From Studio Visit

Talking about the magic of clay with CAW member Terri Maloney-Houston

Terri (5)Catching up with Terri Maloney-Houston in the studio involved a lot of keeping up. She was hard at work throwing porcelain in preparation for the upcoming fundraiser Empty Bowls. Trained as a potter, she continues to push the limits of clay; making large-scale installations comprised of a multitude of fragile leaves. After seeing images of her most recent work in Grand Rapids, Michigan, I was compelled to find out more. It was wonderful to hear about the path that led her to Art Prize.

How did you get started with ceramics?
I took classes at community recreation centers and I loved it. I made a clay elephant and I glazed it gray. I pulled the trunk like a handle on a mug. It was fun. I had some ceramics classes in high school as well.

When you were studying ceramics at Ohio State University you were mostly making functional work. Why?

At the time it was just popular. It was a challenge and it took time. I started down that path and I wanted to master it, so I didn’t diverge too much. No one in my family is an artist and I probably got some feedback that I should do something practical. So I thought at the time, at least if I am making functional work, I could probably sell it. That was probably a big part of it.

When did you make the switch from functional to sculptural?

About six years ago, a friend of mine was creating an exhibition called All The Pretty Trees. At the time, I had been doing some texture work with clay. I had been pressing leaves into clay and then cutting them out. It was satisfying and enjoyable and I could arrange them in different ways. So I thought I could make a piece for her show out of these leaves and it could be sculptural. It was a response to a call for entries that made me think outside of my comfort zone.

What kind of leaves do you use to imprint the clay? 

My cousin who is closest in age to me is the director of the arboretum at OSU. She was very concerned about the Emerald Ash Borer and the effect that [the beetle] has had on the Ash tree population in the United States. Hearing that concern from her brought about the whole idea of using the ash leaves to imprint the clay. Originally, I started out with hydrangea leaves, but I thought the leaf that I chose should have some particular meaning. I started hearing about the killing of the ash trees by this bug and I also started looking into folklore and mythology around trees. Looking at those things made me choose the ash leaf for the last few years.

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What is ArtPrize? How did you get involved? 

It is a radically different kind of exhibition held in Grand Rapids, Michigan. It self-curated. The artists who want to participate post images of their work and the venues post images of their space. Then you try to make a match. The other thing that makes it different is the quantity of work. There are close to 1,500 pieces on view in Grand Rapids right now. There is art throughout the whole city inside and outside: in museums, in bars, in parks. The event attracts about 400,000 visitors. There are two components for judging the work. The public votes on their favorites. They also have a prestigious jury that selects a short list and awards prizes. It all happens in three weeks each fall. I became interested in submitting a piece to challenge myself to work on a larger scale and to show outside of Columbus.

Describe the piece that you submitted for ArtPrize.

I fabricated approximately 8,000 porcelain leaf shapes that were made by impressing the leaves of an ash tree onto clay and then cutting out each one. After drying them, smoothing the edges, and firing, I added them to additional leaves from a prior project. I had over 10,000 pieces that I used to build three, six-foot circles of leaves on a grassy area behind the Grand Rapids Public Museum. It was a beautiful manicured lawn with three circles of pure white, porcelain leaves. I don’t want to fail to mention that I received a materials grant from GCAC for the project, which was a huge help! It helped cover some of the material expenses.

What was the significance of the circle configuration of your work?

I started with the idea of having at least three circles, and three circles used up all of my leaves. The leaves were piled four or five inches high, one leaf on top of the other. I was thinking about earthworks and mound builders, as well as rock piles that hikers make that show direction. The circle is also symbolic of death and rebirth. All of these ash trees are dying and we are sad about that and it is terrible, but something else will grow there. It is a memorial on the one hand and on the other it is a calming and peaceful image.

You began working with clay as a child in a recreation center and have spent many years teaching for Columbus Parks and Recreation art program. Talk about a full circle! What have you learned from teaching ceramics?

Clay is magic stuff. People love it! They love to touch it and make little things. They love that whatever they make and fire is going to last. I don’t have to do a whole lot of teaching when I put out the clay. I have to show a few technical things and maybe throw out some ideas, but people take it and go with it. The material itself is very engaging. People like to make things. It makes them happy.

