Inside The Artist’s Studio with Cherie Burbach

cherie burbach in the studio

Cherie Burbach in the studio

I’ve painted ever since I was a young child. Art was a safe place for me and a way to work through a turbulent childhood. Growing up in an alcoholic household made things unsteady and frightening, but drawing and writing poetry were how I worked through anything that made me sad or scared.

cherie burbach painting

Artist Cherie Burbach painting

This desire to offer hope and encouragement is the intention behind my art. I am a self-taught artist, painting almost every day. I also write and publish poetry and feel these two are linked for me. Words and images are closely tied in telling a story of faith and confidence about the future. There is a beauty in words that really speaks to me.

cherie burbach art supplies

Art supplies and a work in progress

I grew up in Milwaukee, Wisconsin. My artistic talents were recognized early on in but it wasn’t until my late 30s that I began to pursue them professionally by painting the covers of my poetry books.

cherie burbach poetry books

Cherie Burbach poetry books

Over the years, my painting has evolved from oils to acrylics to now, a collection of paints, inks, pastels… and many different kinds of ephemera. I enjoy adding lace, music sheets, book pages, and anything with handwriting on it, like old notes and recipes. I enjoy these small, personal elements and feel they add a comforting element to my art.

cherie burbach uses lace in her art

A pile of lace to use in paintings

cherie burbach art supplies used

Art supplies

I’ve been influenced by a variety of artists, but my favorites are the emotive works of Vincent Van Gogh and the mother and child paintings of Mary Cassatt.

cherie burbach exhibit LMA

Cherie Burbach exhibit LMA

Several years ago I fell in love with mixed media. I was able to add words, collage elements, and a variety of mediums that made painting a new journey, one that was about uncovering the image I wanted to convey as much as it was creating it. Adding layers of paper and paint and words felt like the bridge between my art and writing I’d always longed for.

cherie burbach working on She Stood Tall

Cherie Burbach working on “She Stood Tall”

Along with the images I create, I like to include my original poetry and Bible verses on my art. I paint with bright colors and whimsical images to show the light of a world beyond this one, where there is only hope and possibility.

cherie burbach in front of her art booth

Cherie Burbach in front of her art booth

I have written dozens of poetry, art, and nonfiction books. My latest is Painting the Psalms, a combination art book and devotional.

“Painting the Psalms”

I also like creating functional art products so people can surround themselves with art in various forms. Things like tote bags, devotional decks, and mirrors are among some of the things I sell in my booth at art shows.

cherie burbach at a craft fair

At a craft fair

In addition to shows and exhibits, I also teach classes online and in person. My art pieces and prints are sold in artsy shops and galleries throughout the Midwest. For more, visit my website or catch up with me on Instagram.


Cherie Burbach is one of 112 artists included in the 6th annual Small Works exhibition at Main Street Arts, a national juried exhibition of work 12 inches or less. Work from the exhibition can be previewed and purchased through the gallery’s online shop. Small Works runs through January 3, 2020.

 

Inside the Artist’s studio with Jill Bell

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Hi. I’m Jill Bell.  As an non-sporty kid growing up in suburban Newark, Delaware, I took my first ceramics class at age 6.  From the start I loved everything about clay. From the dusty, damp earthy smell of the studio to being able to make tangible objects from the ideas in my kid brain.  As I got older, I tried other mediums but found ceramics was how I best expressed myself and my love of clay stuck.

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I received a BFA from Moore College of Art & Design and an MFA from Virginia Commonwealth University. Upon finishing graduate school, I lived in Maine for 9 months as a Watershed Center for the Ceramic Arts winter resident. It was there, frustrated with building larger sculptural pieces with the local clay and having them crack, I decided to change things up. I was  inspired by a chowder bowl project we did with the local community and began making bowls and cups of my own.

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My cups and bowls are formed pretty much the same way any kid would have been taught to do it day 1 of their first ceramics class. Roll a slab. Score and slip it and stick it together. Roll another piece. Score and slip that and stick it to the bottom. You’ve got yourself a cup.

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With my sculptures I shy away from shiny. I much prefer surfaces that are textured, with a dry or matte finish. I achieve this through multi-firing a variety of under-glazes and different oxide washes. In the case of my cups and mugs, I’ll use a white glaze on the inside and a commercial clear on the outside to create a more finished look.

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For almost 10 years now I have been a member of Clayworks on Columbia, an amazing group studio space located in the Carrol Gardens neighborhood of Brooklyn, NY. Started by Deborah McDermott and several other ceramic artists 20 years ago (we  just celebrated our 20th anniversary), the studio consists of a collection of ceramic artists of varying ages, backgrounds, styles and experience. There is a true community spirit amongst the members and students at Clayworks and belonging to a studio space where  everyone so readily supports, inspires and respects one another has been immeasurable.

