networks initiated through handmade things are essential to human communication. The act of sitting to eat or drink creates many little spaces within a day where there is possibility for small acts of communication between object and user. The intimacy of the interaction between the tools and the tool wielder is an intense private moment and more reciprocal than the we, the tool user imagines. Tools are working on us before we even touch them.<br />
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Take the teacup for example. Even the most unappealing collection of the "World's Best Dad" and supermarket cups in a melamine staff room cupboard alters our behaviour. As you reach for the "World's Best Dad" mug the handle dictates where you must pick it up from. The fact that very soon this clean cup is going to be in contact with your lips means that conventionally we never pick up a cup by it's rim. Already this inanimate object has changed out behaviour. The network of cultural and historical meanings embedded in a teacup has made us, the top predator, the tool maker react.<br />
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The physicality of physical objects catches you up in their meanings. Bill Brown (<a href="http://links.jstor.org/sici?sici=0093-1896%28200123%2928%3A1%3C1%3ATT%3E2.0.CO%3B2-4" target="_blank">Thing Theory</a>) talks about looking through objects to see their myriad layers of meaning. I prefer to think of it as looking into objects, as you look into them the more meaning unfolds, the historical, social and cultural threads and complex , textured world of interpersonal communication. the unfolding of material function is haptic, communication through touch. By time the user is engaged with a handmade pot, their bodies are in intimate contact with it and a circuit is established with signs and meanings zooming back and forth between maker and user. The functionality of the handmade pots serves as a medium for communication.<br />
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<tr><td class="tr-caption" style="text-align: center;">Shannon Garson- porcelain rock pool teacup</td></tr>
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<br />Shannon Garsonhttp://www.blogger.com/profile/11064168403096353543noreply@blogger.comtag:blogger.com,1999:blog-1883149573151057115.post-63219427449561665792012-09-30T20:23:00.000+10:002012-11-03T20:40:49.985+10:00Drawing birdsongs25th August<br />
I've been trying to draw bird songs. In the midst of getting breakfast, trying not to waste electricity and worrying about how people in Australia are ever going to afford rental accomodation this seems like an eccentirc, trivial task.<br />
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Later....... <br />
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The sound of bird songs surrounds you physically just as the scrubby twigs, branches, new growth and leaf litter does. The sounds have body, their lipid texture entering your eyes and gently shaking the the delicate balance of bones stacked like a rickety tower of children's building blocks inside your ears. The life of the bush continues as I, ridiculous in jeans and shoes sit writing in a pure white sketchbook while the catfish noses it's speckled way through the clear brown water.<br />
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The bush is full of half glimpses. The ghost of a movement, the shaking leaf and fragmentary evidence of something that has continued it's existence indifferent to the human species. The creek contains refractions of sky, shifting across the surface ripples, myriad creatures touching on each other's existence through reflection on the surface of the water, a sophisticated web of real and mirrored connection.<br />
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<br />Shannon Garsonhttp://www.blogger.com/profile/11064168403096353543noreply@blogger.comtag:blogger.com,1999:blog-1883149573151057115.post-82807430689830538912012-09-28T18:50:00.000+10:002012-11-03T20:44:26.840+10:00Making Pots for David AttenboroughSometimes when I'm in the studio I pretend I am making pots for David Attenborough.<br />
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To capture the essence and physicality of a plant, or a bird , or a feather you have to give up thinking about the design and what you think you know exists. There is no "It should go there" in nature. You have to trust your observational skill and let your eyes relax onto the object of contemplation. The hand must be ready , a willing tool. Your own will coming through your hand must be prepared to fade into the background betraying your presence in the drawing with only a tremor or flick of line, your subconscious signature. The role your own personality plays in the observation of nature is in the germination of interest in something hidden or overlooked. Once the eyes and hands are engaged it is your task to just observe, look closely. Open your brain so it is free from assumption to see what is in front of your eyes.<br />
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Once you look like this, other things, human things, metaphors, stories and legends begin to attach themselves to the subject, sometimes they are not the ones you would expect. Sometimes the old legends attached to what you thought was a familiar subject are surprising and meaningful even though they are exactly what you expected, the looking has filled them with new life. <br />
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Would DA appreciate the addition of and extra vein on a leaf for
"balance"? No he would not. Anthropomorphizing subjects leads to
mistaken conclusions in both art and science.Shannon Garsonhttp://www.blogger.com/profile/11064168403096353543noreply@blogger.comtag:blogger.com,1999:blog-1883149573151057115.post-79708737306950797872012-09-20T15:49:00.002+10:002012-11-03T20:41:12.570+10:00mutant terracotta and explorations in terra sigilata<div class="separator" style="clear: both; text-align: center;">
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Mutant terracotta, fired three times, bisque, 1280 and then terra sig applied to warm pots and refired at 1120.<br />
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Mutant terracotta with black clay terra sig and scraffitti bird. Mutant terra cotta is very strong when used with dark brown underglaze (a mix of commercial underglaze and iron oxide) or iron saturated terra sig. Dark clay absorbs decoration at higher temperatures so I have had to adapt the subtlety of the initial decoration and then "pull" the drawing back to the surface after the 1280 firing with brushwork and terra sig, then refire at 1120.<br />
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Little pinched pots- mutant terracotta and porcelain. Terra sig made from Jane Sawyer's black clay that she gave me- the colours are natural! The black clay terra sig is beautiful, glossy rich reddish brown when fired the third time at 1120.<br />
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Two cups, fired three times. Black clay terra sig is very successful on top of an iron saturated terra sig.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh18nOj9_xaTSPPkcrEbJkGCv9QUIXUeFgFERMtOiHkOcEjH_OBepuLQLmCkKwEs9vKQGn6O889cCFMnhLPnuxERYLy20oMcjygtNDuxE0kl_sobyinGIjxrR2-kJA3U3qvGdEW5cLaZW4/s1600/IMG_3211.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh18nOj9_xaTSPPkcrEbJkGCv9QUIXUeFgFERMtOiHkOcEjH_OBepuLQLmCkKwEs9vKQGn6O889cCFMnhLPnuxERYLy20oMcjygtNDuxE0kl_sobyinGIjxrR2-kJA3U3qvGdEW5cLaZW4/s320/IMG_3211.JPG" width="320" /></a></div>
