Apple Banana Cranberry *ABC*

I love simple recipes, both in food and in ceramics. If I could make this work with fewer ingredients, why should I try to figure out one with a long list?
Here we go, this is one of my favorate recipe, ABC; apple banana cranberry muffins, and is pretty healthy.

Apple Banana Cranberry muffins

Cake flour (I modified this to cake flour:all purpose flour 1:1) 2 cups
B. powder 1 T
B. soda 1/2 t
salt 1/4 t
sugar 1/2 cup
egg 1
milk 1 cup
butter, melted (I substitute with other kinds of vegetable oil) 1/4 cup or less
apple (I prefer granny smith) 1
banana, very ripe (not on original recipe) 1 optional
cranberry (not on original recipe) 1/2 cup optional

oven temperture, 385 F
sieve through first 4 ingredients, set aside
peel apple, cut in cubes
beat sugar, and egg till foamy
add milk and banana, continue beating, till banana is smooth
mix in all dry ingredients, oil, apple and cranberries
bake 20-25 minutes till golden brown

makes 12 muffins

Burnishing is not burnishing~2

In previous article about burnishing, I have briefly explained about the process of burnishing, and the result after firing. In this one, I will show the process of preparation before firing and the result of our firing before Thanksgiving.

After burnishing, and a soft bisque firing, we wrapped our bisque wares in aluminum foil with varieties of organic matters.
The aluminum foil acts as a temporal ceramic saggar that traps all the fumes, and smoke within the aluminum poach.

In this firing, the organic matters include: banana peels, coffee grounds, sea weeds, dry cat food, saw dust, pine needles and orange peels. Minerals used in this firing include: salt, baking soda, iron oxide, steel wool, and copper sulfate.

Interesting material experimented in this firing are from Mary's hydrangea, and Susanne's steel wire.

With some organic materials, we experimented with salt and salt water. The result with salt water showed more variations of color than with dry salt.

The hydrangea created very soft smoky patterns around the pot. The steel wire left black/blue lines with halo around the piece. This discovery would open up many possibilities for line designs in the future firings.

It was raining and cold on the day of firing, so as the previous few weeks. Therefore, our outdoor kiln was wet, and as a result, the firing temperature was on the lower end, maybe around cone 019. If we fired with a little higher temperature, we probably would see more color at the end. This is a continuous experimentation, so we will have to do it again.

Akio Takamori at James Harris gallery

The reception for Akio Takamori was one week before Thanksgiving at the James Harris gallery.

This is the third time I have seen him and his work. I have admired his creative ability since I started taking ceramic classes in the early 90’s. During that time, I saw his work on posters and ceramic magazines.

His earlier slab-constructed envelope vessels were manipulated in such way that the inside/back space was integrated into the front/outside space. These hollowed vessels became a vehicle to transport his theme on memory and eroticism.

Growing up in Nobeoka, Miyazaki, his childhood experiences become the source of creativity. That is partly why I am fond of his work, because I share the similar kind of attitude toward religion and Eros. The artist stated, “We live between birth and death. Once a person is born, he cannot avoid death. The only energy that goes directly against death is what I call eros…. I understand that sexuality is a very important positive energy for human life. We should set a proper value upon sexuality, which I think is one of the key components to a proper value upon humanity.” *

In 2006, when I saw his exhibition in Portland, OR., "Between Clouds of Memory", his figurative sculptures had leapt out of the form of vessels, (starting in 1993 at in the European Ceramic Work Centre in the Netherlands), and become an ensemble of free standing figurative sculptures. Each figure stood for its own time, and collectively, all showed wealthy resources of political, social, and cultural references as well as history that the artist had experienced.

This time in Seattle, his most recent figurative works were inspired from photos taken by Danish photographer, Rigmor Mydtskov. Mydskov is most well known for being Queen Margrethe's official photographer. Takamori was attracted by the subtlety of gestures captured by Mydtskov and her interpretation of the subjects.

Each unglazed porcelain figurine is accompanied with a large photo of its own portrait. From the beginning, how the subject masked themselves, and how Mydskov interpreted her subjects, to the end, how Takamori translated the photographs to his sculptures and back to these watercolor-like photos, this long journey of interpretation and transformation had taken several stages from 3D to 2D and vice versa. These portraits are not simply the portraits anymore. They are very much the result of the artist's subjective point of view and interpretation.

In addition, 5 large stoneware figurative sculptures of Renaissance women were shown in bold characters in reflection of Takamori’s interpretation of culture, history and sexuality. For instance, similar to the female clay figurines in the Tang Dynasty, and European court paintings, these exaggerated balloon-like customs paired with bulbous wigs symbolize the ripeness for sexual implication.