I have a full time job and a family so I’m only able to get to my studio a few times a week. When I’m there, I’m there to WORK. That said, studio time is also my podcast time. I’m not ashamed to admit that I love and listen to almost exclusively,  podcasts about the paranormal, conspiracy theories and UFOs. I know what you’re thinking, “tin foil hat?” but I was a kid of the 80’s.  I grew up with a healthy fear of Santanists, TV shows like In Search of… with Leonard Nimoy and ransacking the local library for anything I could get my hands on about witchcraft, Bigfoot and alien abductions. Today’s world feels crazier then ever. My studio time is a buffer from all that, somewhere I can go to escape. When I’m there, I like to be able to immerse myself in the things that make me happy.

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Instagram: jillmarleahbell_ceramics


Jill Bell is one of 44 artists included in the 4th annual The Cup, The Mug exhibition on the second floor at Main Street Arts, a national juried exhibition of drinking vessels. Work from the exhibition can be previewed and purchased through the gallery’s online shop. The Cup, The Mug runs through December 14, 2019.

Inside the Artist’s Studio with Ian Park

Ian Park working in the studio

Ian Park working in the studio

My name is Ian Park. I’m originally from the southern rural village called Hartman, Arkansas. The population is still about 600 people. From there, I began making art at a preschool age by sketching with pen in wide ruled notebooks on my grandparent’s couch and gluing popsicle sticks together to make sculptures, all while experimenting with usual childhood art supplies of marker, crayon, watercolor, and mud. Middle school is when I realized art was part of my life and I couldn’t live without it; a means of survival for a queer kid living in a completely hetero community. Near the end of high school, I had the luxury of experimenting with ceramic sculpture and firing objects in the kiln. It wasn’t until my second year of college that I realized ceramics would become a major part of my life.

Front and back of the two cups included in The Cup, The Mug 2019

Front and back of the two cups included in The Cup, The Mug 2019

It was in higher education that I pursued a career in art. There were so many wonderful instructors and people that I met in Little Rock during my time in that city and eventually I obtained a bachelor’s degree in studio art and public school art education after six years of being an undergraduate at the University of Arkansas at Little Rock. I remember realizing I wanted to be a teacher when I was showing a co-worker how to make a rose out of icing at my cake decorator job. Something clicked in my brain that this would have to accompany my art making.

Installation piece by Ian Park

Installation piece by Ian Park

The first piece of art I found to be professional was made during my last year of undergrad. It was titled Visiting Grandma Agatha, and it combined my skills with cake decorating, wood working, painting, found object, ceramics, mold making, and conversations with my grandma that we had over sweets at the table. After being an intern elementary school teacher that last year of school, I realized just how much I loved teaching K-5 elementary art. Kids are awesome, and so fun to be around! I was able to juggle my art and being a public-school teacher for a couple years. I missed ceramics though, and didn’t have access to a kiln, so I applied to the Flower City Arts Center in Rochester, NY and was accepted as a resident artist there in 2016. I met some awesome folks in that region as well. From there I helped establish the very first Flower City Pottery invitational, pushed my ceramics career further, applied for grad school (and got into LSU), and finally learned just how hard the real world can be. I am forever grateful for my time there and can’t wait to go back and visit when the time comes.

"Makeup Manica" by Ian Park

“Makeup Manica” by Ian Park

I am in my third year of grad school at Louisiana State University. My work is about combining queerness with, camp, the uncanny and horror. I create functional pottery with a cone 6 clay body that uses imagery or words relating to queerness & LGBTQIA+ themes. These pots usually consist of a pre drawing on leather hard ware and different layers of underglazes, wax resist techniques, sgraffito, lusters, and decals. I also make installations that consist of wallpaper, fabric, performance video projection, found object, paint, video projection, wood, and altered objects. I adore creating installation that people can either walk through or come into close contact. With these installs, I am pushing the idea of set design and art, creating an atmosphere that sees through the veneer of a normal home in a way that celebrates the queer themes of horror I use.

Ian Park working in the studio

Ian Park working in the studio

I also love to celebrate other people’s art, and community is very important to me, especially the LGBTQIA+ community. In October of 2019, I organized a queer ceramics symposium at LSU, with the assistance of Andy Shaw. We titled it Queeramics and several queer clay artists from around the U.S. came to participate. I curated an exhibit with 25 artists from around the nation and Canada, there were two love performance art works, a panel discussion, keynote speaker, and think tank discussions with the attending queer artists. We came together to embrace each other’s thoughts, concerns, needs, creations, and lives and will all be pushing to create a stronger future for queer ceramics.

