Elaine explains the story behind her “Mommy Vases”
I went on several artist dates while on vacation at Silver Lake in western New York, and on one of them I met the fabulous Elaine Hardman. You can see Elaine’s work at Stoneflower Pottery. I lucked into seeing a demonstration that Elaine was doing in the tiny village of Perry. My mother keeps up with the local arts scene there over the summer, so she suggested we go have a look. I’m really glad we did!

This is the gorgeous bowl that I couldn’t resist! It now
sits on my counter, holding fruit.

Elaine is part of the Allegany Artisan’s, a group of artists who all participate in an open studio tour each autumn. Visit their website for more information on this western New York event! You can contact Elaine through her website link above, or through the artisan’s site, just in case you can’t resist her beautiful work!

Post from: Blisstree

The pottery of Elaine Hardman

What does crime have to do with art. Well, not always a lot. But Trench’s soul runs deep! He shared with me about the creative outlets that help keep him balanced:

I used to love playing with clay when I was a kid. Not Play Doh but actual modeling clay. I was never any good at making anything and all my attempts at making anything reasonable always came out warped and disturbing. Which I guess explains a lot about me. *lol*

More recently my creative outlet, besides all of my blogs, is that I write song lyrics. I have the songs stuck in my head and I can’t write actual music but the lyrics come to me with no problem.

Post from: Blisstree

Introducing…

Artist: Laura Tabakman
Location: Pittsburgh, PA

Websites:
Laura Tabakman
Flickr photo album

Laura, I’m impressed that you do both wearables and non-wearables, both so incredibly well! How do you describe your work?
I work in mixed media, fiber arts and polymer clay. I feel more comfortable working in three dimensions, using basic forms evocative of nature and primitive cultures. I am particularly interested in process and materials, and in choosing them for each piece I look for contrast; hard, rough, dull and strong materials (steel, roofing material) combined with delicate, smooth and shiny ones (polymer clay, fabric, gut, thread).

Time touches, alters and decays things. Seeing the marks of the passing of time moves me. I try to include these marks into my work by using shibori techniques (often called memory of the cloth) or rusted objects to dye my fabrics, incorporating timeless symbols or stressing and scratching the surfaces. Texture is an important aspect of my work.

Creating art enables me to express what I can’t articulate in words. My intent is to communicate with the viewer at an emotional level.

Spiral brooch Apr ’07
Polymer clay
3” x 3 ½” x ½”

What is your creative process like?
Much of my work is done intuitively, starting with a general concept or idea of what I want to make and say with it, but letting the process guide me, allowing myself plenty of flexibility to change directions if the project is telling me to go a different way. The few times I tried detailed planning I was disappointed with the result.

I usually work with the radio on; I spend so much time alone in my studio that I need some kind of contact with the outside world. When things are going right I can work eight straight hours without even realizing I need food.

It left a hole in her Dec ‘03
Polymer clay, steel wire and silk
17” x 7” x 6 1/2”

What kind of training did you have which helped you achieve your current level of artistry?
I studied Architecture in Buenos Aires, Argentina, where I was born, but never worked as an architect. I’ve been taking art and craft classes since I was ten years old. I am really curious and have a passion for learning new techniques. I would take any workshop I find slightly interesting: photography, weaving, batik, shibori, encaustic, silk screen, felting, paper-making, metalwork, jewelry, woodworking, polymer clay. I used to think that I should stop exploring new techniques and media because I was dispersing myself too much, but everything started falling into place when I began combining all my interests working in mixed media. Knowing about one medium can inform the way you work with a completely different one.

I enjoy the challenge of trying things by myself first, that way I can experiment without having to worry about the rules. At some point, when I’m comfortable with materials or techniques I would take a class, but by then I have a sense of where I can go with it.

I approach every new problem as an opportunity to learn something new. I needed a website, I learned how to do it myself, the same with polymer clay, digital photography, Photoshop, Excel, etc.

In 1994 my daughter received three packs of polymer clay for her birthday and we started playing. She left and I kept playing. At some point I thought I needed to do something with all this jewelry I was making, especially because I barely wear any. That’s how I started selling at my local farmer’s market and from there to better art and craft shows and galleries.

Green pods necklace Sep ‘07
Polymer clay, textured, stained on steel cable
3” x 3” x 3/8”
Center pod 3” x 5/8” x 3/8”

Is there a tool or material that you can’t imagine living without?
I love tools. When I was young I used to help my dad in his projects, I was the son he never had. That is where I developed my love; but the one tool I can’t do without are my hands. I do as much work as I can without tools. Materials are also important to me, but I don’t care which one. The challenge for me is to use a traditional or non-traditional material in a new way; make it do things it wasn’t meant to do.

What inspires you to create?
I feel my hands need to be making something at all times. I am inspired by nature, by weathered objects, magazines, books, blogs…I’m always looking. Then I take notes and draw in my sketch book, it is a way of absorbing what I’m seeing and a crucial tool when I need inspiration, it will take me back to a creative frame of mind and get the ball rolling again.

