Free to Be…Yunomi

Kristen Kieffer Yunomi w. teapot stamps in Cornflower blue w. Navy stripes and detail  Kristen Kieffer Yunomi Pineapple Nana in AquaKristen Kieffer Yunomi in Violet w. Sky blue stipes, Mishima, and floral  Kristen Kieffer Yunomi w. balloon stamps in Frost w. Tangerine polka dots and Mishima detail

I’m excited to share new work with you! I’m posting a couple new pots each day in my online Etsy shop for your collection (or present-purchasing if you can part with the pot!), like these four yunomi, which are the first of several lovelies already available. I’m sharing pix on my Instagram, Facebook, and Twitter feeds, though do visit my shop directly to see what’s new.

These yunomi continue to be one of my favorite forms to make. Despite the smaller size, I’m able to festoon each with layers of ornamentation and joyful imagery that enhance its use, a feast for the eyes and hand. There are a lot of new patterns and layers here, from hand-brushed yellow nana halves to Mishima rays of sun amidst the clouds dancing above the balloons. Each of these and the others to come are one-of-a-kind: thrown, decorated, and even photographed by me, just for you.

In Vogue

I’m pleased to share that my cups are featured in Cottages & Bungalows January 2011 issue in their Retro Shopping section about Art Nouveau design titled “In Vogue.”

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Art Nouveau pattern, design and architecture have been long-time influences for my work. Indeed, I started an animal series (mostly birds and rabbits, like the one pictured below from the magazine spread) about five years ago as a direct result of loving the repeat animal motifs in Art Nouveau prints, wallpapers and fabrics. Art Nouveau’s defining characteristics are organic flowing lines, curvilinear forms and highly stylized floral and botanical motifs. It’s peak was the turn of the 20th century, and was about making art a part of everyday life. Since that all sounds good to me, sometimes I wonder with humor if I’m a maker from a different era. I’m delighted to read however, that according to C & B, Art Nouveau style is *making a comeback*. Well, I’m ready! With Nouveau bells on!

My Sketchbook: Not Just for Sketches

KKActualSketchbookII KKSketchbook4_09 KKSketchbook11_08KKSketchbook11_08II KKSketchbook_09_weaves KKSketchbook_chinaKKSketchbook_layers KKSketchbook_lighting KKSketchbook_oldKKSketchbook_oldII KKSketchbook_WW_Queen KKSketchbook_yummy

More than half my sketchbook is made up of gathered images, making my sketchbook as much an idea book as a place to draw.  Collected images, often mashed-up and flipped around, have become an important part of my process and influence to my work.  When I teach workshops, I usually pass out my last sketchbook because I think it is just as important to see how an artist develops an idea (the origination of a form, texture or sensation) as it is to see a demonstrated technique.  I gather images from all over (magazines, catalogs, museum pamphlets, postcards, etc.) so it’s hard to know where an image came from or when, and while I’ve gotten pretty good at noting what is in the image, sometimes there are lapses, so if it’s not noted now, I didn’t note it before.

KKActualSketchbookII KKSketchbook4_09

First row: This is my current sketchbook (’08-present). I made it using coptic binding, sewn with black waxed thread, allowing it to sit flat when open.  I use duct tape to strengthen and protect the corner edges and signatures for studio use and travel. The outside is collaged with sections from soap boxes. The second image has pictures of women’s and boy’s Russian munisak robes from late 19th to 20th century mixed with architectural details from a contemporary home.  I put these disparate images together because I liked the highly ornate from one time period next to the minimal of another, and both carry ideas for pottery deco.

KKSketchbook11_08 KKSketchbook11_08II

Second row: This first image is a mixture of writing and animal drawings of mine for stamps, collaged with animals from a catalog and Deerfield, a sculpture by Anne Lemanski. The second are notes I jotted next to a variety of industrial design objects and furniture I find influential for form and detail, including Devils wallpaper by Waterhouse for Brunschwig & Fils; Bluffer fauteuil by India Mahdavi for Ralph Pucci; wire birdcage candelabra by The Conran Shop; Variér Eight chair by Olav Eldøy; Now Isn’t That Lovely #7 sculpture by Stephen Johnson; and My Beautiful Backside couch by Doshi Levien for Moroso.

KKSketchbook_09_weaves KKSketchbook_china

Third row: The left image is a pairing in textures.  I love the negative space in each, but I mostly enjoy the dense texture that creates each shape: Light of Tomorrow sculpture by Mimura Chikuho and Welcome the Cube black jacket by Giles Deacon for Fay.  The second image is a collaged influence mixture of manufactured china by Calvin Klein, Paola Navone, Royal CrownDerby and Royal Copenhagen with a photograph I took of a painting in a window storefront in Berlin.