The above photographs were taken of Terri’s most recent installation, Leaf Rings, in conjunction with ArtPrize in Grand Rapids, Michigan.

Talking about the politics of pink and the power of play with CAW cofounder Stephanie Rond

It is nearly impossible to sum up all the elements comprise Stephanie Rond’s tour de force, Dangerous Impermanence. I caught up with her at her studio where she had just finished framing a huge collection of her mixed media paintings. These pieces now fill the expansive Shot Tower Gallery at Fort Hayes. She gleefully showed me her car trunk that was stocked with stenciled pink girls. These figures were destined to be wheat pasted to buildings around town as the street art component to her artistic practice. She lit up when talking about the private screening of the film project, Tiny Out Loud. All of these elements (and more!) coalesce on September 5th for the exhibition opening and movie screening at the Shot Tower Gallery. See you there!

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What was the piece that inspired your newest body of work for Dangerous Impermanence?

Two and half years ago I exhibited a painting of my niece Sophia sitting in a chair with her back to the audience. I liked that you didn’t know what the story was. You didn’t know if she was being punished, planning something, or if she was part of an audience to something the viewer couldn’t see. The piece resonated with people. I realized that because the viewer couldn’t see her face, they could identify as being “in her shoes.” Every figure in my new series, both in the gallery and on the streets, is facing away from the viewer.  
 
 
It is hard not to notice that all the girls in the street art are pink, and all the canvases have blue girls. Why?
 
I’ve always been a feminist artist. There can be a lot of discussion about gender issues using something as simple as a color.  The street pieces, “Pink Girl Rising” are that color because the streets are traditionally male-dominated spaces. Women have very different public safety concerns so they are intentionally pink in the streets to represent that issue. “Ghost Girl” is blue in the gallery because it is an indoor space, traditionally considered female-dominated space.  The blue in the paintings has a dual meaning as they are the ghosts of the real pieces in the streets.
 
 
Is the experience of installing the street art a fun process?

Oh yes, I love it! I love installing pieces during the day because it gives me an opportunity to interact with the public, which is something I find very rewarding most of the time. One of my favorite interactions recently was seeing a little girl jumping up and down, pointing and saying “Oh Mommy, look, look!”  I felt that I was doing my job by giving her an image that she could relate to. Later that day, a teenage girl came up and we talked more in depth about why I am doing this – to combat the objectification of women in advertisements and media. 

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Street art is so important to you and may seem quite different than your work with S.Dot Gallery. (S.Dot is a pint-sized art gallery set in a dollhouse that Stephanie curates. It has a full exhibition calendar and a wide Internet following.) How do you think about these two ventures?

They may seem different on the surface, but they are both discussing the same broader concepts of feminism and the accessibility of art. I believe feminism is a discussion for all of us. Gender stereotypes are something that can bog all of us down, including men. S.Dot is the reverse exploration of the gender discussion I’m having in my street art. The home is traditionally a female dominated space. S.Dot gallery gives men an opportunity to play and make environments in intimate, enclosed spaces.

Like street art, S.Dot gallery is also a highly accessible venue for art. You can view it from the comfort of your own Internet device, or stumble upon it in your social network feed. The content in both my street art and the approach I take with S.Dot gallery is designed to be accessible for a broad audience. Initially, it feels playful, comfortable and non-assaulting. My goal is for the audience to feel comfortable with the work, then begin asking questions about the meaning and hopefully engage in a dialogue about the issues being addressed.

The connection between street art and miniature galleries is the theme of the film, Tiny Out Loud. When Andrew Ina, Dan Gerdeman and I initially created the Kickstarter mini film, the focus was on the miniature galleries. When we exceeded our Kickstarter funding goal and received additional funding from the GCAC, we realized we were going to be able to create a short film that captures the concepts in both the miniature galleries and the street art and what ties them together. The film culminates with the gallery actually becoming street art.


The idea of space or environment has completely changed with the Internet. This clearly relates to your work, and is very visible with the motif of the communication towers. How would you describe this in your work?