Two little vessels. It is very difficult to get the white terra sig working effectively over the darker colouts, I had to mix it with underglaze for the 1280 firing and then refire it with pure terra sig on top at 1120 to get the terra sig surface and slight sheen.Shannon Garsonhttp://www.blogger.com/profile/11064168403096353543noreply@blogger.comtag:blogger.com,1999:blog-1883149573151057115.post-25254940755465737592012-08-31T07:43:00.004+10:002012-11-03T20:43:57.813+10:00Red Clay in the Studio<br />
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For years the pristine translucence of porcelain has filled the studio but recently I took the contamination of this refined material to a new level by wedging it with terracotta. The only reason I didn't use pure terracotta was because I wanted to incorporate a higher fired material into the red clay so I could take it up to stoneware temperatures.<br />
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Sometimes I wonder if a love of pure white clay is an adolescent phase of aesthetic development. Bone china rose to prominence with the Industrial Revolution and the rise of the great English potteries, before this time fine white porcelain was the preserve of royalty. As a result of the abundance of bone china during the Industrial revolution and the rise of the middle classes porcelain has a strong association with the aesthetics of industrialization. Conventions of uniformity and perfect replication have overwhelmed the handmade pot in the Western world.<br />
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<tr><td class="tr-caption" style="text-align: center;">Mutant terracotta before firing</td></tr>
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I have been firing this mutant terracotta at 1280 degrees so it loses it's reddish colour and turns brown. The ground colour affects the composition of the drawings as well as the lines and colours. I am firing the pots three times to try and get the right balance of scraffiti, colour and the soft shine of terra sigilata. <br />
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<tr><td class="tr-caption" style="text-align: center;">mutant terra cotta after 1280 firing </td></tr>
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<br />Shannon Garsonhttp://www.blogger.com/profile/11064168403096353543noreply@blogger.comtag:blogger.com,1999:blog-1883149573151057115.post-66970203681154945932012-08-25T07:16:00.000+10:002012-11-03T18:54:07.149+10:00Le Craft est mort, vive le Craft!I've been reading <a href="http://www.amazon.com/Things-You-Need-Know-Then/dp/1444728601" target="_blank">"64 Things You Need to Know Now for Then" </a>a series of articles about the digital world by Editor-at-Large for "Wired" magazine <a href="http://www.benhammersley.com/" target="_blank">Ben Hammersley</a>.<br />
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It is interesting and contradictory that in a book about the digital world there are at least two chapters that deal specifically with craft. Hammersley makes the point that the craft community had been transformed by the internet. Small scale production from remote locations has become a viable source of income through digital platforms and online selling and marketing. There is a large community of internet users sharing techniques and processes through online tutorials and Youtube, and as a result of increased access to practical experience there is an increased appreciation for the skills involved in making well-designed handmade things.<br />
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The resurgance of craft challenges the dominant consumer paradigm and the amplicfication of the message enabled by the digital world allows the small but signifigant audience for handmade to get in touch with the makers directly. Hammersley says<br />
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" The return to craft is partly about shopping differently, partly about working differently but also about placing creativity at the centre of our lives. In the end, perhaps this is its most radical feature. the democratization of creativity is fundamental to the shift to the digital platform.....etsy won't craft a revolution but, like so many other digital entities, it creates a patch of space in which to be, and all those little patches together, feel powerful indeed."(pp318)</div>
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This sort of reading is very helpful in the studio. When I go down there I like to feel connected, that I'm working within a community of makers, people who use pots, and am part of the web of the history of ceramic making and use. The tenuous threads to other artists that the internet allows gives me space to expand my thoughts for solutions and ideas far beyond the boundaries of my own skull. The paradox in Hamersley's observation of the nexus between craft and the digital world emphasizes that necessity for artists to be creative with the tools of our time, to dive into the world of the future, and use it for our own ends.<br />
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Embracing the possibilities of the digital age makes the handmade more powerful. Using the virtual world doesn't spell the death of texture and appreciation for handmade in favor of the machine, the point that Hamersley makes over and over again "64 Things" is that the internet as a product of human ingenuity has applications for diverse use far beyond what we have yet to imagine.<br />
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Shannon Garsonhttp://www.blogger.com/profile/11064168403096353543noreply@blogger.comtag:blogger.com,1999:blog-1883149573151057115.post-49797691214682940622012-08-13T13:16:00.000+10:002012-11-03T20:45:59.040+10:00Consuming<br />
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<tr><td class="tr-caption" style="text-align: center;">Iron kettle in Kawai Kanjiro's house, Kyoto.</td></tr>
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<span style="font-family: Tahoma;">Contemporary consumer culture privileges the
owners of the big corporations (shareholders) and functions most efficiently
for increasing owner’s profits when we live un-noticing lives. To be divorced from the making of the
inanimate objects that surround us enables the consuming populace to ignore the
waste and lack of fulfilment created by this system. The end point of the free market capitalism
practiced by the First World is that the actual goods are meaningless. Rather
than being a gathering of signs, a powerful distillation of ideas about
culture, history and community, the products of a pure consumer culture are
designed to cast off meaning. Consumer
culture works best when the objects we consume give off a range of signs all
leading to the universal meaning that consumption is valuable, makes us happy
and “happiness” is the end goal of any transaction. If we are to believe that consumption makes
us happy then the aspiration is to acquire and discard things in as rapid a
cycle as possible. This is the perfect
goal for a self-sustaining consumption culture.
