‘Valenspringtine’ In Progress

Kristen Kieffer yunomi (in progress) w. flowers, Colorized series  Kristen Kieffer Deluxe clover cup (in progress), Arabesque modern seriesKristen Kieffer Deluxe clover cup (in progress) w. stripes and polka dots  Kristen Kieffer yunomi (in progress) w. Honey bees, Pollinator series

Pictured are my in-progress, Deluxe clover cups and Yunomi
at the leatherhard stage with completed decoration.

December tends to be a quieter time in my studio, a month I try to use for play and development in the midst of ongoing deadlines. For the last six weeks, I’ve focused on color, specifically more.

Around 2012, I began to add hand-brushed color in my stamp patterns, from bits to a bit more. Since this past spring, I’ve been hand-brushing several colors into one or two whole stamps (an image stamp vs. an abstract pattern) creating what I refer to as my Colorized Series. For me, the dazzling color from one completely colored image creates a focal point. The surrounding, uncolored stamps feel wistful and softer, like memories. Hand-coloring every stamp would be prohibitively time-consuming, but more importantly, full color on every image would feel commercial. I want to entice the cup’s owner to turn it ’round in the hand to find, appreciate, and ponder each honey bee (above), for example, colored and uncolored.

The delightful reception to my new Colorized cups encouraged me to delve deeper into cherry reds and cupcake pinks during my December play month. I’m a huge lover of color, but the technical logistics of color in ceramics, in addition to my general glacial aesthetic growth (in no small part because I allow myself to be a precise maker) slowed my figuring of how exactly to bring color to my pots. Suffice it to say, color is happening!

This particular color palette and my ongoing desire for it to be spring year-round (which does not happen here in Massachusetts) lead me to spend my six weeks of play on Valentine-inspired cups, a new series with colorful shapes I’m calling Arabesque Mod (a nod to my love of Islamic art, juiced with contemporary color and mod flair), new flower stamps, and as many polka dots and stripes as I could fit on a cup (above).

The ‘Valentine/Spring in Feb’ or ‘Valenspringtine’ cups, tumblers, and few tableware pieces will be listed in my online shop on Friday, January 30th at noon EST.

Studio Cycles Pictorial 2014

Kristen Kieffer tumbler and wild daisies  Demonstrating with Chandra DeBuse (l) and Kristen Kieffer (r) at St. Pete's ClayKristen Kieffer Indigo plate details  Kristen Kieffer new stamps, florals and beesHannah  Kristen Kieffer teapots in progressKristen Kieffer Stamped vases  Taping the Tales of a Red Clay Rambler podcast w. Michael Kline (l), Julia Galloway (m), and Kristen Kieffer (r)Kristen Kieffer bisqueware in progress  Kristen Kieffer chop signatures, cup mandalaDemonstrating with Kathy King (l) and Kristen Kieffer at Southern IL U., Carbondale  Poster girl, The State of Clay exhibition, MA, Kristen Kieffer Grande jarKristen Kieffer sketchbook  Kristen Kieffer glaze testingWorkshop tools  Vases and Visiting Artist month at The Archie Bray FoundationKristen Kieffer wall pillows in progress, May at the Bray  Kristen Kieffer studio influencesKristen Kieffer Screen Vase detail  Demonstrating with Matt Long (l), Adam Field (m), and Kristen Kieffer at the Mary Anderson Center, INKristen Kieffer's pots as contour drawings, studio  Kristen Kieffer flower brick stages in progressKristen Kieffer test tiles  Kristen Kieffer Cherry cup detailKristen Kieffer sketchbook drawings  Kristen Kieffer Arabesque mod tumblers in progressKristen Kieffer Arabesque mod plates in progress  Kristen Kieffer

This is my fourth, year-end roundup of goings-on images from my studio and on the road as a workshop presenter, and this year, Visiting Artist. It’s fun for me to look back on the collection of images I’ve shared, and reflect on what’s continued from past years and what was new in 2014 for me as maker. These are just a selection of favorites I posted throughout the year on my Facebook and Instagram. As with past years, it’s not an order, it’s a cycle.

As always, thank you for your continued support of my work and studio.
A happy, healthy New Year to you and yours!

