Polka Dot Origin, Influence, & Faves

Dots on my pots!

  Corset series vessel w. dots    
  

My recent work with dots: Screen vase pair, yunomis, flower vessel (Corset series), pitcher, small covered jars, small stamped bowls, and plate.

I started layering dots (and stripes, which will be a future blog post with more influences and faves) in early 2010. The added pattern came through self-critique and seeing a need to both visually pop the raised slip-trail patterns by providing small background color, as well as add some modern fun to the Victorian flavor of my work.

So the primary purpose for the polka dots was to further my love of layered surfaces for the pots, formally creating even more richness and depth. The dots punctuate the patterns.

A close secondary function for the dots has been to add some joyfulness; polka dots are rarely somber. Though I do receive some comments by folks who favorably see ‘Disney,’ I think my pots can appear more serious than I actually am or intend. In some ways, I’m still the five-year-old tomboy who hated my freckles (my own personal polka dots), deciding one summer day that, with the aid of my grape-smelling marker, they would be much better purple. So, the dots are a way to include my influences of sweets, for example, as well as infuse connotations of informality and playfulness.

You can check out all the dotty pots in my online shop here.

Polka dot influences below with more here:

    
  
    
    

Norma Kamali dressTattoo round rug by Deanna Comellini  
  

.Pictured above from top right, first row: Peter Murdoch ‘Dot chair’ for kids; Dot window building in Beirut, Lebanon; and ‘Confetti’ tree skirt.  Second row: Draga Mathilde sofa; and Yayoi Kusama concept store for Louis Vuitton.  Third row: June Leaf organic canvas in Marine; Mod fashion;  and vintage dress.  Fourth row: White-grey ombre dot cake; paper straws; and slipper chair.  Fifth row: Norma Kamali dress; Tattoo round rug by Deanna Comellini; and ‘Op-art Attracts’ wedge by ModCloth.  Last row: Quilt in progress by Judy Martin and starfish.

The origin of the Polka Dot: It is believed that the name “polka dot” came from the Polish polka dance, and first appeared by name in 1854 in The Yale literary magazine. At the same time that the polka dance and music began in the mid 19th century, polka dots were popular and common on clothing. The pattern name was chosen simply because the dance gained such acclaim, which led to many contemporary products and fashions also taking the name. (There used to be “polka-hats” and “polka-jackets,” for example.) Most disappeared with the popularity of the actual polka dance in the late 1800s. Only the printed fabric pattern remained fashionable, and the name stuck.

Polka dot favorites of fellow studio potters and ceramic artists:

Andrew Martin  Brenda Quinn  Malene Helbak
Kari Radasch  Jun Kaneko polka dot sidewalk, Art Museum of South TX
Chiho Aono  Sandblasted process, Hans Tan Studio via Ateliér Keramiky  Ayumi Horie
Harrison McIntoshMeredith Host  Harumi NakashimaTetsuo Hirakawa  Betty Woodman  Sean O'Connell

Pictured above from top right, first row: Andrew Martin, Brenda Quinn, and Malene Helbak.  Second row: Kari Radasch and Jun Kaneko.  Third row: Chiho Aono, Hans Tan Studio, and Ayumi Horie.  Fourth row: Harrison McIntosh, Meredith Host, and Harumi Nakashima.  Last row: Tetsuo Hirakawa, Betty Woodman, and Sean O’Connell.

MFA, Boston Jaunt

  
 

Here are some of my faves from our wicked awesome autumn jaunt to the Museum of Fine Arts, Boston. The MFA recently opened a new wing for arts from the Americas, so many of my pix are from there, but as usual, what I’m drawn to are diverse materials, time periods, shapes, and styles, which will filter into my work in various ways over time. Enjoy!, and see more influence, pictorial posts here. (Hover your cursor over any pic, or click each, for more info.)

  
  
  
  
  
  

Whirlwind to The Met

    
    

A pictorial blog post with some of my favorite items and details from our trip to the Metropolitan Museum of Art in NYC this past Friday. About 4 1/2 hours of driving each way from north, central boonies MA left about 7 hours for some focused wandering. Fast, yes, but still fabulous with new influence ideas to boot!

    
      
      
    

The majority of our time was spent in various galleries of the permanent collection (hover your cursor over my pictures above for details and click to enlarge). The remainder of our time was spent in several of their special exhibitions where pictures are not permitted, so the images below are from the Met’s site where you can see a wonderful selection from each show.

      

The title for the late Alexander McQueen’s exhibition “Savage Beauty” probably best sums up this extraordinary, haunting and gorgeous installation by my favorite fashion couturier. I am glad to own the book for the exhibition, but the in-person experience was unparalleled. Read and see more about this exhibition here.

    

The Poetry in Clay: Korean Buncheong Ceramics from Leeum, Samsung Museum of Art exhibition was also a great treat. Read and see more about this exhibition here.

Travel Influences & Favorites, Pt. I

March – August 2010: PA, MA, NC, TN, & NYC

 
  

The images above are the very few I took during my minimal outings at NCECA in Philadelphia, and include some favorite pieces from a quick jaunt through the PMA (Philadelphia Museum of Art) and one great building somewhere in the city with curved leaded windows. (You can see more of my favs from the PMA here.)

         

The next group of pictures is from jaunts near my home. The first two are from a building in Amherst, MA. I love the tall, slender windows and contrast of brick and stone. The second is a detail of the stone and how they used brick dust in the mortar leaving the stones looking like they are outlined in hot pink.  The rest of the images are from two visits to Historic Deerfield in central Massachusetts not far from our home.  Since I wasn’t allowed to take pictures in the historic homes, most of the pics (except the barn detail and canopy bed detail) are from pieces in the visible storage cases of their museum.  I see different things in each image, from ideas for form and detail to appreciation for handmade and craft like the last two images of the mended bowl and plate.