But in this model “happiness” can never be achieved and the
environmental, social and psychological cost to communities is high.</span></div>
Shannon Garsonhttp://www.blogger.com/profile/11064168403096353543noreply@blogger.comtag:blogger.com,1999:blog-1883149573151057115.post-5694181533384837052012-08-12T09:25:00.000+10:002012-08-14T13:58:47.424+10:00teacups<style>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWfkGYFamU__V3dxrLeSnLu-rubMwYZn_AclFcqGKaEIPZ4qdzRqNkJvkG0h_IosCEalDrmlyyv-pLx3RxyROD0ZShQUTrHuQzHwX8iw0gk82urcuDlK0hO1cmcPin8Yk5buwjIfRz9Xg/s1600/Garson+%2813%29+web.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWfkGYFamU__V3dxrLeSnLu-rubMwYZn_AclFcqGKaEIPZ4qdzRqNkJvkG0h_IosCEalDrmlyyv-pLx3RxyROD0ZShQUTrHuQzHwX8iw0gk82urcuDlK0hO1cmcPin8Yk5buwjIfRz9Xg/s640/Garson+%2813%29+web.jpg" width="425" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">photographer: Megan Slade</td></tr>
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<span style="font-family: Tahoma;">A handmade porcelain teacup gathers a complex web
of signs and meanings. Physically it is a drinking vessel with a handle and as
such demands to be picked up by the handle and filled to near but not touching
the rim. Picking up a teacup by the handle obliges us to place it down with the
handle to one side, a gesture and placement that immediately invites further
picking up and putting down. The fact that very soon this cup is going to be in
contact with our lips conditions our behaviour so that we never conventionally
pick up a cup by the rim. Already,
before we even use this object for the purpose of drinking it has changed our
actions. The network of cultural and
historical meanings embedded within a teacup has made us, the top predator,
maker of tools, act differently.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8ZGC75hj1AmN-9clgmest8nOQnNiiy0yUnGyShUIFXx9UjEZOLtnVSwEntyvdAYLxNSMq4BZGXBkOoVeY62VUVO3oAMey1c4c5RyZnXBxTODgY2ACXPrI-zyH_zFrOpu_Z_SyWxdVyHY/s1600/Garson+%2843%29+web.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8ZGC75hj1AmN-9clgmest8nOQnNiiy0yUnGyShUIFXx9UjEZOLtnVSwEntyvdAYLxNSMq4BZGXBkOoVeY62VUVO3oAMey1c4c5RyZnXBxTODgY2ACXPrI-zyH_zFrOpu_Z_SyWxdVyHY/s400/Garson+%2843%29+web.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">photographer: Megan Slade</td></tr>
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Shannon Garsonhttp://www.blogger.com/profile/11064168403096353543noreply@blogger.comtag:blogger.com,1999:blog-1883149573151057115.post-74910892843827943682012-08-10T09:17:00.003+10:002012-11-03T19:02:09.832+10:00Firings transformation<div class="separator" style="clear: both; text-align: center;">
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It was so disappointing to fire these- they looked beautiful before the firing and in the bisque, but I tried slightly higher gloss to try and get the smoother, more fused surface of the raw porcelain (1290) and some of the beautiful colour and detail fused and disappeared.<br />
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But I am starting down the slow track of mapping the rock pool. Figuring out symbols for the elements. The rock pools are a more abstract concept than the bush. they are about mystery, seeing plants and animals but being unable to recognize them, the pools are tricky, changing working with a watery, mutable rhythm. They are secret, hidden and transform before you can really tell what they mean. Visually they are arresting because they are so abstract.<br />
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<b>2 months later.......</b><br />
Luckily I didn't throw them in the bin in a slough of despond. I have seen new things in them the more I look, the effect of the pale green over the brown appeals to me, it has an iridescent birdy quality that fits the subject matter.<br />
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Shannon Garsonhttp://www.blogger.com/profile/11064168403096353543noreply@blogger.comtag:blogger.com,1999:blog-1883149573151057115.post-24092969102022596312012-05-24T08:35:00.000+10:002012-05-24T08:35:21.782+10:00little sculptures birdsongs and foam<div class="separator" style="clear: both; text-align: center;">
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<br />Shannon Garsonhttp://www.blogger.com/profile/11064168403096353543noreply@blogger.comtag:blogger.com,1999:blog-1883149573151057115.post-82825086482833363202012-05-24T08:34:00.000+10:002012-05-24T09:10:56.653+10:00helen fuller<div class="separator" style="clear: both; text-align: center;">