Studio Cycles Pictorial 2013

      
   
      
          

It’s enjoyable to put together this annual, year end pictorial of images from my studio of in-progress and new work, as well as artist goings-on, and reflect back on both 2013’s newness and continuations. These are just a selection of images I posted throughout the year on my Facebook page and now Instagram too. As with last year’s, it’s not an order, it’s a cycle.

As always, thank you for your continued support of my work and studio.
A happy, healthy New Year to you and yours!

Detail Within Detail & Luxury

Kieffer Matryoshka doll cup in progress  Kieffer Matryoshka doll cup in progress slip-trailKristen Kieffer signature and KK chop  Kristen Kieffer Matryoshka, quail and Nouveau cups

Above are a couple in progress shots of me brushing blue underglaze into the stamped pattern of a cup, and then slip-trailing even more detail within. I designed and made this stamp after my childhood Matryoshka doll set, which now happily resides on my adult dining room bookshelf, and is looking at me as I write about her (them).

I throw, stamp (usually between 16 -18 stamps per depending on the stamp size), and alter each of this style cup, hand-pull and build the two-piece handles, and finish with slip-trail, and —now, about 2/3 of the time— underglaze deco.

I take out 25 or so stamps I designed and made to decorate my usual series of 30 cups, which keeps it interesting for me and adds to the one-of-a-kind nature of my work. Combined with my use of 10 different color glazes and 4 different color underglazes, there’s rarely two cups a year with the same stamp in the same colors. Plus, I’m also always adding and subtracting stamp patterns from my repertoire. So, there were only two Matryoshka cups in this series, each in a different blue, one with sky blue detail, the other with tangerine.

Kristen Kieffer chop signature KKI sign all of my pots with a stamp I made (1999-00) of how I print my last name, ‘Kieffer.’ My cups also receive a second stamp at the base of my two-part handles: a mirrored pair of Ks. The KK styling is how I first signed my pots, and is a nod to my beginnings in clay (1991); a sentimental signature.

My cups are glazed with a satin exterior and glossy interior of similar colors to contrast the surface, add to the tactility and function, and allow the monochrome color to balance the surface and highlight the form. Glossy glaze is also brushed into the stamping to catch shine off the satin during use.

Each cup is individually made for comfort, durability, use, AND elegance. A study into the impact of cutlery and tableware on eating and enjoyment summarized in this NPR story perfectly reflects my goal of bringing ornate to the everyday. A handmade cup and plate can be a scientifically proven luxury that enhances your food and drink, a mini daily celebration for yourself. You can procure some of your own pottery enjoyment in my online shop right here.

Architecture Influence Invite & NCECA

Burr House Porch Kristen Kieffer Burr House Flower brick II

I’m delighted to have work in a very unique show at this year’s NCECA, Houston conference curated by ceramic artist, professor, and color guru George Bowes. He invited 18 clay artists to participate, and paired each of us with a specific building in his city of Galveston, TX to use as inspiration for a completed work. The Dwelling on the Gulf: Ceramic Artists Respond to the Architecture of Galveston exhibition takes place at the Galveston Historical Foundation from March 9-28, 2013 and is on the bus tour for NCECA. You can read more about George’s thoughts on the show and see a couple more in progress pix by participating artists here.

Burr House roof line and porch Burr House as flower brick drawingsFlower bricks in process Kieffer Burr House Flower bricks

My assignment was the Lemuel and Julia Burr House (c. 1876), which has a “mixture of classic, gothic, and Italianate styles, and is attributed to Nicholas J. Clayton, Galveston’s leading 19th century architect.” Pictured above is ‘my’ house; drawings I worked up contemplating the house as a pot, its form and deco; leatherhard, in progress; and finished.

I opted to turn my house into a flower brick, an idea that relates to past work, but is much more intricate and based directly on the porch and styling of the Burr House. I incorporated light blue underglaze into the “porch openings” to reflect the sky as well as porch ceiling, navy mishima lines to echo the windows, slip-trailing to illustrate the surrounding trees and gardens, stripes for the roof line, beading for architectural detailing, and polka dots for fun. Invitationals for a specific form and/or influence are fun and challenging, and always push me to do shapes and details beyond my “usuals.”