 
 

These last images are a favorite each of something I saw while teaching at the Penland School of Arts & Crafts (the garden bottle tree in Bakersville) and the Appalachian Center for Crafts (one of the many hand-painted signs on campus) this summer. And last but not at all least are two images of the Statue of Liberty I took when I did a lecture for the Brooklyn Potters Guild.

I’m getting better not only at remembering to take my camera with me, but actually remembering to take pictures as well, and hope to share more of what I see and figuratively bring home to my studio with you here.

Candy, Striped & Quilted

A pictorial montage of some current influences…

  
    
   

…fondant deco, quilted materials (leather, glass and couches), Japanese prints, stripes, candy colors, couture details, tatted shapes, plastic sandwich container form, climbing roses and arched fencing, dots… and stripes.

  
    

Hope to be posting images of some new work that relate to these images (if only in my mind) soon!

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.

Favorites & Influences from the PMA

After teaching my workshop last Thursday at a community college outside of Philadelphia, I spent a leisurely afternoon at the Philadelphia Museum of Art on Friday. It was my second visit, and I highly recommend it.  Larger images of the entire collection are posted at the PMA website (I could only snag the smaller to post here).  These are some of my favorite objects, many of which I sketched and noted in my little sketchbook for future reference and influence.

animals_in_diamond_delft chest_over_drawers compote
green_vase bird_on_a_trough candlestick_sevres coffeepot coffeepot_ri
cylinder_desk_and_bookcase document_box dressing_table_pa
footstool_american bird_tree giorgio_morandi_still_life_1946
interior_of_a_cafe jug_iznik lilac_blossoms
mj_heade pair_of_candelabra persian_tabouret
pillow_song side_chair_pa spice_box two_hares vase_on_brass_mount
vase_with_lid wardrobe
surtout_centerpiece sofa yuan_pillow

From top left, first row: Animals in Diamonds (Dutch/Delft tiles) c.1585 Netherlands; Chest over Drawers, Pennsylvania c.1792; Compote, c.1846 France for President Polk; Second row: Vase, Chicago Terra Cotta Works 19thc. Illinois; Bird at Trough, c.1850 Pennsylvania German; Candlestick, c.1761 Sèvres, France; Coffeepot, c. 1800 Pennsylvania German; Coffeepot, c.1899 Rhode Island; Third row: Cylinder Desk and Bookcase, c.1800 PA; Document Box (painted tin), c.1830 PA; Dressing Table, c.1715 PA;  Fourth row: Footstool, c. 1730 PA; Bird Tree, c.1810 Pennsylvania German; Still Life by Giorgio Morandi, 1946; Fifth row: Interior of a Café by Santiago Rusiñol, 1892; Jug, 17th c. Iznik, Turkey; Lilac Blossoms by Christiaen van Pol, c.1800; Sixth row: Orchids in a Jungle by Martin Johnson Heade, c.1870s; Pair of Candelabra designed by Louis-Constant Sévin, c.1862 France; Tabouret (Persian), early 13th c. Iran; Seventh row: Pillow, Song Dynasty (960-1127) China; Side Chair, c.1870 PA; Spice Box (Painted maple), c. 1870 PA; Two Hares in Moonlight by Cho Tai Eok, Chosòn Dynasty 18th c. Korea; Vase on Brass Mount (glass), c. 1910 U.S.; Eighth row:Vase with Lid, c. 1768 Sèvres, France; Wardrobe designed by Sir Ambrose Heal, c. 1910 England; Last row: Centerpiece (Surtout), Strasbourg faience factory, c.1729 France; Sofa (one of a pair) c.1725 England; Pillow, Yuan Dynasty (1271-1368) China.

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.

Design: Industrial & Fashion Influence

boontje_nest_morosoalexander_mcqueen_fall-08dwi_water_pitchermy_beautiful_backside_for_moroso
alexander-mcqueen-elvie-pursearad_loop_loom_92india_mahdavijohn_galliano
tom_dixon_beat_lights1ron_arad_misfit_couch_moroso_08galliano_for_diorboontje_thinking_of_you_vases
cloverchair_arad_for_driadegirard_dolls_vitrareeves_design_bedhourglass_dwr
From top left: Nest by Tord Boontje for Moroso; Haute Couture, Fall ’08 by Alexander McQueen; Water Pitcher from Design Within Reach; My Beautiful Backside by Doshi Levien for Moroso; Second row: Elvie Purse by Alexander McQueen; Loop Loom by Ron Arad (1992); Bluffer fauteuil (an upholstered chair) and Dot stools by India Mahdavi; Haute Couture, Autumn ’08/Winter ’09 by John Galliano for Dior; Third row: Beat Lights by John Dixon;  Misfit Couch by Ron Arad for Moroso (2008); Galliano for Dior;  Thinking of You Vases by Tord Boontje for Artecnica; Fourth row: Clover Chairs by Ron Arad for Driade (2007);  Wooden Dolls by Alexander Girard for Vitra; Louis Four Poster Bed by John Reeves Design; and Hourglass by Design Within Reach.

I realize the past few posts have been collages of Favorites blending to Influences, but that is where my head is these days.  Besides, I just discovered that the amazing London design duo Nipa Doshi and Jonathan Levien (Doshi Levien) have an elegant and beautiful Loves section on their website here where you can read about their influences, including for My Beautiful Backside.

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.