Front and back of the two cups included in The Cup, The Mug 2019

Front and back of the two cups included in The Cup, The Mug 2019

As of now, I must continue finishing my thesis. Once I graduate with my MFA, I would love to become a resident artist again at another art center in America and continue churning out installations and pottery. I love what art centers have to offer their community! Beyond that, I would like to continue teaching kids. I miss teaching children and want my students to have a future with the artistic well-rounded knowledge that I have to offer. Just like my roots in art as a child, I want others to be able to explore their many artistic options, because art opens thousands of different possibilities for a

brighter and more knowledgeable future. If you want to see more of my art you can find me at:

Website: www.ianparkart.com
Instagram: ian.park.art
Queeramics Article: Click here

 


Ian Park is one of 44 artists included in the 4th annual The Cup, The Mug exhibition on the second floor at Main Street Arts, a national juried exhibition of drinking vessels. Work from the exhibition can be previewed and purchased through the gallery’s online shop. The Cup, The Mug runs through December 14, 2019.

Inside the Artist’s Studio with Gretchen Quinn

Gretchen in her downtown Raleigh studio. Photo credit: Juli Leonard

Gretchen in her downtown Raleigh studio. Photo credit: Juli Leonard

Hello, I am Gretchen Quinn. I’m a full-time potter living and working in Raleigh, NC. and I have two mugs in The Cup, The Mug 2019 show at Main Street Arts. I make functional pottery with a clean, modern feel. The inspiration for my work comes mainly from what I want to have and use in my own home. I’m definitely under the spell of well-made crafts and much of what I make spins out from my love of Danish Modern and Shaker designs where simplicity, utility and honesty are among the guiding principles in their work.

Finished work for sale at the studio.

Finished work for sale at the studio.

My pieces are all handmade out of a beautiful dark brown stoneware clay and glazed in glossy white. I decorate my pots with a variety of hand-carved patterns or 22K gold luster. In the decoration process I never use pre-made patterns, templates or textures. To me, it’s the freehand markings that makes my pots feel fresh and modern and what tells the user that every piece is handmade.

My favorite part of the process.

My favorite part of the process.

Six years ago, I moved from working in a community studio to a private space. In the community studio I had a wide range of clay bodies and glaze colors available, so I always felt compelled to use them all. When I became responsible for ordering my own clay and making my glaze I decided to narrow my focus to one clay body and one glazed for a year. While I initially did this for practicality, this shift in materials is really what gave birth of my current Mix & Match collection and all these years later I’m still focused on one clay and one glaze. I love how the Mix & Match aspect of my work makes customers active participants in building their collections. Some customers will choose to stay with just one pattern, others will select a few, while some just go for it all!

A recent custom dinner plate order.

A recent custom dinner plate order.

My serious study of ceramics started at Providence College, where I received a BA in sculpture and made most of my work in clay. After graduation, I worked as a graphic designer and made pots on the side. I never stepped away from clay, but I didn’t see an avenue to make it my full-time profession. It took a cross country move from Seattle to Raleigh for me to finally take the leap into clay full-time. I’m now over 6 years in and have seen a steady, organic growth in the quality of my work and in my business. In addition to my studio work I teach ceramics at the North Carolina State University Crafts Center. The combination of teaching and making work for my business has been a huge point of growth. It forced me to slow down and think through my technique and reflect on the elements that go into making a good pot.

Mix & Match lamps.

Mix & Match lamps.

My studio is a space that I share with three other female potters. We run our businesses independently and make very different work, but we are all equally committed to our love for working in clay. Being able to share our kiln firings and buy our clay together in bulk allows us to speed the making process and to save on our material expenses. It makes for an interesting dynamic as we are all from different backgrounds and generations, but together we freely share our vast clay skills and push each other forward in our work and our businesses.

At work in my studio. Photo credit: Juli Leonard

At work in my studio.
Photo credit: Juli Leonard

I am truly thrilled that I get to work with clay every day. There is just something magical about turning a humble lump of clay into a beautiful, functional product. See more of my work at www.gretchenquinn.com and follow me on Instagram @gretchen.quinn


Gretchen Quinn is one of 44 artists included in the 4th annual The Cup, The Mug exhibition on the second floor at Main Street Arts, a national juried exhibition of drinking vessels. Work from the exhibition can be previewed and purchased through the gallery’s online shop. The Cup, The Mug runs through December 14, 2019.