After a brief greeting, I asked him how he wrote his Japanese name (as you see his signature on the top picture), and what is the unique dish of Miyazaki prefecture? I asked "Is cold miso soup very special"? "Yes, yes, the cold miso soup is the typical food in the area", with much enthusiasm he replied. That makes me wanting to try it some day. I wanted to ask him how is the accent of Miyazaki dialect different from the one from Tokyo? But, I thought that might be the too much of a question to ask. Later, I asked him in being in his early 20’s, what he was expecting to gain after his apprenticeship with Mingei pottery master Kumao Oota in the village of Koishiwara? He replied, for 2 years, all he did was make 200 little teacups per day. He could not throw anything else, but he learned the work ethics. A very honest man! Some one asked him if the little porcelain figurines took a long time to work on the details. “Oh, well, no, with my eye sight these days, he replied, I can’t work much of the details.”

It is understandable why he worked on Japanese and foreign figures in the past, but why only westerners this time? His answer was: in the past, we often see westerners depicted as easterners and people from other continents as some sort of exotic subject. Now, he is doing the reverse. Is this a kind of cultural revenge? He talks with gentle voice, humble, open and funny, but subtle with possibilities, just like his work.

---

* American Ceramics 5, no.1, 1986, p. 30-35.

Reference “Between Clouds of Memory” Akio Takamori, a mid-career survey, Arizona State university Art Museum, 2005.

My dear students

In the past 10 years, I have had many interesting students in my ceramic classes that are part of the continuing education program.

Some of my students are funny characters, and some of them have interesting stories to share about their lives and careers.

I have had educators, artists, carpenters, nurses, dentists, housewives, financial advisers, engineers, professors, and architects, etc.

Our classes are Washington State approved for clock hours, therefore, I have educators coming to our class to have fun and earn their credits.

Educators are nice to have, because they are professional teachers, and that gives me another perspective on what a teacher do in some instructional situations.

Dentists and dental hygienists are almost perfectionists in the class. It is the nature of pottery making that unpredictability presents itself at any moment. Therefore, I always remind students to be easy on themselves, and don't fight with the clay.

Through the computer gaming industry in this area, we occasionally have students from Nintendo and other companies. They are all very artistic and some times a little crazy. That is just my point of view.

One of the largest manufacturers of airplanes, Boeing, is in this area. Some times, the Boeing employees come to my class. They often request for a certificate, so they can ask for reimbursement for taking this class. As long as they complete 70 percent of the class, our program will issue a certificate at the end of the session. That shows the employer understands and supports their workers in their own development through lifelong learning.

Another large company in this area is Microsoft. Most of the time, I have at least 1/3 of the students in one class. One time I had half of the students from the company. Usually, I do not ask questions other than on the subject of ceramics. But, it is fun to listen to their unique interview process, (for example: being interviewed in a room with no chairs, but only one bean bag), and other matters they shared with the class. Microsoft is a company filled with ethnic diversity. Therefore I had students from everywhere in the world such as: India, England, Israel, Venezuela, South Africa, and Turkey. For three semesters, I had several Turkish people in the class. They are the very sunny kind of people, women are pretty, and men are handsome. I learned to say "Hello", in Turkish, "Merhaba", and said it every time when we met in the class. One time, I sang a Turkish song to them so they translated the ancient folk song back to me. In the past, Microsoft also offered reimbursement for their employees to support their personal development outside of their campus. (note: Microsoft people call their office: campus.)

The reason the majority of the students come to the ceramic class is for self enrichment. The reason they chose clay is because they have worked in it when they were younger in college or high school. Students in the class are very self motivated, unlike college kids who take if just for the credits.

Having years of teaching experience and meeting with interesting people, these are the best rewards I have for working outside of my studio.