KKSketchbook_layers KKSketchbook_lighting

Fourth row: In the first image, the first page shows the dining room in Donatella Versace’s Milan apartment with murals of Chinese vases and jars on the walls.  The second page is a collage of fabric and wallcoverings by Jakob Schlaepfer with Baccarat Apparat crystal cups and decanter by 5.5 Designers.  On each page, I like the layering and the “real” mixed with its 2-D version.  The second image shows my affection for lighting as influence.  I have both these George Nelson pendant lamps and this Murano glass chandelier (I love the other colors it comes in too) in two different sketchbooks, I like them so much.  They are purposefully flipped sideways and upsidedown to suggest other forms.

KKSketchbook_old KKSketchbook_oldII

Fifth row: The first image is actually an old pairing I use in my slide presentation and had on my studio walls for years.  I put the two together because both Art Nouveau advertising images and Haute Couture clothing are influences, and because their stance and gesture are remarkably similar.  On the left page of the second image is a magazine ad with imagery that becomes tattoo-like, collaged over with a bird I cut out from a friend’s card.  The layering and suggestion is something I would like to have in my work.  The right-hand page is also a very old magazine ad that has been on various studio walls and in my slide presentation.  I purposefully taped this upsidedown to change the context from a couture Miyake dress to the silhouette of a footed vase with striking shadows and pin-stripes.  A reminder to play and change my perspective.

KKSketchbook_WW_Queen KKSketchbook_yummy

Last row:  The left image features two well-known characters and actors.  The costume/dress of both Wonder Woman (a childhood hero of mine) and Queen Elizabeth have been influences because of  their decorative and structured forms.  The contrast and similarity of these two pictures of strong women is both humorous and striking.  The second picture is another interesting pairing that I have titled “yummy” in my mind.  The shapes are curiously similar, but what I appreciate in each is their very different take on extravagance, decadence and compound form.  A crystal chandelier on the left and a sculpture detail of Cherry Bodies by Nikki Renee Anderson on the right.

PS: A hazard of having a glass of (red) wine while doodling in your sketchbook is a spill that results in wrinkled and lavender-tinged page edges.

Artist Favorites

Shepard_Fairey_Mujer_Fatal_mural Martin_Puryear_Bower_80
Alphonse_Mucha_Summer_1896 Wayne_Thiebaud_Boston_Cremes_69 Claes_Oldenburg_Dropped_Cone_2001
Charley_Harper_Shadow_Dancers_1969 Chuck_Close_Lorna_Simpson_2006 Shepard_Fairey_flowervine_red_2009 
Charley_Harper_upside_downy_1988 Kehinde_Wiley_Encourage_2007 Anish_Kapoor_sky_mirror_2006 Piet_Mondrian_Composition_1936

From top left: Shepard Fairey, Mujer Fatal mural; Martin Puryear, Bower, 1980; Second row: Alphonse Mucha, Summer, 1896;  Wayne Thiebaud, Boston Cremes, 1969; Claes Oldenburg & Coosje van Bruggen, Dropped Cone, 2001; Third row: Charley Harper, Shadow Dancers, 1969;  Chuck Close, Lorna Simpson, 2006;  Shepard Fairey, Flowervine Red, 2009; Fourth row: Martin Johnson Heade, Brazilian Orchid, 1875;  Charley Harper, Upside Downy, 1988;  Kehinde Wiley, Encourage good manners and politeness; brighten up your surroundings with plants, 2007; Last row: Anish Kapoor, Sky Mirror, 2006; and Piet Mondrian, Composition, 1936.

These are some of my favorite artists: disparate and similar, spanning over 100 years.  The culminating traits I see here are: formal investigations of line, space and contrast; decoration; beauty; minimalism; poignancy; humor; attention to detail; and a desire for viewer attention and/or participation.  There is overlap of two or more of these elements I enjoy, and hope to have in my own work, in the work by each of these artists.  Good stuff.

Household Influences, Part I

Some of the household details I see everyday in our home, which must seep into my subconscious and penetrate my ideas:

kk_tt_tansu kk_antique_mirror kk_blueandwhite kk_asian_plantstand1 kk_chair_upholstry kk_dish_from_gma kk_dutchtile_and_soap kk_french_table kk_gmas_bells kk_haeger_and_jgreentile kk_jewelrybox_collection kk_kilim kk_nouveau_poster kk_kitchen_blacksplash kk_leaded_glass kk_roadside_lamp kk_samurai kk_shamrocks kk_sidebyside1 kk_us_map1 kk_wool_rug

