Open Studios

Yesterday SFAI held open studios to show what the current artists-in-residence are working on. Patty and I are at pretty early stages, having only just finished the prep of all the clay we're working with, but had a few things to show. Patty created a small-scale model of a set/landscape concept to play with. We also began building a large-scale structure, and created a clay sheet for me to explore during the open studios, so that the visitors could see what meant, talking about re: movement and clay. We all experimented on this one together, as I hadn't had a chance to try that particular idea yet. I planned to crawl under it to try to move beneath the surface, then break through, manipulating it almost like clothing; in fact it ripped too easily, so it eluded me, but was a great illustration of the principle of having to follow where the material takes one. We may try again, perhaps with longer fibers to keep the clay from tearing so easily.

Today we mixed clay. We began by pouring water into two garbage pails and discovering that they leaked. So we went back to the hardware store to get contractor-strength garbage bags, and also got a box of Calgon to act as a deflocculant, which basically allows the water to hold more clay particles, as I understand it. We added two buckets of microbubbles (thank you, 3M!) to two buckets of water, then two tablespoons of Calgon (Ocean Breeze scented). To one bucket we then added about a quart of small nylon fibers especially manufactured for ceramics. These, we hope, will allow the clay to be more flexible and enable us to build higher in order to create a large enough clay structure for me to interact with (the microbubbles will make it much lighter, also helping reach the same goal).

We brought the barrels outside and began to add the clay powder. When using the bubbles and the clay powders, we wear our $50 respirators, bought at Empire Lumber and Hardware, which has been in business in Santa Fe for I think 80 years. It used to sell guns, and the store is decorated with the heads of trophies from around the world, all shot by the original owner of the store (they say).

I changed into battle gear and stepped into the barrel to try mixing the clay with my legs, to see what the clay would feel like as it thickened and to experience moving in it at its different stages. By the time the second barrel was mixed I was pretty tired, and it began to thunderstorm . . . we poured the clays, one with fibers added, one without, into the pools we had created the day before from garden pool edging and canvas. Notwithstanding the rain, this should help the clay dry a bit before we wedge it tomorrow with help from students from the ceramics program, led by Susan Yung, at St. Michael's College, where SFAI is housed. My back is sore tonight.

Getting a handle on things

Today we started experimenting with ways to make a Rachel-sized clay structure to interact with. The challenge is to create something with enough structural integrity not to completely collapse, and not so heavy that it crushes me underneath it. Patty taught me how to pull tall shapes (the same way potters make handles, apparently) that eventually we will put together. So I spent the morning wedging clay and pulling these forms, scaring the workmen who came in to fix the lights. We'll be a hit at open studios next week.

Santa Fe Arts Institute, September 2007

Patty Rosenblatt and I are installed in the Santa Fe Arts Institute in Santa Fe, New Mexico. There are 10 artists-in-residence here, three novelists, a photographer, and four visual artists using various media. It's a beautiful space, and as a duo requiring a sink, we have a large studio with tons of light. For the moment we are working mostly side-by-side, and I'm learning about clay by watching Patty's process; we're getting ideas that we can later transfer to a larger scale, but that of course brings a new set of problems in terms of weight and structural integrity of the clay. To that end, Patty was able to secure a donation from 3M of microbubbles - microscopic glass spheres that look like a fine white powder and get added to clay - the resulting clay can be as light as meringue. Patty is experimenting with different proportions - I'm mixing up clay powder, water, and bubbles with my feet to get a feel for the materials. One interesting side-effect is the drying of some of these materials on the skin - almost reptilian.