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Helen Fuller was one of my teachers 25 million years ago when I did my undergraduate degree at QUT. I remember finding her intriguing but I was too young to fully take advantage of her off-beat creativity and gentle encouragement. Since that time Helen has moved to Adelaide and is now making pots. I love these pots, I like the way Fuller has used the composition to flatten the pots which weirdly draws attention to their 3 dimensionality. The marks of making are very evident in the surface texture and the form refers to domestic shapes. For a painter to make pots like this where the surface texture, form and colour and composition of the drawings are pulling back and forward in an evenly weighted dialogue is very unusual. It intersects with my concerns about drawing on pots becoming too superficial, and decorative. I like the way the form of the pots are in tension with the composition which seems to be trying the pull them into a different shape the further I get into this degree the more I discover the materiality is an important element in my making. Concerns from the beginning of my interest in pots have developed into a dogged exploration of surface and form, a continual striving for the drawings to work back and forwards with the surface and form.Shannon Garsonhttp://www.blogger.com/profile/11064168403096353543noreply@blogger.comtag:blogger.com,1999:blog-1883149573151057115.post-5730246112128952642012-05-24T08:33:00.002+10:002012-05-24T08:34:00.000+10:00Tijne Meulendijks & Claudine Marzik<div class="separator" style="clear: both; text-align: center;">
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Claudine and Tijne are showing their work with the Noosa exhibition of Swamp Cartography. creatively this has been the most satisfying and inspiring exhibition of the tour. Tijne was grappling with 3 metre long raspberry canes and weaving them into a bramble wall when I arrived at the gallery and Claudine paintings picked up the jagged, light uneven grid of the brambles and examined them anew in two-dimensions.<br />
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I love how the paintings are in dialogue with the sculpture and the way Tijne brings the natural world into the gallery, magnifying and refining diverse elements of an eco-system. These works also speak very strongly about process and materiality, The paintings revealing sanded layers and robust marks of gesture.Shannon Garsonhttp://www.blogger.com/profile/11064168403096353543noreply@blogger.comtag:blogger.com,1999:blog-1883149573151057115.post-49586257382230028922012-05-24T08:27:00.002+10:002012-05-24T08:27:25.425+10:00Swamp Cartography at Noosa<div class="separator" style="clear: both; text-align: center;">
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<br />Shannon Garsonhttp://www.blogger.com/profile/11064168403096353543noreply@blogger.comtag:blogger.com,1999:blog-1883149573151057115.post-51636647365619728372012-05-16T12:35:00.004+10:002012-05-16T12:35:55.656+10:00To foot or not to foot?<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiMMU5p97BOpDPM1B3kgLxKdanRqkQ2LlDwzll3finYhVEjaLSrJCYiIn2sPf1AY5BLFKLcjwW_hrpu8gVy0f77KD8gVc5BQgVs_QdzIvq4F86vhTCn9gnu6BbI1NL4E813V6Yq7NOp84/s1600/lbj+small.jpg"><br /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2E0Its8Xs0O7vQxOpOzZyLe-CB9dAnEAEuWhccLEJet6nOQPGrTe4rPyZqQbWeTeF3nTOFncR-N8IPfVJ1mcpecN-43HVZYVGbQRbZpHtuP-15QRZtO0NjyIgDcpmR3B0gVIuDmqocEk/s1600/DSC_0027.JPG"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5693920244369306002" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2E0Its8Xs0O7vQxOpOzZyLe-CB9dAnEAEuWhccLEJet6nOQPGrTe4rPyZqQbWeTeF3nTOFncR-N8IPfVJ1mcpecN-43HVZYVGbQRbZpHtuP-15QRZtO0NjyIgDcpmR3B0gVIuDmqocEk/s400/DSC_0027.JPG" style="cursor: pointer; display: block; height: 265px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitZ5C1vRwzoozLPrOtjSvsLnj9xGZi46c_GSHxn4NKxZw2l-gIeZ__HDdZOyqXDEPkDAbgkAxf6l9gYPNBC2CbtyDZirjnEZ7PSvrhL8ovdE4x3ZlRryQ_6ZDg_6xc3OCm1eXaJ-iyuP4/s1600/dark+map+small.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5693920907251737330" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitZ5C1vRwzoozLPrOtjSvsLnj9xGZi46c_GSHxn4NKxZw2l-gIeZ__HDdZOyqXDEPkDAbgkAxf6l9gYPNBC2CbtyDZirjnEZ7PSvrhL8ovdE4x3ZlRryQ_6ZDg_6xc3OCm1eXaJ-iyuP4/s400/dark+map+small.jpg" style="cursor: pointer; display: block; height: 266px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnMNJqh3iGFIvF9ZIkUICMCLu8yuWtWdQ76Gy6V9HBcoEhNsthUH-CMkH6vCCdVMAmxOouROOFLqyOm1DC1bYcAWq6cREwg6aK0IYGNBbAiZAHiK-8mjDrkmfgIN5v8LGHrmbruuufScA/s1600/lepto+and+glass.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5693920901825161106" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnMNJqh3iGFIvF9ZIkUICMCLu8yuWtWdQ76Gy6V9HBcoEhNsthUH-CMkH6vCCdVMAmxOouROOFLqyOm1DC1bYcAWq6cREwg6aK0IYGNBbAiZAHiK-8mjDrkmfgIN5v8LGHrmbruuufScA/s400/lepto+and+glass.jpg" style="cursor: pointer; display: block; height: 267px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>Turning a piece of pottery upside down and seeing a neat, formal foot enclosing the potter's mark , combines the pleasures of handling the shape and weight of an object with the gentle thrill of seeing a familiar potter's mark or, finding an unknown maker has left a clue, at the very bottom of the pot, a secret, intimate sign linking the maker and the user. The foot is an essential part of this pleasure as it contains the final piece of direct communication between the artist and the user of a pot.<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2E0Its8Xs0O7vQxOpOzZyLe-CB9dAnEAEuWhccLEJet6nOQPGrTe4rPyZqQbWeTeF3nTOFncR-N8IPfVJ1mcpecN-43HVZYVGbQRbZpHtuP-15QRZtO0NjyIgDcpmR3B0gVIuDmqocEk/s1600/DSC_0027.JPG"><br /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiMMU5p97BOpDPM1B3kgLxKdanRqkQ2LlDwzll3finYhVEjaLSrJCYiIn2sPf1AY5BLFKLcjwW_hrpu8gVy0f77KD8gVc5BQgVs_QdzIvq4F86vhTCn9gnu6BbI1NL4E813V6Yq7NOp84/s1600/lbj+small.