From top left: “Tabletop Tanzu” detail, walnut and butternut, by Trevor Toney (my husband); Antique mirror, beveled and etched, gift from friends; Blue and white plate (New Wharff Pottery, England) from my Grandma Idene; Second row: Asian plant stand, Brimfield flea market, MA; Upholstery from old armchair, Tiffin, OH antique store; Translucent china-painted dish given to my Grandma by her “8th grade teacher and basketball coach for graduation, 1939″; Third row: Dutch tile (antique store in Nelsonville, OH) and soap boxes; 19th c. French country walnut table, salvaged; Christmas bells from my Grandparents house; Fourth row: Haeger planters and Jason Green tile; Various jewelry boxes including antique black and white ovals (Findley, OH), a Shaker oval (Royal Oak, MI), pyrography box by a Great uncle and a Matt Metz; Kilim rug;  Fifth row: Art Nouveau poster (Tiffin, OH); Our presumably 50’s era kitchen backsplash; Leaded glass window from Detroit flea market;  Sixth row: Working lamp from Ann Arbor, MI electrican’s dumpster; Poster from the Worcester Art Museum’s “Art of the Samurai” exhibition, 2003; Shamrock plant bought in Ann Arbor; Seventh row: 1920s oak side-by-side detail from New Hampshire; United States map detail in my studio; and wool rug from MA antique shop.

Influence: Furniture

   
   
   

From top left: “Furniture” by Joan Busquets I Jane; Seating, Osoram by Konstantin Grcic; lamp by Hector Guimard; Tsubomi by Leif.designpark. Second row: side tables by Warren Platner for Knoll; table by Carlo Bugatti; etagere by Louis Marjorelle; Armchair MT1 by Ron Arad. Third row: Cobra chair by Bugatti; Crochet chair by Marcel Wanders for Droog; patterned sofa by Wanders; “bench” by Guimard.

This is a short pictorial of furniture and furniture designers I love covering more than a one hundred year span of time. The formal elements I appreciate in all of these are line, form, positive/negative space and pattern. I draw influence from contemporary and Modern furniture design just as readily as I do from the Art Nouveau era.

I call this series “Corset” (image far left), but it has become more like a small piece of furniture in my mind. The second image is a collage from my sketchbook and how I meld a variety of influences—in this case, Couture clothing and pattern and a bombé chest—into an idea for a ceramic (my design material) vessel.

Bird & Botanical Influences

illustration M.J.Heade Orchids Mckenzie engraving Peacock J.Hnizdovsky woodcut
 Plant Ornament book M.J.Heade passion Nouveau pattern
William Morris Tulip and Rose Vallentin illustration JollyBe cake William Morris lily drawing
Nouveau pattern M.J.Heade magnolia

From top left: an Australian illustration; Orchids & Spray Orchids with Hummingbirds painting by Martin Johnson Heade; coloured engraving by Daniel Mackenzie; peacock and peahen illustration; rooster woodcut by J. Hnizdovsky;  Second row: image plate from the book Plants & Their Application to Ornament; Passion Flowers & Hummingbirds painting by Martin Johnson Heade; Kingfishers, Dragonflies & Flowering Rush and Butterflies & Wood Sorrel illustrations by M. P. Verneuil; Third row: Tulip & Rose fabric by William Morris (1876); illustration by Mrs. Vallentin from the book Women of Flowers: A Tribute to Victorian Women Illustrators (J. Kramer, 1996); “Neoclassical floral design” wedding cake* by JollyBe Bakery; Golden Lily drawing for wallpaper by William Morris; Fourth Row: Bats & Poppies and Butterflies & Bellflowers illustrations by M. P. Verneuil; A Magnolia on Red Velvet painting by Heade.

Kieffer corset detailsFloral, or at least curlicue, imagery has been a part of (i.e. handles) or on the surfaces of my work for a while. But it was a more general reference. In the last two years, I have begun to place some of the botanical and animal (especially birds) imagery I enjoy, more literally into the surfaces. (I purposefully wrote “into” instead of “onto” because I hope the way that I apply slip, stamp and carve the surface makes the imagery feel a bit more a part of the form rather than flat.)

When I look at the illustrations above, what I like are the soft, repetitive lines that resolve themselves into symmetrical, organic pattern iced with color. The botanicals are easy to come by at antique shops, and I own a few. These drawings appeal to me more than a photograph would; they have a different kind of detail, slightly stylized and romantic. The Nouveau drawings and prints appeal to my sense of pattern and layering—a bird disappeared into a thickness of leaves.

I’m pretty sure the first Martin Johnson Heade painting I saw was at the National Gallery in D.C. a few years ago. They are striking in person, especially for their modest size. They have a wonderfully mysterious atmosphere and depth I would like to capture in some of my own bigger pieces.