This is why S. Dot exists in the way that it does. Each show [at S. Dot] is a collaboration. There is a story that is told to the viewer to help demystify what we do as artists. The public gets to see the artists installing. By putting the artist and their exhibit on the Internet I create a safe space for the viewer to experience art and even interact with the artist if they want to. It is a full circle community event.

I frequently use images in my work of things that fly, they represent freedom and provide a sense of movement. The communication towers have this similar representation, but provide a deeper meaning of connection and community. They represent the connection between the self and others.

 

How do you think that play factors into your work?

Play is where my inspiration comes from. It creates an amazing feeling of freedom and confidence because you are allowed to make mistakes. Play equates to discovery and growth.

 

You describe art not as a product, but as experience. What do you mean by that?

Art is not supposed to be something that just looks nice above your couch that you don’t pay any attention to. Artists are viable citizens in our community and their role is to make you stop and think about things, whether that is human rights, the aesthetic of beauty or whatever that may be. Art is not something that you can own, rather something that you should experience.

 

The two “pink” images are street pieces for “Pink Girl Rising.” The two “blue” images are “Ghost Girl” works intended for the gallery. The first blue painting is entitled We the People, Yearning to Breathe Free, and the second is Carney Girl.

Visit stephanierond.com to view more of Stephanie’s portfolio.

Talking color, cloth and culture with CAW member Paula Nees

Paula Nees’ two fluffy dogs keep her company in the studio, along with the ethereal figures that inhabit her large-scale paintings. Not one for labels, she works in the traditional medium of oil painting without all the rules and restrictions. It was a delight to see her creative space and hear about her artistic process.

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What did you have to unlearn about painting after leaving school?

I think the time period I came out of you were either a realist or an abstractionist. Really elements of both feed into each other. Neither tag identifies me. That dogmatic approach doesn’t work for me. I see those influences [figuration and abstraction] merging in my work. Also, professors always said start with white. I often use drawing loosely with cattle marker paint sticks as a jumping off point.

You describe yourself as a “materials person.” What do you mean by that?

Paint is just another thing. I am interested in using materials and not necessarily that I am always painting. For example when I dye a work, I am still working with color and pattern.  I can do that without using a stick with hairs on the end of it. I am trained as an oil painter. I love the smell of it and you can fuss around with it, but I find that pastels have similar properties.

You paint on cloth, typically linen, as well as depicting cloth in your paintings. What is the conceptual importance of cloth to you?

When I was first interested in not covering up the linen was linked to my first trip to India where cloth is so prevalent and you see it everywhere. They do an extraordinary amount of design and dyeing. That is where I became intrigued by the idea of dyeing the linen with indigo and using that cloth itself as part of the subject rather than painting it. The dye looks different.

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What is the biggest difference between your work 10 years ago and today?

Maybe the intention and not wanting to stop at a certain point… I love the idea that if it’s not working, I just cover it up again instead of throwing it away. So there are some paintings that have a pretty good thickness of paint on them! Where I guess 10 years ago if [a painting] wasn’t working I would rip it off the stretchers and pitch it and start over again. There is something interesting about resurrecting or not giving up on something.  Maybe letting a little bit of whatever is underneath show the history of the work.

What role does color play in your current body of work?

The color is less about nature and more about temperature. Going back to the influence of India, I think that the color there is more intense. Seeing the color of bright curries and fabrics. I was very struck by how beautiful, bright fabrics were dyed in such dingy environments. That contrast surfaces in my current work.

Mystery Sister, Honorable Mention
Mystery Sister, Honorable Mention
Paula Nees
Jumping through Hoops, Ohio Arts Council Award
Thelma, CAW Professional Award
Thelma, CAW Professional Award

These paintings are currently on display at the Fine Arts Exhibition at the Ohio State Fair. All three took home awards! Congratulations, Paula!

Thelma, CAW Professional Award
Jumping through Hoops, Ohio Arts Council Award
Mystery Sister, Honorable Mention

Visit www.paulanees.com to view more of Paula’s portfolio.