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5693920904184794018" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiMMU5p97BOpDPM1B3kgLxKdanRqkQ2LlDwzll3finYhVEjaLSrJCYiIn2sPf1AY5BLFKLcjwW_hrpu8gVy0f77KD8gVc5BQgVs_QdzIvq4F86vhTCn9gnu6BbI1NL4E813V6Yq7NOp84/s400/lbj+small.jpg" style="cursor: pointer; display: block; height: 300px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>When I was down at the ANU last week Micheal Keighry and I had a talk about form. I've been wrestling with the idea of footed or unfooted forms for some time. The footed forms place a pot firmly in a tradition creating a tension with the drawing which is abstract and contemporary. The small forms really work with a foot. As the pots get larger the foot stops raising the pot from the surface on which it sits in a dynamic way and starts drawing the eye towards itself in a a self-conscious near parody of traditional Japanese shapes. Why is this?<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdnwb2WgjoS3AEF6Ppne6sUun6xronKFfkdfHU8LSpNDg6RwiDzcCwe0Wr23iQp0HAJzuh2wIxU40Omeq4kCzWz3dHSLyIxR6PZ5okg4DRuaZSpqf2VOVHuXF6mnrWOfNG94_V9yiBpiE/s1600/imageResizev2.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5729517494459607442" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdnwb2WgjoS3AEF6Ppne6sUun6xronKFfkdfHU8LSpNDg6RwiDzcCwe0Wr23iQp0HAJzuh2wIxU40Omeq4kCzWz3dHSLyIxR6PZ5okg4DRuaZSpqf2VOVHuXF6mnrWOfNG94_V9yiBpiE/s400/imageResizev2.jpg" style="cursor: pointer; display: block; height: 400px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghdvHhZ4JqUegJwJPIFrbafybTQyG2Up0tTdilqLy_nLsVz_xH0dkm9jjZGRdLFEKuDHBi-eME7gHK0G3CqyT10LD1sjPOr3AVnkoI-wnDEz4SLthAWJUY3WatdaGXH1qqgeFW8bzJqgU/s1600/imageResizev2.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5693981313234141666" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghdvHhZ4JqUegJwJPIFrbafybTQyG2Up0tTdilqLy_nLsVz_xH0dkm9jjZGRdLFEKuDHBi-eME7gHK0G3CqyT10LD1sjPOr3AVnkoI-wnDEz4SLthAWJUY3WatdaGXH1qqgeFW8bzJqgU/s400/imageResizev2.jpg" style="display: block; height: 396px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><br />
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There is something I really love about footed bowls. It is a potter's thing. The foot on a thrown bowl talks about process and tradition. There is a need for thrown bowls to be footed when they are decorated raw. It is very difficult to turn unfooted bowls over in order to decorate near the bottom edge of the vessel. A foot provides something for the potter to grab onto. I also love how the foot adds an alert, exclaiming posture to the pot. I feel that throwers are often asked to erase marks of making such as throwing lines, turning lines, feet. The wheel is a humble, industrial machine from the lower echelons of the industrial spectrum, often signs of the craft of throwing are seen as a distraction or something inadvertent and ugly that should be erased. For me the turned foot is a celebration of the thrower's skill, anyone who has ever thrown pots on a wheel knows the pleasure of a fine turned foot, it is a piece of communication between me and other throwers, an affirmation of my love for an underrated craft yet to fulfill it's creative potential.Shannon Garsonhttp://www.blogger.com/profile/11064168403096353543noreply@blogger.comtag:blogger.com,1999:blog-1883149573151057115.post-70916483703214765632012-05-01T10:15:00.003+10:002012-05-01T10:16:15.235+10:00Half moon vessels<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgr5P3jc7NkzoiD3DCuYG1APvEWYOAuimY5LBmfbPO1K1IneGQikGTQ2IttGx9vbQKdEVAFVLM5zKDAjHVR4kgnu4l2zO86-kbzDIfonCSBOT6glcFaUkLWWpT17g_MXWZ5OVW-rYJQ9rU/s1600/IMG_0266.JPG"><br /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4Z4rJoocKkV9ln0bVdpvE2zFijrEy5feae3VC2H5O9CXFcam3jjrPCJhcTNfCX3dcAs9FVu_ysgiexAkeDSwyUPCZc1itTHPlbyLDnZFkWfKuKy7-l89mZsOnU2YaFFO01D-7ifTy8Qc/s1600/IMG_0258.JPG"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5722840025496370130" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4Z4rJoocKkV9ln0bVdpvE2zFijrEy5feae3VC2H5O9CXFcam3jjrPCJhcTNfCX3dcAs9FVu_ysgiexAkeDSwyUPCZc1itTHPlbyLDnZFkWfKuKy7-l89mZsOnU2YaFFO01D-7ifTy8Qc/s400/IMG_0258.JPG" style="cursor: pointer; display: block; height: 400px; margin: 0px auto 10px; text-align: center; width: 267px;" /></a><br />
Throwing large forms with half moon shape. The vessels are embedded with bushcombings in the throwing.<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4NUuy16cf9SLTRLZ-p0rW4Su2t7f3tcWg7BoHw44k-tNTfsZSCjcWTDBGS6bKmClCk-RZ9MEbJZhp2W-byTtV0OKhu2oZhPi_9JzZqx2PexhyphenhyphenOBwfhP6w9p6u9OF-A4CXI3327TDOzj0/s1600/IMG_0264.JPG"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5722840028334443410" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4NUuy16cf9SLTRLZ-p0rW4Su2t7f3tcWg7BoHw44k-tNTfsZSCjcWTDBGS6bKmClCk-RZ9MEbJZhp2W-byTtV0OKhu2oZhPi_9JzZqx2PexhyphenhyphenOBwfhP6w9p6u9OF-A4CXI3327TDOzj0/s400/IMG_0264.JPG" style="cursor: pointer; display: block; height: 267px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>Bush combings are soaked in iron oxide and yellow glaze stain and thrown onto the pot after it has been pulled up twice.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJLYUz_7FxFAH8VtDrsdfZviE9GyTOvasuers9gLdsCvAD6mwDSxO9LmSBpGkwLqtUMMSdhXNq5YACZQ4NDzWsz0eGid-RvlCE8mYDHns_jo-KsQVlC4AIWfX5TVHOui9lF-vvBwjbmBQ/s1600/IMG_0263.JPG"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5722840026073805266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJLYUz_7FxFAH8VtDrsdfZviE9GyTOvasuers9gLdsCvAD6mwDSxO9LmSBpGkwLqtUMMSdhXNq5YACZQ4NDzWsz0eGid-RvlCE8mYDHns_jo-KsQVlC4AIWfX5TVHOui9lF-vvBwjbmBQ/s400/IMG_0263.JPG" style="cursor: pointer; display: block; height: 267px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><br />