Kieffer cups w. animalsMy favorite class as a kid —other than art— was my fifth grade science class with Mr. Morton in Louisville. He could imitate the sound of every bird in the field and trees behind the school, and describe their peculiar behaviors. I thought that was really cool. Between him and my parents, my interest (that curiosity and admiration) in nature, has been there for awhile, but I’ve only just now figured out how I might include it in my work. I think too, in our current culture, we need to reconnect with what’s outside.

Briefly, the peacock and rooster images have popped up in my work lately as an amusing way to quietly question the gender of decoration. If a decorative male bird is featured on work that is perceived as feminine because it is decorative, is it [the work] feminine or masculine? (Did ya catch that?)

Kieffer covered jars I just completed the two greenware covered jars pictured here (not a great image, sorry). This is a new form for me, and bigger too. The one on the left (15″h) has lilacs, and the other (13″h) reminds me of wallpaper.

On a different note, I am off for two weeks to play in clay with a group of other artists during a residency at Watershed called Artists-Invite-Artists. So I’m signing off for that time. May I suggest, while I am stepping away from my computer, that we all spend some of the summer reading real words on paper, like the imminent issue of SP hitting theoretical newsstands post haste!!

*Another cake, I know, I couldn’t resist. I also forgot to mention in the post below that I listen to CAKE all the time. These cakes from JollyBe are amazing, and will probably be featured here every time I mention an influence because she has one for everything! The one I pictured above stated with the image, “…design derived from a mattress cover chosen by the bride who uses mattress design as a source of inspiration for her own art.” How perfect is that for what I’ve been writing about?!

Back in July!

Cake as Influence

Thiebaud cake A. Steeter cake Oldenburg floor cake Cake Girls
Couture cake Thiebaud wedding cake M. Braun cake Trend de la Creme blog image
Cupcake color Architecture as cake Julia Jacquette cake painting

From top left: Wayne Thiebaud’s painting Let Them Eat Cake; Painted Bird Cake, (a real cake) by Amanda Streeter; Floor Cake by Claes Oldenburg; and couture wedding cakes. Second row: another couture wedding cake; Wedding Cake by Wayne Thiebaud; a real wedding cake by Margaret Braun; a great blog entry from Trend de la Cremé pairing runway fashion with couture cakes; Third row: cupcakes by Dozen Cupcakes; architecture as cake; and Julia Jacquette’s painting White on White (Thirty-six sections of wedding cake, swans).

I started looking at wedding cakes eight years ago for decoration ideas. It seemed an obvious reference for me as slip-trailing (squeezing liquid clay through a bulb syringe) is the clay equivalent to cake-decorating.

I’m not sure when I first came across Wayne Thiebaud’s pastry paintings from the ’60s, but I love them. If I could paint, that is the style and possibly content I would choose. I enjoy his fantastical and exaggerated use of color (hard shadows of electric pink) and style that reminds me of the vintage ads I like. The paint is thick, and somehow simultaneously gestural and precise. Some of my influences are abstract ideas, and that last sentence would be a good example of something I see [in a Thiebaud painting, for example] that I would like to emulate in my work —a feeling, a presence.

Kieffer tile trioI also just like the word, cake (the title of and text on the left tile, actually). I am drawn to the sound of certain words (Who doesn’t like to say rutabaga?), especially if they can have different meanings and contexts. I don’t know where I picked this up, but I sometimes use it as an expression to mean, “exceedingly lucky”. As in, “He is in a pretty cake situation since he married a millionaire,” for example.

I chose Claus Oldenburg’s Floor Cake to show because it fits today’s theme, and because I am drawn to his sculpture and drawing for making real, hard forms soft and humorous. Both elements I look to capture in my own work. Kieffer Soft Treasure box

It may or may not be obvious from the images I chose above (and from my last post below): many of my influences overlap. In these things, I see hard and soft lines, humor, form, context and content. A couture dress looks like a tiered cake which looks like a Victorian home, which could be a covered jar—or maybe that’s just me. As I’ve said before, we artists are the blenders of the disparate creating the unified.

Influences: A Pictorial

Oribe ware George Nelson bubble lamps Martin Johnson Heade
Bombe highboy Vintage playing cards Mucha Job Tord Boontje
W.Thiebaud Cakes Fruit crate ad 
Haute couture KleinReid birdcages Vintage wallpaper Louis Majorelle Botanical drawing

From top left: Oribe/Mino ware, George Nelson bubble lamps, Martin Johnson Heade paintings; (2nd row) bombé chests, imagery from vintage playing cards, Alphonse Mucha illustrations, Tord Boontje design, architecture and Victorian homes; (3rd row) Wayne Thiebaud pastry paintings, early 1900s fruit crate labels, Islamic brass forms and patterns; (4th row) haute couture, KleinReid design, vintage wallpaper patterns and textures, art nouveau design, lines and patterns –like Louis Marjorelle, and botanical drawings.