Inside the Artist’s Studio with Jarrod Dahl

Turning end grain cups in my workshop at a Japanese-style lathe. woodspirithandcraft.com

Turning end grain cups in my workshop at a Japanese-style lathe. woodspirithandcraft.com

I am Jarrod Dahl, a craftsperson, teacher, and writer from Northern Wisconsin. I have been working with wood since 1996. Although I got my start designing and building traditional timber framed homes I slowly moved from the building trades to traditional craft. Today my time is split teaching handcraft and designing and making a wide variety of ‘domestic craft objects’. Currently my focus is on woodenware.

Wooden cups with urushi lacquer finish. Woodspirithandcraft.com

Wooden cups with urushi lacquer finish inspired by my research/study trips to Japan these last 2 years. woodspirithandcraft.com

I work together with my wife and one assistant to create high quality handmade goods. I specialize in turning freshly harvested wood, known as green wood, into cups, handled mugs, bowls, plates, and lidded boxes and I carve a wide variety of utensils.

Spoon carving.

Carving a wooden spoon with a Swedish craft knife.

Spoon design possibilities are endless.

Spoon design possibilities are endless. woodspirithandcraft.com

I am one of the few professional woodturners in the world (no joke) whose specialty is using a foot-powered spring pole lathe. I also use both a Japanese-style and a Western-style electric lathe. I am extremely intrigued by the the textures each of these machines leave on the objects I make. Because of this I also forge my own tools—quite uncommon in the Western wood turning world.

Giving a pole lathe turning demonstration in Borås, Sweden a region famous for 400 years of wood turning.

Giving a pole lathe turning demonstration in Borås, Sweden a region famous for 400 years of wood turning.

Wooden coffee mugs turned from one piece of wood.

Wooden coffee mugs turned from one piece of wood, design inspired by wooden Viking cup shards found in York. woodspirithandcraft.com

I’m inspired by what I understand as wood culture, most of which is from the recent past or even further. It isn’t thought about much, but woodenware was the main tableware for thousands of years in much of the forested lands around the globe. I’ve traveled to places like Sweden and Japan to further my understanding and also to inform my designs. I’ve studied thousands of lidded boxes, bowls and cups in museum archives in Sweden. In Japan where woodenware is very much common place even today, I studied with woodturners, designers, and lacquer artists again to inform my design aesthetics and also to learn how I might be able to bring more appreciation to wooden objects in our modern times.

Tableware

Tableware. woodspirithandcraft.com

Woodenware can be very elegant and beautiful. My designs are conservative and change very slowly through making many pieces in the same style.

Lámhóg is a traditional Irish drinking cup turned from one piece of wood on a reciprocating foot powered pole lathe.

Lámhóg is a traditional Irish drinking cup turned from one piece of wood on a reciprocating foot powered pole lathe. woodspirithandcraft.com

The majority of the wood I use is harvested and milled by myself and my assistant, from trees within miles of my home. I am lucky to be in touch with the whole journey of my product from tree to finished design.

Future wooden items will be made from this backyard Maple tree that came down across the alley from our house.

Future wooden items will be made from this backyard Maple tree that came down across the alley from our house.

A wooden lidded box finished with milk paint and linseed oil.

A wooden lidded box finished with milk paint and linseed oil. woodspirithandcraft.com

I believe that beauty is an important part of daily life and that the handmade wooden object has a part to play in it.

My website is www.woodspirithandcraft.com
Blog: https://www.woodspirithandcraft.com/blog
instagram: @jarrod__dahl and @woodspirithandcraft
Youtube channel: Jarrod Dahl’s Youtube

 


Jarrod Dahl is one of 44 artists included in the 4th annual The Cup, The Mug exhibition on the second floor at Main Street Arts, a national juried exhibition of drinking vessels. Work from the exhibition can be previewed and purchased through the gallery’s online shop. The Cup, The Mug runs through December 14, 2019.

 

Inside the Artist’s Studio with Cole Worden

Cole Worden in the studio

Cole Worden in the studio

Hello, my name is Cole Worden. I am a recent graduate from Bowling Green State University in Ohio, where I received a BFA in studio arts, and I am currently a participant of the working artist program at Longwood University in Farmville, Virginia.

Cup II by Cole Worden included in The Cup, The Mug

Cup II by Cole Worden included in The Cup, The Mug

As far as my personal timeline goes, I am rather new to ceramics. I spent the majority of my youth honing my skills as a musician, which led to a short career as a drummer in an internationally touring metal band. My eyes were opened to a vastly larger world than I could have ever imagined, and became aware of how little I really knew about life. This fueled my curiosity and eventually drove me to drop everything and return to school. I spent two and a half years as a neuroscience major and struggled to adjust to the life of a student, while coming down from a three year high of adrenaline, drugs, rock and roll, and my own inflated ego. It became clear I wasn’t going to make it as a scientist. I took a ceramics class on a whim, trying to find a new path ahead, and was hooked instantly. I accidentally stumbled into a warm, accepting, and challenging community of artists, that helped me to find myself, and a way forward. I graduated in December of 2018, and have since been doing what I can to make it as a ceramic artist.