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*The half moons slumped during firing and are sitting very heavily on their bottoms. I like a pot that rises from the table. Analyzing Lucie Rie's shapes, her pots come off the table on a slight soft foot with a strong impulse upwards before bellying out.<br />
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<br />Shannon Garsonhttp://www.blogger.com/profile/11064168403096353543noreply@blogger.comtag:blogger.com,1999:blog-1883149573151057115.post-74464350233343936012012-04-28T10:49:00.000+10:002012-05-01T10:49:18.651+10:00birds<div class="separator" style="clear: both; text-align: center;">
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Rainbow lorikeet feathers from Tin Can Bay<br />
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Galah feathers <br />
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A Brown Cuckoo Dove that killed itself flying into a window.<br />
<br />Shannon Garsonhttp://www.blogger.com/profile/11064168403096353543noreply@blogger.comtag:blogger.com,1999:blog-1883149573151057115.post-81656531666991309422012-04-27T10:46:00.000+10:002012-05-01T10:46:35.431+10:00refining throwing technique<div class="separator" style="clear: both; text-align: center;">
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Feathers, Collection, Maps.<br />
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I'm reading about the transfer of visual information. The effective change in representation form perspective to "flatland". Information can be conveyed on a single map using both designs. Delineation using boxes or enclosed lines activates white space with in the enclosure. In"Envisioning Information" Edward R Tufte analyses graphical representation and the tools of the two dimensional such as colour, line, composition etc that have been use throughout history to render information conveyed through graphs, and maps. Tufte's analysis contains both science and poetry as he considers the elements most effective in conveying information. In calling the drawing that I make on the pots "maps" I too am trying to convey information. The "data" I collect are bushcombings, photographs and impressions and the point I try to convey through the maps is a two dimensional rendering of the sights, sounds and detail of a specific environment. Combining abstract and representational images and marks, using composition to order the data renders an impression of the wallum both informative and lyrical. In his conclusion Tufte says</div>
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"....(This) frustration reflects the essential dilemma of narrative designs- how to reduce the magnificent four dimensional reality f time and three space into little marks on paper flatlands. Perhaps one day high resolution computer visualizations, which combine slightly abstracted representations along with a dynamic and animated flatland will lighten the laborious complexity of encodings- and yet still capture some worthwhile part of the subtlety of the human itinerary."</div>
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(pp119, <i>Envisioning Information</i>, Edward R Tufte, 1990, Graphics Press , Connecticut.)</div>
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<br />Shannon Garsonhttp://www.blogger.com/profile/11064168403096353543noreply@blogger.comtag:blogger.com,1999:blog-1883149573151057115.post-67938110372080309202012-03-06T12:23:00.001+10:002012-03-23T07:38:43.195+10:00Japanese brushes<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitY-sVlyRRxsbK5jczQcFnEzuseoLRocsh-CIn55EuhKjqBX_nMC25wTljSXNjRdc2PNM2Gz6U2Q_XKfcqDje39naDFJ6Yr50DRGLUDkXVIIWzZyL6Wm8la3aaQTkF8O-q8GXEeSZG4Bk/s1600/IMG_0166.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 400px; height: 267px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitY-sVlyRRxsbK5jczQcFnEzuseoLRocsh-CIn55EuhKjqBX_nMC25wTljSXNjRdc2PNM2Gz6U2Q_XKfcqDje39naDFJ6Yr50DRGLUDkXVIIWzZyL6Wm8la3aaQTkF8O-q8GXEeSZG4Bk/s400/IMG_0166.JPG" alt="" id="BLOGGER_PHOTO_ID_5722839116400996754" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8H6-qs75vy6gAskt-PgOKC6cW4d2aNYeu-_NuqAje9hIRMgxQ0EOAN3QzKR-PALl6MF8gN2kZa1flOtENrLR6MnQyaZwiPew4KbP_CrFn7oWGft8D0uaLuGbjvIGMum1GKXesRShhENo/s1600/IMG_0044.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 400px; height: 267px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8H6-qs75vy6gAskt-PgOKC6cW4d2aNYeu-_NuqAje9hIRMgxQ0EOAN3QzKR-PALl6MF8gN2kZa1flOtENrLR6MnQyaZwiPew4KbP_CrFn7oWGft8D0uaLuGbjvIGMum1GKXesRShhENo/s400/IMG_0044.JPG" alt="" id="BLOGGER_PHOTO_ID_5704729654062627330" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiRWTmn4RODF-yRT249jCIKT-KfB4QloKbLpcUO9q53MRUEMje_xxzEpfp1Ayknng_LOKsErrwBhgpj0JKnfW2FKLOWY8VihyphenhyphenTj8TeL7NIV9YdbFJ0aFeyVLj9K9HH_rGDoxJ5S0X58MM/s1600/IMG_0045.JPG"><br /></a>Japanese calligraphy brushes. The quality of line obtained by these brushes is beautiful, very clear and the bristles hold the water without letting it all soak into the surface as soon as they touch the clay.Shannon Garsonhttp://www.blogger.com/profile/11064168403096353543noreply@blogger.comtag:blogger.com,1999:blog-1883149573151057115.post-88488659505776831062012-03-01T12:30:00.000+10:002012-02-29T15:16:35.975+10:00Terra Sig Mutant<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizOaGN6Bnxs2oCRe-ifBqJmdQNso2kOpyyu702fLkGcRaCLgIZ6Uc3VyQdMuq5rSeCnt1iu-beUkOZVMEiCc68sU6J5amlv8pIxKKFN7yHdBDR4C4QGQjaLLsA5xwwrwgu4X513m3H1jw/s1600/IMG_0041.