Big vessel series Aug ‘06
Silk Vessel (Rusted Silk and Steel wire, 16” x 79” x 14”); Steel Vessel (Steel wire, 14” x 69” x 13 ½”); Gut Vessel (Gut and Steel wire, 12” x 54” x 12”)

What inspires you to keep going when the work gets frustrating or tough?
If there is a problem to solve, I’m motivated to work. My problem comes when I’m done with an idea and need to start anew. That’s when I clean up, put things in order. Maybe I’ll see something that was left in mid process and gets me thinking; or I would just start mixing colors of polymer clay, having the material in my hands would sometimes inspire me. If that doesn’t work I look at books and my sketchbook. The one thing that always gets me going is an upcoming deadline.

What is your best piece of advice for those who would like to rise in their level of artistry?
When you are creating, don’t take yourself too seriously. Allow yourself to make mistakes; solving them will lead to new discoveries. Keep an open mind, try every crazy idea you have, you can’t tell if it works until you try it. Work as often as you can. At the same time, after you’ve tried it, be rigorous when deciding if it worked or not; learn from the failures and keep growing. Challenge yourself, don’t keep doing something just because you master it and it feels safe.

Tar Vessel Apr ‘05
Roofing material, Embroidery Floss, Steel Wire
11” x 15 ½” x 5 ½”

What takes up the majority of your time besides your art?
I volunteer in several art organizations.

What’s your favorite comfort food?
Chocolate, of course.

Post from: Blisstree

Artist Profile: Laura Tabakman

Artist: Clark Sorensen
Business name: clarkmade
Location: San Francisco, CA
Website: clarkmade

Your work is certainly unique, Clark. How do you describe it?
I am currently working on hand built Porcelain Urinal Sculptures. I do other things in porcelain and clay, but my urinals are the things that are getting me the most notice and are my focus at the moment.

What is your creative process like?
I get a lot of my ideas and work out details while lying in bed in the morning. I love lying in a warm bed in a dark room and I do my best creating at this time. I then continue my ideas on paper and sometimes make small models to work out 3-d issues. When I actually get to work on the actual piece I have all sorts of diagrams and even some profiles cut out of cardboard to help as the shapes grow. I work on several pieces at the same time and work for several hours on each. I find my biggest challenge is keeping on task. It is so easy to get distracted and grab my sketchbook or check email or feel like I need to clean up or organize. I think coming up with new ideas and working the design ideas out in my head are the most fun and certainly the easiest parts to the artistic process. The execution and completion is the hard part and takes a lot of focus and determination.

What kind of training did you have which helped you achieve your current level of artistry?
I think that there are so many things that contribute to what I am doing and where I am at with my art now that it is hard to list or even think of them all.

I am always aware that several times a day I hearken back to my college experience and what I learned. The objectivity and discipline that was drummed into me is something I am always striving for and grateful that I was taught. I had some very tough art professors who seemed to delight in making us start over and over and not get attached to anything we were doing. It seemed so mean and vindictive at the time but it really is an important principle to accept as an artist. As a commercial artist and animator I had to practice this same discipline – you need to do your best but then move on and try it again with a different approach if it isn’t exactly what is wanted for the job. I constantly have to remind myself to just move forward and not cry over the piece that was almost finished that I dropped or the one that has a huge crack after the final firing or the piece that is just plain ugly. I don’t think I could have gotten to this point if I hadn’t learned this lesson in school and work. Plowing forward isn’t always easy but I know that it is the only way to achieve any sort of high level.

Is there a tool or material that you can’t imagine living without?
What a great question. My first thought would be paper and pencil but I have a better one – I couldn’t live without a garbage can.

I think it can be so liberating to just throw something away and not see it anymore. Then I can move on and start from scratch. I used to give away my early pieces but I started visiting friends who proudly displayed these monstrosities and I wanted to die! Of course I keep some pieces around for a while before discarding them and it is often hard to part with things that have taken so much energy and time but it is so necessary and cathartic to just smash a piece and start all over.

What inspires you to create?
Wow, I don’t think I know what truly inspires me or motivates me to create. It has always been a part of my temperament. I have always loved to make things. My parents have told me time and again that I hated coloring books when I was a young child and just wanted blank paper instead. I think the qualities that inspire me in other artists are flawless execution and ingenious originality.

What inspires you to keep going when the work gets frustrating or tough?
I keep going because I have learned by past experience that it is rarely the first try that succeeds either technically or artistically. I know the next attempt will always be better.

What is your best piece of advice for those who would like to rise in their level of artistry?
Welcome criticism and comment and then have the confidence and determination to make the final decision.Keep trying to improve. There is always room for improvement.

What takes up the majority of your time besides your art?
Life, friends, food, wine, worry, email, sleep, etc. I wish I could say I had some hidden expertise or hobby but in the rest of my life I am a dabbler.

What’s your favorite comfort food?
I like to cook and have a weakness for sweets – especially cookies and pies, anything that is flakey and sweet! And if I can make some artistic project out of it – watch out!

As a final note, Clark’s work was mentioned and shown in Time Magazine, March 5, 2007 on page 22. I’m proud to have gotten to him first

Post from: Blisstree

Artist Profile: Clark Sorensen