The original model for a bowl made from MDF and tape with fired bowl

The original model for a bowl made from MDF and tape with fired bowl

So, what does a day in the studio look like for me? Most of my work is slip-cast, so that means I have to go through a pretty extensive process starting from an idea and getting to a finished product. I begin by either making a form from clay, or making a form from MDF, then alter the surface (often with paint, electrical tape, or customized stickers) to get the desired texture I want. Then I take a plaster mold of the object, which I can later cast from with slip. Once I have the object in porcelain, I apply various washes, wax, and glazes to achieve the desired coloration.

Applying wash to bisquware

Applying wash to bisquware

While I am casting from the molds I have, in a more rigid production sort of process, I’m simultaneously working out how to improve on what I have, and brainstorming for the next form I want to make. Alternating between production and creation keeps my day interesting, and every step has room for creativity. So, despite the rigid replication that comes with slip casting, I like to make subtle changes all the time to make each piece unique.

Much of my time in the studio, I can be found with headphones in, which half of the time are playing metal. Growing up, one of the most influential forms of visual art for me was the album art and graphic design on cd covers and band merch. I think on a deeper level, most of my aesthetic decisions have roots in metal/rock/punk culture, whether they are immediately apparent or not. The other half is spent listening to audiobooks or podcasts, generally in the realm of science or philosophy. Learning about and pondering the nature of our reality through reason and experimentation provides for me a sort of spiritual satisfaction that no religion has been able to do.

Cole Worden pouring slip from a mold

Cole Worden pouring slip from a mold

Pouring slip from a mold

Pouring slip from a mold

These ideas permeate into my work, along with my love for architecture, and all of the media I consume, creating a chimeric brain baby that usually pops out in the form of a pot. Which begs the question, why pottery?

I’ve been asking myself this question for a while now, and for many reasons I love the process of making pottery. I find my flow through physical action. My mind and body are both engaged creatively and intellectually. But I think those personally gratifying aspects wouldn’t be worth it without being able to serve someone else. The utility of pottery is common across all walks of human life, and I am happy to provide someone with that utility. Plus, I can hint at little nuggets of ideas for someone to contemplate with their morning coffee, and that’s fun for me.

Cup 1 by Cole Worden included in The Cup, The Mug

Cup 1 by Cole Worden included in The Cup, The Mug

Thanks to Main Street Arts Gallery for giving me the opportunity to share with you a little bit about myself and my process. If you’d like to know more, or find more of my work, you can visit my:

Website: coleworden.com
Instagram: @coleworden
Etsy: Etsy.com/shop/colewordenartworks
Or contact me at: cwordenart@gmail.com


Cole Worden is one of 44 artists included in the 4th annual The Cup, The Mug exhibition on the second floor at Main Street Arts, a national juried exhibition of drinking vessels. Work from the exhibition can be previewed and purchased through the gallery’s online shop. The Cup, The Mug runs through December 14, 2019.

 

Inside the Artist’s Studio with Emile Bouvet-Boisclair

I am a French Canadian born ceramic artist, residing in Chicago, IL for the last decade. 

artist Emilie Bouvet-Boisclair

Artist and a board of marbled cups. Photo by: Alexis Bouvet-Boisclair

Clay entered my life when I was 13. I was gifted lessons for Christmas with studio potter Lloyd Fitzsimmons. I long considered myself a painter, eventually graduating from State University at Geneseo with a BA in Fine Arts and a concentration in figure studies and water color. Despite this, as a teen, I purchased a potters wheel with my babysitting money before graduating from high school, and in my 20s, continued to enroll at local ceramic studios from time to time. Throwing pots was a welcome release from the seriousness with which I approached my canvases.

This set depicts flora and fauna native to North America- the Cuckoo bird and Paw Paw tree- one of the few fruiting trees native to this continent.

This set depicts flora and fauna native to North America- the Cuckoo bird and Paw Paw tree- one of the few fruiting trees native to this continent.

When I began merging my painting experience with clay, pottery making took on a more serious role in my life. I approached glazing pots with the eye of an oil painter — layering techniques of line inlay, and sculpture with glazes, colored slips and stains to achieve depth and nuanced color.