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 267px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizOaGN6Bnxs2oCRe-ifBqJmdQNso2kOpyyu702fLkGcRaCLgIZ6Uc3VyQdMuq5rSeCnt1iu-beUkOZVMEiCc68sU6J5amlv8pIxKKFN7yHdBDR4C4QGQjaLLsA5xwwrwgu4X513m3H1jw/s400/IMG_0041.JPG" alt="" id="BLOGGER_PHOTO_ID_5704733387762679346" border="0" /></a><br />The sugary terra sig glaze experiment can't just sit in the studio going hard. I've given it a new job and things are working out really well. The scraffitti leptospermums used to work in a loose variant of mishima with pure terra sig, but with the sugary glaze/terra mutant the line seems cleaner. I think it is because of the addition of the clear glaze, the pigment is gathered up when the glaze melts and settles into the scraffitto line. this enhances the clarity and scratchy qualities of the lines and the slight shine the glaze gives the inlay attracts the eye making the drawing stronger and more coherent.<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5qKzQE8QvoBawf1bpxUXvyRI7yKQnZ3ETIOAXymaFJGBHuC9SZ4Oj-qF7zOtB2wRfeFJAmT4xfh2QD0AW2JfLR0Ch_xQxXLo88njRpb6XiJPKApI6vRb6E2ebDAQpnKVXAoIlBAId8x0/s1600/IMG_0038.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 400px; height: 267px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5qKzQE8QvoBawf1bpxUXvyRI7yKQnZ3ETIOAXymaFJGBHuC9SZ4Oj-qF7zOtB2wRfeFJAmT4xfh2QD0AW2JfLR0Ch_xQxXLo88njRpb6XiJPKApI6vRb6E2ebDAQpnKVXAoIlBAId8x0/s400/IMG_0038.JPG" alt="" id="BLOGGER_PHOTO_ID_5704733285460426498" border="0" /></a>Shannon Garsonhttp://www.blogger.com/profile/11064168403096353543noreply@blogger.comtag:blogger.com,1999:blog-1883149573151057115.post-90382189744620485492012-02-04T09:14:00.001+10:002012-04-05T16:10:02.102+10:00Formulating Terra sigilata- classic jazz style<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcM11wL6XnlE4POm85Hs25bfmyhq_Vv_sPMbDEkpTT7qs05WptfugHVZFSlkiDvxjg_dbykr-y1botvktlTSX2b5-Io5LBl2UIJzZAsniZOZyA3Z0ilxKWOuLeYSLSHw1-FVPg7HgJDsU/s1600/DSC_0005.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 266px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcM11wL6XnlE4POm85Hs25bfmyhq_Vv_sPMbDEkpTT7qs05WptfugHVZFSlkiDvxjg_dbykr-y1botvktlTSX2b5-Io5LBl2UIJzZAsniZOZyA3Z0ilxKWOuLeYSLSHw1-FVPg7HgJDsU/s400/DSC_0005.JPG" alt="" id="BLOGGER_PHOTO_ID_5693919568647926354" border="0" /></a><br />Formulating terra sig from Sarah's throwing terracotta.<br />1 1/2 cup water<br />1 cup dried clay<br />1 tsp deflocc<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCZiaZD4164ylq_H7rExjO8M3XwNcmVp6mWstonvRTt2seKIjt9o7LrBegeA0rcYRxyGM9thDwmIc8BiXSGcKt4-Xp7NVNRaranlAVpD5kOftp3BtJZYRHprh6z8Anzb7WA097j3msI0k/s1600/DSC_0008.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 400px; height: 265px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCZiaZD4164ylq_H7rExjO8M3XwNcmVp6mWstonvRTt2seKIjt9o7LrBegeA0rcYRxyGM9thDwmIc8BiXSGcKt4-Xp7NVNRaranlAVpD5kOftp3BtJZYRHprh6z8Anzb7WA097j3msI0k/s400/DSC_0008.JPG" alt="" id="BLOGGER_PHOTO_ID_5693919569342411586" border="0" /></a><br /><br />After listening to Gershwin's "Night and Day" sung by Sinatra there were three distinct layers. after "Fools Rush In" the middle layer is forming a distinct chocolatey ribbon<br />Chet Baker's "Wee Small Hours" brings the first test. Seems a little thick, add a splosh more water.<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDFXeN1prFR2KrKZQCzzMSTKuD6g8ufQTKx-OpgPGvD9lQdeWURkdr_oVARzKqb-pTEvMOrCFqjTWJDuAqL6lZhyphenhyphenHzZlSR82eQUUKcEF25bN4kzVDatpzlKFGLslfQurAVgLpill6eMz8/s1600/DSC_0009.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 400px; height: 265px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDFXeN1prFR2KrKZQCzzMSTKuD6g8ufQTKx-OpgPGvD9lQdeWURkdr_oVARzKqb-pTEvMOrCFqjTWJDuAqL6lZhyphenhyphenHzZlSR82eQUUKcEF25bN4kzVDatpzlKFGLslfQurAVgLpill6eMz8/s400/DSC_0009.JPG" alt="" id="BLOGGER_PHOTO_ID_5693919577092490626" border="0" /></a>Stir around. The Terra sig is the thin consistency or organic, pouring cream, there are a few bits of rubble down the bottom. The sample goes onto raw clay with a soft, satin sheen.Shannon Garsonhttp://www.blogger.com/profile/11064168403096353543noreply@blogger.comtag:blogger.com,1999:blog-1883149573151057115.post-19793298381309622492011-12-06T08:57:00.000+10:002011-12-06T08:59:27.149+10:00Conclusion- Semester 1<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-wV4ZfO2ENN9HaVTShMviDS1efk58pjyGTuCtuS8-aEvl7VVDpgVQrapB-MqE4YVL33O9qMNoMz72kjf-8KgqxaoimpK85VAnpYAZmmURKV5Pvz7xofRVHuy26Z2iwBU7g6ny3Hv60hw/s1600/visual-diary-5-small.jpg"><br /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2TjnKKsKsXv8sHUatcglr_-xlcQDHk64zJ13ltSFiXtWqG1OAS6oO8IbKC6PggXeeYZFrqNYYz7BIXlAKhlvuTG6Vzf0_q3DiSTb6ffvj5pbA-SGbgRG55Im5b7hMT0zMmwSse5DE6vI/s1600/sheoak+small.