A Circle

Last week I took my three year old for a physical exam. The pediatrician did all the routine exams for about 15 minutes, and reported that every thing looked fine.
At the end, we had little chat.
Doc: "Does she talk much? She probably is shy now."
Mother: "Yes, she talks a lot, in 3 languages."
Doc: "Wow, that's wonderful! Does she draw circles? Oh, this is the last question." (apologetically)
Mother: "Yes, she has been drawing circles since many months ago.
At the end, the 3-year-old got two big Cinderella stickers, and happily went home.
But, the mother was puzzled.
Is the ability of drawing a circle such a significant milestone
at this stage?
Does it just show that the child has fine motor skills or lack of them?
A circle must be more than just a circle.
This reminded me of a book I read about 2 years ago, Young at Art by Susan Striker. I have learned the importance of scribbling, and the meaning of that, and that has lead me to start collecting her "work/play projects".
The projects in the book are wonderful, and are really designed to allow children to express themselves. While doing those projects with her, I am more aware of my child action and the work process from a child's perspective.
It made me think about the purpose of art, and how it has affected me when I was a kid.
There were explanations on what is creative activities and what is not, such as coloring book and puzzles.
It also explained the natural progressions from linear scribbling to circular motion, from simple circles to with many combination of strokes and dots, from swirl circles to the universal mandala forms.
It is very important to let or encourage the child to tell adult what they think the creations are, instead of the other way around. I thought that was a very good advice, because I really like to see how far and wild the child imagination would go.
In general, it is a helpful and resourceful book with information on suggested books, songs related to art projects, locations for art supplies and materials.
Another similar book is First Art by MaryAnn Kohl. It seems like another fun book to explore with my child. Or if any of you have read it, tell us what you think.
UPDATE:
If I want to look for quick tips on project, the First Art by MaryAnn Kohl is great. But, personally I like the Young at Art by Susan Striker better, because the concepts of child art are explained in the book. Also, the range of age is covered more, till kindergarten in the Young at Art, while the First Art is for toddler up to two years old.
One quote from the Frist Art to remind myself,
"... each stage of children's drawing development is very precious, and will never come again." ---Mia Johnson, Understanding and Encouraging Your Child's Art

Life is beta

I love this title. Having this idea in mind, I feel relaxed. It is from What Would Google Do?by Jeff Jarvis, which I read recently. Isn't it so true? Life is a series of experiments, and same as the process of making my sculpture works. For more than a decade, this has been the way I make clay sculptures. I usually form the work, and try to make it perfect to reflect my idea at the state of raw clay. Then, I wait until the right time, and I break it with a rubber hammer.

Before the hammering, the work is so lovely, elegant, breath-taking. At the same time, I feel it suffocates me with no further possibilities.
How do I feel during the hammering process? I feel absolutely challenged, excited, and occasionally despairing.
I enjoy how physics takes control of my work, although I am the one holding the hammer.
All these unpredictable breakages lead my work and life to unknown directions.
This is a way for me to experience and appreciate serendipity.And yes, my art work is beta, and so is my life!

Burnishing is not burnishing~1

It is undeniable that clay is one of the most tactile media.
One of the techniques for surface treatment is called burnishing.
Burnishing on clay objects was used in almost all of the cultures in the past.
With this technique, the clay surface is given an attractive gloss or soft sheen. The result of the work is often warm in texture, and irresistibly sensuous.
I often get two extreme reactions when I ask students to practice with this technique; one is "I can't stop burnishing!", and the other is begging not to do it again.
Burnishing is actually a very good tool for taking me to another state of mind.
It demands very little physical movement, but requires a quiet mind, and relaxed spirit.
Once I am in the rhythm of movement, I experience a mental space, that is different from any other places that clay has taken me to.
Does that sound funny?
Well, it could be. But, any one can experience it if we do not think of it as pure physical labor.

It was almost a year ago, when we did our last saggar/smoke firing.
I should have taken more pictures on the process which was quite fun and rewarding.
We shall do it again soon.

Bauer Pottery

In 1996 when I went to my boyfriend's house for dinner for the first time, I was delighted by the dishes he used, but had an interesting feeling about the dinner ware of his choice. It was blue greenish, somewhat similar to the theme color used by Tiffany & Co. Specifically, I was uncomfortable with the color of the dinner plates. That color reminded me of the same color as a cold medicine I often took when I was a kid. Therefore, it brought back a memory of bitter taste.
After so many years, I am still using the same dinner plates, because I am now married to the man, Mr. Kajima who owns those plates.
I suspect they are the imitation of the Ringware line of theBauer Pottery.

Many years ago, I visited the Laguna Vintage American Pottery Shop in Seattle. That was when I saw the original copy of the plates. Ringwares are with concentric circles which can be easily mass produced and sold inexpensively. This line was introduced after the Depression, and was a success.
These ringwares are stonewares which are durable for everyday usage. The form is simple with pure functionality which are the characters of American ware.
After the owner of the Bauer pottery passed away, Frederick Hurten Rhead, the designer of the Ringware line produced another similar line of pottery, the Fiesta dinnerware which is in art deco
styling with bold, bright colors.
Seeing these originals, they remind me of the colorful sky of Southwestern states.
Last week I went to the Laguna Vintage American Pottery Shop with guests, and was so delighted to see the colorful Bauer Pottery again.
Perhaps I am just preparing myself to go through the upcoming depressing weather of Seattle!