Jewelry box with typical adornment of flowers and also brains. Jewelry boxes are often gifted to young girls, one of many ways we initiate their values and status in society - this serves as a reminder of the importance of intellect.

Jewelry box with typical adornment of flowers and also brains. Jewelry boxes are often gifted to young girls, one of many ways we initiate their values and status in society – this serves as a reminder of the importance of intellect.

My work addresses an appreciation of nature and a hope to conserve the environment. 

birch wood inspired vases by Emilie Bouvet-Boisclair

The stillness of a birch wood forest is captured in my speckled line of vases.

The animals in my work often have very emotive facial characteristics — with the goal of creating a connection between the viewer and subject.

pufferfish planters by Emilie Bouvet-Boisclair

Pufferfish planters

Humans need to be better stewards of our shared home. Many of us live lives away from the small wonders of the natural world, wrapped in a bustling concrete jungles distracted by bright screens, crowded buses, and constant distraction . It is easy to forget our dependance and interconnectedness with our environments, and also all the creatures that share the earth with us.

Large bowl featuring puffins in a melting arctic with a rainbow throughout. The rainbow refers to a Christian story of Noah's Arc, and God's promise not to flood the earth ever again. We find ourselves in a time when sea levels are rising as a result of human industry; and our leaders are in position to play god to our planet, weather for better or for the self interest of the few.

Large bowl featuring puffins in a melting arctic with a rainbow throughout. The rainbow refers to a Christian story of Noah’s Arc, and God’s promise not to flood the earth ever again. We find ourselves in a time when sea levels are rising as a result of human industry; and our leaders are in position to play god to our planet, weather for better or for the self interest of the few.

Puffin and Rainbow Bowl (D) copy

Detail from Puffin and Rainbow Bowl.

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Photo by: Alexis Bouvet-Boisclair

My studio practice balances my love of sitting down and throwing production with creating more detailed, singular work. Throwing a board full of rounded vases is a meditation and a mental groove I can ride all day long. I find it gives me the mental space to develop and realize larger and more developed pieces.

Pottery requires a humbleness — there are so many facets of ceramics that have taken years to master — and there are lifetimes more of learning. Always having a challenge that seems attainable is one thing I enjoy from pottery making. It is a field which demands hours and full attention; the hurdles overcome and subsequent results in my artistic journey are hugely gratifying. 

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Pots in production. Every one of these that was a success has a pot that failed behind it.

In the last month, I learned to throw large pots — that was hugely difficult and tearful (this was for a commission with a tight deadline which I self assuredly accepted) and also self validating.  Each pottery technique that is mastered will open the door to new ideas and projects. 

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I love the interplay between the grouping of large pieces. These found a permanent home at the Hoxton Hotel in Chicago- they echo the stillness found on the lake front. Lake Michigan is a place to find a bit of peace from the city noise.

On the horizon for next year, I plan to experiment more with throwing large series; I enjoyed the play and interaction with scale, form and color in the pieces in my last collection. I also plan on bringing light into my work — I am interested in the possible narratives and hidden worlds that could be created using light — so hardwiring bulbs will be a skill I hope to attain soon as well. 

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Right now I am a potter- but I will always consider myself an artist first and hope to dip into my box of oils sometime in the future. 

You can see more of my work at TwinettePoterie.com or @TwinettePoterie on Instagram.


Emilie Bouvet-Boisclair is one of 44 artists included in the 4th annual The Cup, The Mug exhibition on the second floor at Main Street Arts, a national juried exhibition of drinking vessels. Work from the exhibition can be previewed and purchased through the gallery’s online shop. The Cup, The Mug runs through December 14, 2019.

Meet the Artist in Residence: Vickie Pierre

Vickie Pierre artist in residence at Main Street Arts during the month of November 2019, is working in one of our two studio spaces on our second floor. We asked Vickie some questions about her work and studio practice:

Artist Vickie Pierre

Artist Vickie Pierre

Q: To start off, please tell us about your background.
I’m originally from Brooklyn, New York and graduated from the School of Visual Arts 1997.  I’ve been living and working in Miami, Florida for the last 20+ years.  Prior to my full time studio practice, I spent years working as a fine art preparator in New York and then a Museum Registrar for local institutions in Miami.  I now work occasionally as a Registrar Consultant for local collectors and museums.

I Can't Say No to You (Good Enough) 2014 Mixed medial installation

“I Can’t Say No to You (Good Enough)” by Vickie Pierre, 2014. Mixed media installation.

Q: How would you describe your work?
My practice includes painting, collage and installations. I explore my Haitian American identity, with references to design and the decorative arts and the natural world. I also consider the connections between my Caribbean heritage and global cultural mythologies and their relationship to contemporary cultural politics.