Participating artists include: Peter Beasecker, William Brouillard, Joan Bruneau, Kristen Cliffel, Deirdre Daw, William Edwards, David Eichelberger, Carol Ann Fer, Julia Galloway, Bill Griffith, Suze Lindsay, Kari Radasch, Louise Rosenfield, Judith Salomon, Richard Shaw, Aaron Sober, Holly Walker, and myself.

Kieffer pots NCECA 2013 Kristen Kieffer place setting La Mesa 2013

For those who are attending NCECA in Houston, come cheer me on as one of four headlining demonstrators! In addition to the Dwelling exhibition, I also have work available at the Houston Convention Center Gallery EXPO with 18 Hands Gallery, opening Tues eve. And a place setting at Santa Fe Clay‘s La Mesa Exhibition at the Holiday Inn Express Downtown. Both are open during the conference, March 20-23.

For those who are unable to attend, no worries! I’m already stocking up my online Etsy shop with new work before I go here, and have upcoming workshops scheduled you can check out here. Hope to see you, and thanks so much for the support!

Retro Month, In Progress

This last month has been about allowing (maybe giving) myself time to play. YAY! It’s a rare thing for me because of deadlines and requests; my inherently deliberate pace (‘fast’ and ‘detailed’ are mutually exclusive it seems); and currently, perennials are calling to me like Sirens to abandon my studio and toil away my afternoons with them. I chose to play by re-visiting forms from the past, so it has been Retro Month for me here in the studio. Perhaps I felt a bit guilty for sidelining other responsibilities, or I’m just a masochist, but I apparently chose to re-visit some of the most complicated forms I’ve ever made. Go figure.

The first things I made were six Corset vessels (above). This is a form that is the most distinctive in my reperatoire I think, but is actually not a form I make often. In fact, I haven’t made the size pictured (+/- 9″ h) since 2005 when I was still firing cone 10 soda. For some reason when I moved to mid-range electric-firing in ’06, I scaled them up to 15-18″ and made only a couple every so often. So, it was fun to work on a smaller scale with patterns and polka dots I’ve developed in the last years. Indeed, a big part of the point of Retro Month was to bring my new palette (color and pattern) and accumulated experience to familiar, loved forms.

Next, I made Double-walled Baskets (only three; the one pictured above is my fave). I made these the latter part of graduate school at Ohio University over 10 years ago. I LOVE this form—pouffy walls, upholstered-looking surface, voluminous shape, elegant yet jovial attitude—but it is truly a technical nightmare, basically everything that clay doesn’t like or want to do, particularly in porcelain. While this image was the most “liked” pic I’ve ever posted on Facebook, and part of my style has always been to partially ignore the personality of clay, these lovelies may not be coming to an online shop of mine near you soon. They may have mostly served as a wistful reminder of why I stopped making them last time. We’ll see, but I’m not holding my breath as much as they appear to be.

Lastly, I made sets of Screen vases, which haven’t happened for a handful of years for no particular reason, not since my stripy/dotty phase began anyway. I love how these zig zag together in pairs and trios, pattern flowing from one to the other. These were supposed to be the less laborious end to my month…which made my hubby laugh (with love, of course).

Studio Cycles Pictorial 2011

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I’m certainly in no rush for 2011 to end, though as the holidays approach and attentions (mine) get divided, now seems as good a time as any to post some of my studio and in-progress shots for the year. Ceramics is very much *make, fire, glaze, fire, repeat,* so these images aren’t in order, but rather the repetition is the order. Most all these pictures I’ve shared throughout 2011 on my Facebook Ceramics page (my favored place to post a quick pic, musing or update in between blog posts), but seeing them all in one place is a reminder of my productivity and progress over the last eleven months. 2012, I’m ready for more!

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Batter bowl light and shadow 
 
 
 
 

The Color Odyssey

I could assert that the first characteristic most people notice when laying eyes on most anything, including a handmade piece of pottery, is its color. The color can compel you to stop and note the form, drawing you in to glimpse the details, or drive you to keep on walking if its hue doesn’t strike your fancy. Color is important to us. Whether it’s the first feature we notice or the fourth, and whether we like less or love more, it can be the deciding factor towards a purchase.

