My new studio is mostly complete (just needs a ceiling). Definitely ready for someone to get to work! Now I have heat and light after three years of cold and dark. What you are seeing is a small (15 x 15′) addition to our basement, where I used to be. A small move, but a BIG improvement!
(Special thanks to my darlin’ hubby for all his hard work to give me a warm work space. Thank you, Sweetheart.)
suede (swād) n. 1. Leather with a soft napped surface. 2. Fabric made to resemble suede. —adj. 1. The state of clay for a slab or thrown vessel soon after “wet,” when the surface is no longer sticky, but still very flexible. 2. A stage of formed clay closer to wet than leather-hard. 3. Quite earlier than “early leather”. 4. The only stage at which I stamp, alter, and dart. [Eng. Kieffer 2003]
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.
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.
Spring is coming! I have added new items to my Online Store for your shopping and gifting (Mother’s Day, weddings, graduations) pleasure. I hope you will buy handmade for yourself or someone special. ♥ P.S. You can still receive a postcard, just drop me a note.
http://www.KiefferCeramics.etsy.com
Special thanks to Leslie at Le Sophie
for her kind post about my work and store.
Check her photography out here.
From top left: Jōmon pot, c. 12,000–300 B.C., Japan; Pillow, Cizhou ware, Song to Jin dynasty, 12–13th c., Hebei Province, China; Bowl, Mimbres pottery, AD 1000–1150, New Mexico, USA; Ifa Divination Vessel, Yoruba, Nigeria, Africa. Second row: Serving dishes, Oribe-style Mino ware, Momoyama period, 16th c. Japan; ‘Caisse à Oignons’, Niderviller porcelain, 1761–66, Rococo, France; Cloud-shaped Pillow w. Peony Scroll, Cizhou ware, Northern Song dynasty, 960–1127 AD, Japan; Candelabrum, Arnold King, Royal Copenhagen Porcelain Manufactory, 1886, Denmark. Third row: Plate, Blue fluted half lace, Royal Copenhagen, 1775, Denmark; Vase, Sam Schellink for Rozenburg Pottery and Porcelain Factory, The Hague, 1883–1916, Netherlands; Footed vase, Haeger, Art Deco Style, c. 1940s, Illinois, USA; Jug, Persian lustreware, Rayy, c. 1200, Iran; Teapot, W.P. Hartgring for Rozenburg Pottery and Porcelain Factory, The Hague, 1903, Netherlands. Fourth row: Yoruba water vessel, Nigeria, Africa; Plate, Islamic Saminid Period w. Kufic Arabic script, Iranian, late 9th–early 10th c.; Tebachi, Oribe-style Mino ware, Momoyama period, 16th c. Japan.
The pieces above from varied cultures and time periods nicely bridge ceramics I both love and have been influenced by over the years. To view other posts about this topic (9 total to date), see the “Search Past Posts by Category” section at right and click “Influences” and “Favorites”.
From top left, First row: Ron Nagle, Cindy Kolodziejski, Scott Rench, Brad Schwieger and Michael Lucero. Second row: Kathy Butterly, Leopold Foulem and Maren Kloppmann. Last row: Andrew Martin, Kathryn Finnerty and Michael Sherrill. Not pictured: Adrian Saxe.
This could also be titled, “Ceramics I Want to Own”. This is a different category from the Influence series I add to periodically (click “Influences” in the right column under “Search Past Posts by Category”). When I teach workshops and sometimes via email, I am asked about my “favorite ceramic artists”. This grouping features some of my all time favs.
I don’t consider the work of the artists pictured above —and the next couple of groupings I hope to add in future posts— influences. It’s hard to define, but I differentiate between “favorites” and “influences”. The pictured works are vessels, wall pieces and sculptures I enjoy, appreciate and just plain love (like I want them in my house, love) by artists I respect. Sometimes we like things specifically because they are different from what we make (do, or wear).
When I teach workshops and speak to my students about influences, I try to explain my realization from years ago when I learned to buy work I appreciate rather than attempt working in a style that doesn’t suit my personality. I like “minimal”, but don’t make it, so I buy Maren’s. Of course there is overlap, but generally I buy (or covet) favorites; I research and absorb influences.
I am fortunate to own work by four of the eleven pictured by purchase, trade or gift.
Kristen Kieffer 