Elemental Mistresses (The Power of 3) 2016

“Elemental Mistresses (The Power of 3)”, by Vickie Pierre, 2016

Q: What is your process for creating a work of art?
My paintings and collages usually begin with background color buildup followed by basic forms applied with rubber stamps or brushes. Sometimes I’ll draw on the surface to mark out possible shapes and collage placement. The assemblages and installations are trickier. I’ll visualize these projects for a longer period of time, even before I sketch it out. Once I’ve completed it in my mind, I’ll put it to paper and then the best part, I make it!

That's How Important She Was (Poupees in the Bush series) 2019, Acrylic and decorative paper collage.

“That’s How Important She Was (Poupees in the Bush series)” by Vickie Pierre, 2019. Acrylic and decorative paper collage.

Q: Who is your favorite artist and why?
I have many favorite artists (old and new) so it’s difficult to choose… I love the Surrealists and Matisse. Barbara Chase Riboud, Miriam Shapiro, Faith Ringold and the Saar Family women. There’s also Willie Cole, Jim Hodges, Lari Pitman. And of course back to women! All of the incredible women artists who have inspired me for decades: Petah Coyne, Annette Messager, Chakaia Booker, Sue Williams and on and on!

Queen on the Pyre (Poupees in the Bush series) 2018, Acrylic and decorative paper collage.

“Queen on the Pyre (Poupees in the Bush series)” by Vickie Pierre, 2018. Acrylic and decorative paper collage.

Q: Where are your favorite places to see artwork? 
One of my favorite places to see artwork is at the Geffen Contemporary at MOCA (previously the Temporary Contemporary). I lived in Los Angeles in the early 90s just before enrolling at SVA and spent many hours visiting with the art there.

She Wolf (Poupees in the Bush series) 2018. Acrylic and decorative paper collage.

“She Wolf (Poupees in the Bush series)” by Vickie Pierre, 2018. Acrylic and decorative paper collage.

Q: What advice would you give to other artists? 
My advice for others artists would be to determine from the onset if being a working artist is what you ultimately want. Perseverance is so important to sustaining your practice, even when it seems as if nothing is happening. My instructors at SVA used to say, ” work comes from work” and “paint your truth” so I try to practice everyday even when I’m not in my studio. I always have a pad and pen with me to jot down ideas or draw a vision that may come to me.

Totem For My Sisters (We Are Illuminous!) 2019. Mixed media installation.

“Totem For My Sisters (We Are Illuminous!)” by Vickie Pierre, 2019. Mixed media installation.

Q: What are your goals for this residency?
My goal for this residency is to continue working on the current themes in my work but also include elements of inspiration from living and working in Clifton Springs. I plan on using this opportunity to work on several projects including larger collage artworks.

Q: What’s next for you?
I have a solo exhibition coming up in the next year, so I plan on continuing to work and prepare for this career milestone.

Q: Where else can we find you?
My work can be see on my website: www.vickiepierre.com and on Instagram: @vpvpierre

Meet the Artist in Residence: Jeff Schofield

Jeff Scholfield artist in residence at Main Street Arts during the month of November 2019, is working in one of our two studio spaces on our second floor. We asked Jeff some questions about his work and studio practice:

Jeff Schofield

Jeff Schofield

Q: To start off, please tell us about your background.
I grew up as an American expatriate in Europe, where I lived with my family for decades. I studied architecture at Columbia University and pursued a career in New York, Paris and Dubai designing sustainable buildings and urban masterplans. Along the way I began making art, also expressing sustainable themes, which gradually developed into a full-time occupation. For the past ten years I’ve devoted myself to artistic pursuits, which includes curatorial work in galleries and art fairs. I studied sculpture at Cranbrook Academy of Art in Detroit, Michigan, where I am currently based as an emerging artist.

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“Beach Litter” by Jeff Scholfield. Plastic and metal litter in recycled glass jars filled with lake water

Q: How would you describe your work?
I am an installation artist working with sustainable themes. I upcycle found objects, such as beach litter, salvaged wood, newspapers, car parts and everyday detritus, into irreverent art installations. My material choices involve discarded items with their own life cycles, containing stories of human use, interaction and ultimately disposal. I experiment with this detritus through processes of collecting and cataloging to create large scale artworks examining critical narratives that question the sustainability of post-industrial society.

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“Michigan Forest Fire” by Jeff Schofield. Burnt tree trunks hung on metal chains.