Over five years ago (when I switched from cone 10 soda reduction to cone 7 electric, which means everything from my clay to glaze color to surface quality changed), I did months of testing to create my current palette pictured above (clockwise from top right): Ivory, Frost, Honeycomb, Lime, Rosa, Blackberry/Garnet, Grape, Caramel and Cornflower blue. Because of necessity and aesthetic interest, I’m in the exciting (and exhausting) throws of testing once again to re-vamp my entire glaze palette.

I began this new round of testing with specific colors in mind, but since glaze is nothing like paint (i.e. what you see is not necessarily, even rarely, what you get), allowed process and discovery to sway those expectations. There are a variety of thoughts that swirl through my head as I make the elaborate test tiles that mimic my pottery surfaces, weigh materials while donning my Darth Vader-sounding respirator, and stare at the resulting tests willing a small segment of tiles to call my name the loudest. See photos from my studio in the “Glaze testing” photo album on my Facebook Ceramics page here.

First, as I am the person who by far spends the most time with my work, I need to like the colors I choose. Sounds obvious, but if I didn’t need to like the color, my palette (and pots for that matter) would be quite different. (All potters are aware of a handful of colors that have a higher probability of sale, thus the name Cash Flow Blue for a particular cobalt glaze.) However, salability doesn’t win over likability for me as the maker.

So as a lover of color, it won’t be in my palette if I don’t love it, but the close second in my decision-making is needing you —my collectors, buyers and supporters— to also love one or many in my palette. This point also plays into the reason I have, and will continue to have, so many colors. I would be bored to tears if I was surrounded by only one, two or even three colors, finding it impossible to pick so few anyway, but variety is a way of broadening my audience-base while also attaining my first criteria above. Converse to my ruling out colors of which I’m quite fond because their audience-interest would be too narrow, by increasing the kinds of color (lights to darks spanning the color wheel) I offer, I can potentially garner more clientele than if I only sold green pots, for example. So, I do recognize and appreciate the need for balance between my taste and that of my customers.

There are many more important considerations in choosing color, but their rank is indecipherable to me after those first two key criterions. So in no particular order, I also consider:

The color should compliment the style, content and vision of my work, which of late means a lean toward “light-hearted,” infusing some modern merriment into my Victorian modern style.

The individual colors should work together as a whole (including underglaze stripe and dot colors) to create a pleasing palette when the work is grouped in my online stores and brick-and-mortar galleries.

I like there to be a balance of lights and darks, softs and brights, and colors on the wheel for variety as well as photogenic potential. (I’d say it’s a truth that images are more broadly “consumed” than product.)

There are colors (like purple and gold, and more recently, blue) that I’ve used for a while that feel like “signature” colors (i.e. colors my audience expects and enjoys on my work), so I like to continue those in some way for, well, continuity.

I try to be thoughtful of colors that suit the function. From food to flowers, I want to have colors that feel suitable to the use I put forth in the pots. (Not all the colors will work for both tortellini and tulips, but I like all to work for some.)

So! The image above illustrates a grouping of potential new colors in the front row (also in swatches below), and most of my current palette in the second row of tiles. I included some of my finished pieces with the stripes of Red, Lime, Light blue and Tangerine in the background to show how those warm bits of color will continue, and play with the new colors.

  
  
 

In addition to deciding on the colors themselves is the need to name the colors! Since everyone conjures up a different mental picture for the simply named “blue,” for example, I seek to find short names (usually relating to fruit, flowers or nature in general) to conjure the right “color flavor.” Here are some names I’m leaning towards for now, and may ask for your help with in the future!
First row: A. Honeydew, B. Gold or Golden, and C. Kiwi/Dark Celadon/?. Second row: D. Apple green/Citron green/?, E. Aqua, and F. Sky/?. Third row: G. Ocean/?, and F. Violet/?. There are more tests to do (I have the glossies to tackle next!), decisions to be made, and several months to pass before new colors begin to appear, but stay tuned as the odyssey continues!

P.S. My humble take on color trends. It’s not very feasible for most potters to change colors seasonally or according to trends put forth by Pantone (a company I love) or other color moneymakers. (Should color trends apply to art unless it’s a commentary about color trends anyway?) Some ceramic artists use brushable glazes, which would actually make both change in color as well as vast numbers of color possible. All my pieces, however, are dipped in 5 and 10 gallon buckets of glaze. This volume of material means that there is both a physical (or rather spatial) and financial restriction to change as well as numbers of glaze. (I mentioned earlier that my current glaze palette began with nine, but all of my glazes have a glossy counterpart that I use on the interiors and as accents, so the number is actually double!) This is in addition to the length of time required to test and find new colors. So, I’m aware of trends and their potential but they’re too finicky and fleeting for me to follow with my current techniques and logistics.

