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mfa meat grinding

updated fri 14 sep 07

 

Elizabeth Priddy on thu 13 sep 07


I am going to try once again to light a candle
rather than simply curse the darkness.

Don't snipe at me for it.
Don't tell me others are better than me a being nice all the time.
I don't care about that and cannot do it if I did.
Just read the crit of your posting and the request for information.
I am sure you can do this. It will require self-control and
a generous spirit and the capacity to listen as well as speak.

And really, if you just can't muster the energy to do this, please
just delete this post and go about you life. I am not in the mood
to coddle your ego, but there is a new leaf to be turned and I am
trying, no doubt to no avail, to turn the damn thing.

In that whole long post you mentioned one thing that
was curious. The homeschool was irrelevant and not
about clay, the admonishment of me to keep my mouth
shut if I don't have anything nice to say was not about clay,
the elaborate justification of your disingenuous question
made it no less irksome and paints these friends of yours
as children in the presence of adults which would probably
irritate them to know and is not about clay....

but ignore all that. That is critique of your post and you are
a big girl and should be ready to learn, even from people
you despise and degrade.

Please elaborate on this, offer the experience of your program
data for why one would go or not go another way:

Why do you move your sculptures around on wheeled carts?
They would seem less likely to be damaged staying still. even on
even floors, they would bump as they moved along and possibly
damage teh sculpture. Please explain why this is not a factor.



---------------------------------
Fussy? Opinionated? Impossible to please? Perfect. Join Yahoo!'s user panel and lay it on us.

Marta Matray on thu 13 sep 07


>Fussy? Opinionated? Impossible to please? Perfect. Join Yahoo!'s user
panel and lay it on us.>>>

this is at the end of your post elisabeth. (see below)
you probably didnt see this before you sent your very private post to all
of 2398 of us on clayart to read. crabby or not, we had enough.
thanks, marta

>>>>>>>>>>
On Thu, 13 Sep 2007 07:33:52 -0700, Elizabeth Priddy
wrote:

>I am going to try once again to light a candle
> rather than simply curse the darkness.
>
> Don't snipe at me for it.
> Don't tell me others are better than me a being nice all the time.
> I don't care about that and cannot do it if I did.
> Just read the crit of your posting and the request for information.
> I am sure you can do this. It will require self-control and
> a generous spirit and the capacity to listen as well as speak.
>
> And really, if you just can't muster the energy to do this, please
> just delete this post and go about you life. I am not in the mood
> to coddle your ego, but there is a new leaf to be turned and I am
> trying, no doubt to no avail, to turn the damn thing.
>
> In that whole long post you mentioned one thing that
> was curious. The homeschool was irrelevant and not
> about clay, the admonishment of me to keep my mouth
> shut if I don't have anything nice to say was not about clay,
> the elaborate justification of your disingenuous question
> made it no less irksome and paints these friends of yours
> as children in the presence of adults which would probably
> irritate them to know and is not about clay....
>
> but ignore all that. That is critique of your post and you are
> a big girl and should be ready to learn, even from people
> you despise and degrade.
>
> Please elaborate on this, offer the experience of your program
> data for why one would go or not go another way:
>
> Why do you move your sculptures around on wheeled carts?
> They would seem less likely to be damaged staying still. even on
> even floors, they would bump as they moved along and possibly
> damage teh sculpture. Please explain why this is not a factor.
>
>
>
>---------------------------------
>Fussy? Opinionated? Impossible to please? Perfect. Join Yahoo!'s user
panel and lay it on us.
>

Lori Leary on thu 13 sep 07


I can answer that one, as I did some rather largish pieces in grad
school. Space is always an issue in any group studio. It can be a pain
in the ass to work on large sculptures in the tiny studio space alloted
for each student (if you even get one)...so naturally your work often
spills out into the community studio area. It's only polite to roll
your work out of the way when you are not working on it, be it to a
corner of the room or back to your cubicle. Another point: when it comes
time to load large pieces in the kiln, it's very nice not to have to
carry heavy and bulky objects all over the place, (which for me is just
asking for a disaster to happen).

Lori L.


Elizabeth Priddy wrote:
>
> Please elaborate on this, offer the experience of your program
> data for why one would go or not go another way:
>
> Why do you move your sculptures around on wheeled carts?
> They would seem less likely to be damaged staying still. even on
> even floors, they would bump as they moved along and possibly
> damage teh sculpture. Please explain why this is not a factor.
>
>
>
>
>
>

Elizabeth Priddy on thu 13 sep 07


Once you have had enough of a topic,
that is where the delete key comes into play.

Spend more time editing what you choose to read
and less telling people to shut up.

If you are reading things you are not interested in,
that would by your problem.

E


---------------------------------
Yahoo! oneSearch: Finally, mobile search that gives answers, not web links.

Lee Love on thu 13 sep 07


On 9/13/07, Lori Leary wrote:
> I can answer that one, as I did some rather largish pieces in grad
> school. Space is always an issue in any group studio.

It is obvious how useful carts are in a group studio. Also, with
large sculpture, carts made at the height of the car kiln can
facilitate loading.

Wheels are the potter's best friend. If you have a good
floor, locking wheels are good on everything.


--
Lee in Minneapolis, Minnesota USA

"Making pots should not be a struggle.
It should be like walking down a hill
in a gentle breeze." --Shoji Hamada


http://mashikopots.blogspot.com/

"For a democracy of excellence, the goal is not to reduce things to a
common denominator but to raise things to a shared worth."
--Paolo Soleri

D. L. Engle on thu 13 sep 07


Also another good reason that this may be done is to enable the artist to
view the work in progress in a variety of lightings. This is critically
important for sculpture and turning and moving the work relative to the
steady light source(s) is a fast and easy way to accomplish it while
working. If the work is too tottery to withstand moving in this manor then
you are pushing the boundaries of what clay can do and need to compensate in
any number of available ways, such as adding internal or external temporary
support, adding fiber to the clay, etc.

-----Original Message-----
From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG]On Behalf Of Lori Leary
Sent: Thursday, September 13, 2007 9:42 AM
To: CLAYART@LSV.CERAMICS.ORG
Subject: Re: mfa meat grinding


I can answer that one, as I did some rather largish pieces in grad
school. Space is always an issue in any group studio. It can be a pain
in the ass to work on large sculptures in the tiny studio space alloted
for each student (if you even get one)...so naturally your work often
spills out into the community studio area. It's only polite to roll
your work out of the way when you are not working on it, be it to a
corner of the room or back to your cubicle. Another point: when it comes
time to load large pieces in the kiln, it's very nice not to have to
carry heavy and bulky objects all over the place, (which for me is just
asking for a disaster to happen).

Lori L.


Elizabeth Priddy wrote:
>
> Please elaborate on this, offer the experience of your program
> data for why one would go or not go another way:
>
> Why do you move your sculptures around on wheeled carts?
> They would seem less likely to be damaged staying still. even on
> even floors, they would bump as they moved along and possibly
> damage teh sculpture. Please explain why this is not a factor.
>
>
>
>