Q: What is your process for creating a work of art?
I use two complimentary approaches to investigate the landscape as a source of artistic expression. One, I explore outdoors to document specific sites of human trespassing in nature, which I try to interpret through in-situ installations. Two, I install artworks indoors using discarded materials found in the field. I conceive this artwork in the open air, through walks, hikes and forms of wandering, as methods for collecting and documenting the land. Landscape interventions are expressed through photography to highlight aspects of human agency, and through collection to understand natural sites as retainers of those agencies. I explore notions of “making do,” material life cycles, overproduction and accumulation.

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“Picnic at the Beach” by Jeff Schofield. Recycled plastic picnic ware and life vests hung on ropes and buoys.

Q: What is the most useful tool in your studio?
I use the camera a lot while developing a large-scale art installation, especially regarding an outdoor piece. There are two main reasons for employing this technique. One, the siting and lighting are crucial for the public to view a piece properly, and photos provide me insight on how to do this comprehensively right from the start of a project. Second, many of my outdoor pieces are intended to decay over time, and photos allow me to record this process visually, so viewers can see the progression and understand the underlying concept as a narrative.

"Beach Toys" by Jeff Schofield. Recycled plastic beach toys hung on ropes and buoys.

“Beach Toys” by Jeff Schofield. Recycled plastic beach toys hung on ropes and buoys.

Q: Do you collect anything?
Collection is a cornerstone of my art practice. I accumulate many things found in nature, in the city, in my kitchen, among my friends, almost anywhere. Found objects constitute my art palette, including plastic, metal, glass, ropes, newspapers, salvaged wood, burnt wood, beach litter, forest litter, sidewalk litter, old toys, broken toys, broken tools, rusty tools, rusty nails, hair, hats, shoes, belts, wheels, tires, car parts, almost anything non-perishable. Storage is a big part of my art practice, and I manage this constraint as well as I can.

"Subject to Flooding" by Jeff Schofield. Sapling tree trunks on forest floor

“Subject to Flooding” by Jeff Schofield. Sapling tree trunks on forest floor

Q: Who is your favorite artist and why?
My ultimate reference is Marcel Duchamp, who pioneered “ready-made” artwork a century ago. My upcycling artworks derive from this, though they are many generations removed. Contemporary artists I look at include Andy Goldsworthy, Lauren Bon, Mona Hatoum, Mary Mattingly and many others too numerous to mention.

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“Ford Escort” by Jeff Schofield. Car body parts hung on ropes and pulleys

Q: Who inspires you and why?
Hemingway, whose deceptively simple writing style expresses vivid emotions.

Philip Glass, whose whimsical compositions exude deeply emotional sounds.

Greta Thunberg, whose simple message on climate change is universally powerful.

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Trash to Treasure Series: “Banner of Trash” by Jeff Schofield. Found objects bound with twine

What was your experience like at art school?
Cranbrook’s multi-disciplinary pedagogy provided me a chance to delve into the complex inter-related realms of art and design. Most striking was the sheer diversity of the student body; everyone was unique in character and talent. I learned how to search for artistic freedom, and this creative journey will continue for a lifetime. Preparing a master’s thesis forced me to build bridges between visual thinking and conceptual writing. I adopted collaboration with fellow students as a working method to develop sustainable ideas more broadly. Sharing these events with others, including the successes and failures, helped me build a permanent network of professional colleagues.

"Outside Ourselves" by Jeff Schofield. Storm-damaged pear tree branches.

“Outside Ourselves” by Jeff Schofield. Storm-damaged pear tree branches.

Q: What are your goals for this residency?
I aim to continue building the body of work I am currently developing with plastic and metal found objects. I will work with discarded materials that can be found in Ontario County public parklands in order to explore human transgressions of natural sites. I will make day trips to local parks, trails, lakes and rivers to collect thrown-away plastic, metal, glass and other inorganic waste. The landscape offers unexpected sources of inspiration and materials, in this case discarded junk. Using everyday items such as string, wire, paper, scrap fabric, etc, I will transform ordinary items into extraordinary artwork. My purpose is to interrogate received notions of recycling and repair. I aim to explore wacky and nonfunctional art forms by converting trash into treasure.

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Trash to Treasure Series: “Pillow of Trash”. Found objects bound with twine

q: What’s next for you?
As an ongoing program, I plan to visit other natural sites around the country and examine discarded refuse as materials to create art expressing sustainability issues specific to each locality. I am scheduled for an Artist-in-Residence program at PlySpace in Muncie, Indiana, in the spring of 2020. Just before then I will have a solo exhibition at Hatch Art Gallery in Detroit, Michigan. I will also participate in a group exhibition at the Sculpture Center in Cleveland, Ohio, in the summer of 2020.

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Q: Where else can we find you?
My website is www.JeffSchofield.net
My Facebook art page is Jeff Scofield Art