If you’re on Facebook, I regularly post a pic, link or blurb here on a weekly basis —like images in the “Glaze testing” album— if you’d like to keep up with my work and studio in between my blog post musings. You can also subscribe to this blog in the upper right column under the heading Blog Subscription so that new blog posts go directly to your email inbox and you won’t miss a thing!

“Veys,” “Veyz,” “Vahz”

Spring means it is finally warming up here in north, central MA. For me, this primarily means things will start to bud and bloom which gets me all excited to sit on our porch and observe my gardenwhich makes me want to make vases.

Last summer (July ’10) during a two-week residency at the Watershed Center for the Arts in Maine, I made a new prototype vase (finished right). As is not uncommon for me, play and design are waylaid by deadlines, so I’ve just gotten around to making a next and improved version now (in-progress left).

Vase forms are a perennial (the pun that had to happen) favorite for me because they can be any shape, size and color, but are equally challenging in the balance between function and beauty (i.e. the potential to elegantly arrange flowers matched with a form that doesn’t overpower the display, but looks attractive and interesting sans posies). “Vase” is such a vague term though because it can be any size, shape and color. I wish there were more specific names for vases intended for certain flowers (like the “tulipiere”) or names that designate a certain size or shape (like the “flower brick”). This Vase In Floral Design page I found gives something close to what I’m craving, giving nice summations on various vase shapes and how they’re used best with tips and notes.

My new, large (15″ h) wire lattice vase is intended, however, to be more sculptural than functional, and is a slight mash-up of form inspiration between a small, cobalt blue glass vase of my Great Grandma’s (similar to the first image below) and a brass antique find that sits in my studio. The wire creates an airy finish to the top of the vase, appearing a bit like a blue-print drawing, a crinoline framework or the unfinished, underlying architecture of the clay part itself. The wire is a way for me to draw in three-dimensions and is a nice contrast material to the clay. (I enjoy working with the wire, but the humbling nature of clay and its shrinkage does not always cooperate with my master plans for elaborate wirework, so we’ll see how it fairs in the firings). I, of course, finished this muscular form off with suggestions of Victorian wallpaper layered over mod candy stripes.

Below are a selection of vases, from antique to contemporary, in a variety of sizes and materials that caught my eye for this post. (You can see the trend that I tend to like pedestal or footed vases.) There are more of my favorites in this post here too. Enjoy!

   
   
 
   

From top right: Laced-edge glass vase c. 1920; Vintage trumpet milk glass vase; Antique brass vase; and “Eva” solitaire glass vase. Second row: Etched vintage glass vase; Vintage ruby and gold glass vase; Vintage 1950s Hull vase; and antique Louis Majorelle glass and iron vase. Third row: Anika Engelbrecht ceramic, and balloon Swell vases and Petite Friture Ikebana vases. Last row are all KleinReid: Cyril vase, Chateau bud vase, Upright vases by Eva Zeisel for KleinReid, and Peep vase.

In Progress—Corset Vessels

Corset In Progress I Corset In Progress II

Left: Altered, darted and footed.  Right: Cut and defined lip/neckline.

Corset In Progress III Corsets in progress IV

Left: All four in-progress.  Right: Handles and further definition.

Corsets In Progress V

The first two ladies complete with their slip-trailed deco.

I began this Corset series around six years ago (a story I’ll delve into at a different time) and though I don’t actually make them often, they have become somewhat of a signature form. This vessel idea began as corset-like, becoming more literal before morphing into something I think of now as more akin to upholstered furniture than vintage undergarment.

It was gratifying to spend the last week and a half (not at my computer) making some pots I just felt like making. The four are now complete and drying slowly in anticipation of joining other smaller pots yet to be made for a bisque firing.

The images above show some of the stages in the making process, minus the most dramatic image (because it didn’t occur to me till later to document it). These begin as straight-sided cylinders…subsequently altered, darted, built, added on, refined, defined, slip-trailed, slip-sponged and carved.