Marian Morris on wed 19 jan 00
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Have just returned from the richly satisfying two day Gail Kendall =
handbuilding
workshop at the Armory Art Center in West Palm Beach. She served us the =
clay
equivalent of my two day banquet in a Fuji ryokan, where each and every of =
forty
or so courses was presented deliberately, consciously, and slowly enough =
that
one could eat for many many hours and never get too full.
She built a large tureen and several platters, lingering over each step with
great love of the materials, and commentary about the traditions that she =
honors
in her work. It was the farthest thing imaginable from the insufferable
encamped puffery that I have encountered from some other artists in the =
past. I
am relatively unschooled, but something spoke directly to me in the first of
Gail's pieces I ever saw a few years back, and a photo of which hangs in my =
very
humble terra cotta studio at home. Now I know what that something was, for
Gail's commentary brought to light much about the traditions of European
peasant's pottery as well as her experiences with earthenware in Africa and
Mexico. These stories allowed me to understand in an academic way what it =
was
that my Grandmother had lining her walls and filling her china cabinets, the
love of which she shared with all of her grandchildren. And the terra =
cotta,
well that love requires no academic appreciation. For me it is a direct
association with many transformative years on Guam in which I furtively dug
indigenous clay from construction sites and tried to pot with it as the =
ancients
had. For Gail that love is at minimum the understanding of how organically =
the
clay is related to daily life.
This delectable compote of ideology, history and technique was poured out to=
us
(and Gail poured out a great deal of herself for us in those two days) in =
Harvey
Sadow's spetaculr new art facility in West Palm Beach. The light in the
spacious facility is extraordinary, glicining off of all new white walls and=
all
stainless steel cabinetry. He has designed a most amazing facility for all
types of three dimensional work including stone cutting, wood carving,
sculpture, and clay work.
I was the only out-of-state student in this particular workshop and Harvey =
was
most gracious to me and my husband. My fellow students included a number of
accomplished artists and a strong contingent of intermiates like myself. We
mused upon wether, in such a magnificant facility, we might have wanted a
hands-on workshop, but my answer is - absolutely not=21 Why would I want to=
spend
even one minute struggeling with my own ineptness when I could be watching
skilled hands at work and listening to a life time of experience which spans
from smoothing tricks used by auto designers in Ypsilanti, MI back when cars
were modeled of plasticine to experiences doing restoration work in famed
English ceramic houses.
My only complaint - no cheap place to stay, but Harvey says he is working on
that.
Marian Morris up North where we're buried in snow.
Veena Raghavan on fri 21 jan 00
Message text written by Ceramic Arts Discussion List
>Have just returned from the richly satisfying two day Gail Kendall
handbuilding
workshop at the Armory Art Center in West Palm Beach. She served us the
clay
equivalent of my two day banquet in a Fuji ryokan, where each and every of
forty
or so courses was presented deliberately, consciously, and slowly enough
that
one could eat for many many hours and never get too full.
<
Hi Marian,
Sounds as if you had a great time at Gail Kendall's workshop. Do
you have any idea if she ever gives workshops in the Northeast? Sounds very
interesting and I would love to know more about her. If you have any
information, or any contact e-mail address, would you please let me know.
Thanks in advance, and I am glad you had such a wonder and
satisfying time.
All the best.
Veena
Veena Raghavan
75124.2520@compuserve.com
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