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2TjnKKsKsXv8sHUatcglr_-xlcQDHk64zJ13ltSFiXtWqG1OAS6oO8IbKC6PggXeeYZFrqNYYz7BIXlAKhlvuTG6Vzf0_q3DiSTb6ffvj5pbA-SGbgRG55Im5b7hMT0zMmwSse5DE6vI/s400/sheoak+small.jpg" alt="" id="BLOGGER_PHOTO_ID_5682782377965342018" border="0" /></a><br /><style>@font-face { font-family: "Times New Roman"; }@font-face { font-family: "Arial"; }p.MsoNormal, li.MsoNormal, div.MsoNormal { margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: "Times New Roman"; }table.MsoNormalTable { font-size: 10pt; font-family: "Times New Roman"; }div.Section1 { page: Section1; }</style> <p class="MsoNormal"><span style="font-family: Arial;"><b>CONCLUSION</b></span></p> <p class="MsoNormal"><span style="font-family: Arial;">I am really excited about the final work from this semester. The final pieces are a good platform to launch me onto further work.<span style=""> </span>The way the vessels work with the other elements including the unfired work opens possibilities to continue with using these formal elements of composition to create work using thrown pots.<span style=""> </span>I intend to bring more of the bush combings into the installations and explore the possibilities for displaying vessels in the natural environment. I also intend on exploring paper-making to create yet another element using bush-combings within an installation. The Japanese concept of placing shrines and stone lanterns in gardens as an accent to the environment is very intriguing to me in the context of the thrown vessels and the Australian bush. Diaries and maps continue to capture my interest as a way of talking about place and time.<span style=""> </span>Next semester I intend to draw out this aspect of the research and continue creating ephemeral works with permanent elements both within a gallery, context and outside in the environment.<span style=""> </span>The photography will also be an area for continued exploration and skill development.<span style=""> </span>I feel that the photos could become a more integral part of the work rather than function as a supplementary resource</span></p> <p class="MsoNormal"><span style="font-family: Arial;"> </span></p> <p class="MsoNormal"><span style="font-family: Arial;">In reflection the initial Study Plan was more an overview of the complete body of work I’d like to make during the entire degree than a breakdown of investigation for one semester.<span style=""> </span>I learned to set more specific goals for both the working process and the reading I’d like to accomplish throughout the semester.<span style=""> </span>This was a very challenging semester for me.<span style=""> </span>Working alone in the studio and trying to earn a living through the arts has involved formulating a way of developing new work that is very personal and (now I see!) somewhat secretive.<span style=""> </span>Revealing my working process had been unexpectedly painful and nerve-wracking, a bit like a magician showing the audience where the doves are hidden.<span style=""> </span>I’ve tried to make the final unpacking and actually seeing the work in the flesh as<span style=""> </span>beguiling a process as possible.<span style=""> </span>There is a place in every presentation for something beautiful to appear as if by magic.</span></p> <p class="MsoNormal" style="text-align: center;" align="center"><span style="font-family: Arial;"> </span></p> <span style="font-size: 12pt; font-family: Arial;"></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-wV4ZfO2ENN9HaVTShMviDS1efk58pjyGTuCtuS8-aEvl7VVDpgVQrapB-MqE4YVL33O9qMNoMz72kjf-8KgqxaoimpK85VAnpYAZmmURKV5Pvz7xofRVHuy26Z2iwBU7g6ny3Hv60hw/s1600/visual-diary-5-small.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 400px; height: 383px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-wV4ZfO2ENN9HaVTShMviDS1efk58pjyGTuCtuS8-aEvl7VVDpgVQrapB-MqE4YVL33O9qMNoMz72kjf-8KgqxaoimpK85VAnpYAZmmURKV5Pvz7xofRVHuy26Z2iwBU7g6ny3Hv60hw/s400/visual-diary-5-small.jpg" alt="" id="BLOGGER_PHOTO_ID_5682782376174992082" border="0" /></a>Shannon Garsonhttp://www.blogger.com/profile/11064168403096353543noreply@blogger.comtag:blogger.com,1999:blog-1883149573151057115.post-83692415373421470132011-12-06T08:55:00.000+10:002011-12-06T09:03:03.764+10:00lbj<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhusY5I9wkOZ4BfBqF8tFa9zwsujLSCzfddvCwzgbSNewYriZIKSqyjEwOed9QRRk2XiBrzIrxE5Z8y1h8hCxpDFsJqglPwp_ID-19-1-8BKsImHCxSiWbrjM8AsHa32go3bdKVnyNd7Pc/s1600/lbj+small.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhusY5I9wkOZ4BfBqF8tFa9zwsujLSCzfddvCwzgbSNewYriZIKSqyjEwOed9QRRk2XiBrzIrxE5Z8y1h8hCxpDFsJqglPwp_ID-19-1-8BKsImHCxSiWbrjM8AsHa32go3bdKVnyNd7Pc/s400/lbj+small.jpg" alt="" id="BLOGGER_PHOTO_ID_5682781813629145042" border="0" /></a><style>@font-face { font-family: "Times New Roman"; }@font-face { font-family: "American Typewriter"; }p.MsoNormal, li.MsoNormal, div.MsoNormal { margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: "Times New Roman"; }table.MsoNormalTable { font-size: 10pt; font-family: "Times New Roman"; }div.Section1 { page: Section1; }</style> <p class="MsoNormal"><span style=";font-family:";" >Tiny bowl with what is known in birding circles as an LBJ’s (!)<span style=""> </span>Little Brown Jobs.<span style=""> </span>Tiny, almost indistinguishable brown wrens and insectivorous Australian native birds.<span style=""> </span>They dart through the canopy eating insects and are very hard to spot.</span></p>Shannon Garsonhttp://www.blogger.com/profile/11064168403096353543noreply@blogger.com