The summer schedule is online. The summer 2014 session runs from June 16 to August 24.
You can check out the schedule here. Scroll to the bottom of the page.
Here's a preview and you can actually sign up online by clicking on the link to each class:
Showing posts with label classes. Show all posts
Showing posts with label classes. Show all posts
Friday, May 9, 2014
Ceramics Department -- Summer Schedule
The summer schedule is online. The summer 2014 session runs from June 16 to August 24.
You can check out the schedule here. Scroll to the bottom of the page.
Here's a preview and you can actually sign up online by clicking on the link to each class:
Monday, March 12, 2012
Spring Classes in Jeopardy
If you haven't signed up for classes for the Spring session, please do so soon. The following classes are in jeopardy of cancellation due to low enrollment. If it is a class you are interested in, please sign up for it before it gets cancelled and is no longer available!!!!
Exploring High Fire Glazes -- David Bromley
Monday 1:30 - 4:30PM
First Time Handbuilder -- Matthew Dercole
Monday 7:00 - 10:00PM
Beg/Adv Beg Handbuilding -- Lisa Harris
Tuesday 1:30 - 4:30PM
Art Dolls and Small Sculptures -- Robin Power
Tuesday 7:00 - 10:00PM
Multi-Level Print on Clay -- Tom Lucas
Wednesday 6:30 - 9:30PM
Advanced Handbuilding -- David Trost
Wednesday 7:00 - 10:00PM
Tile Making -- Michael Skiersch
Thursday 7:00 - 10:00PM
Beg/Adv Beg Handbuilding -- Matthew Dercole
Saturday 1:00 - 4:00PM
cue music -- sign up today before the classes get cancelled!
Exploring High Fire Glazes -- David Bromley
Monday 1:30 - 4:30PM
First Time Handbuilder -- Matthew Dercole
Monday 7:00 - 10:00PM
Beg/Adv Beg Handbuilding -- Lisa Harris
Tuesday 1:30 - 4:30PM
Art Dolls and Small Sculptures -- Robin Power
Tuesday 7:00 - 10:00PM
Multi-Level Print on Clay -- Tom Lucas
Wednesday 6:30 - 9:30PM
Advanced Handbuilding -- David Trost
Wednesday 7:00 - 10:00PM
Tile Making -- Michael Skiersch
Thursday 7:00 - 10:00PM
Beg/Adv Beg Handbuilding -- Matthew Dercole
Saturday 1:00 - 4:00PM
cue music -- sign up today before the classes get cancelled!
Tuesday, February 21, 2012
Soda Program
Soda firing -- also known as atmospheric firing -- is a firing method for clay pieces that has already been bisque fired. In the soda firing process, soda ash (sodium carbonate) is mixed in water with saw dust and other additives to form lumps. This lumps are introduced into a hot kiln that has been firing for several hours to Cone 10. When the soda and sawdust lumps hit the hot flames, sodium vapor is created that moves around the pieces in the kiln with the movement of the flame. Sodium vapor combines with the silica in clay to form sodium-silicate glaze. Soda fired pieces has a unique orange peel effect on their surface. The amount of silica in the clay body, where the exterior of the piece is slipped or glaze adds a dimension of uniqueness to the finished product. The location of the piece and the pieces that surrounds the piece also provide a dimension of uniqueness. All in all -- Soda firing is a very interesting process and should be added to any potters repertoire of knowledge.
Soda firing works just as well with wheel thrown or hand built pieces and does not discriminate against functional ware or sculptural work.
Students who wishes to learn about Soda firing, how the form and surface embellishment of a piece impacts the outcome and how slips affects the appearance of a piece should consider taking the Simply Soda class.
For those who have taken at least 2 Simply Soda class and wants to move on to more challenging aspects of Soda firing might consider Advanced Topics in Soda Firing. And, for the first time in the Soda Program's history at Lillstreet, the instructor for this class will be Charles Jahn.
Anyone who is interested in learning more about Soda Firing should read the Soda, Clay and Fire by Gail Nichols. There should be copies of this book around Lillstreet so if you don't wish to purchase one, you should be able to quite easily borrow one.
Soda is a very hands-on program. Students are encouraged to load and unload the soda kilns, participate the firing process and also perform some kiln maintenance. These tasks provide invaluable insights to the working of a kiln and how the placement of a piece impacts the final outcome.
So, come on . . . take a dip in the Soda Firing pool . . . you may never want to get out.
Soda firing works just as well with wheel thrown or hand built pieces and does not discriminate against functional ware or sculptural work.
Students who wishes to learn about Soda firing, how the form and surface embellishment of a piece impacts the outcome and how slips affects the appearance of a piece should consider taking the Simply Soda class.
For those who have taken at least 2 Simply Soda class and wants to move on to more challenging aspects of Soda firing might consider Advanced Topics in Soda Firing. And, for the first time in the Soda Program's history at Lillstreet, the instructor for this class will be Charles Jahn.
Anyone who is interested in learning more about Soda Firing should read the Soda, Clay and Fire by Gail Nichols. There should be copies of this book around Lillstreet so if you don't wish to purchase one, you should be able to quite easily borrow one.
Adam August checking the cones in the soda kiln (not apparent in the photo: flames spitting out of the peep hole)
Soda is a very hands-on program. Students are encouraged to load and unload the soda kilns, participate the firing process and also perform some kiln maintenance. These tasks provide invaluable insights to the working of a kiln and how the placement of a piece impacts the final outcome.
So, come on . . . take a dip in the Soda Firing pool . . . you may never want to get out.
Friday, January 6, 2012
Happy New Year
A Happy New Year to everyone. All of the monitors are taking last week and this week off. A much deserved break from all that they do for everyone at Lillstreet. This week, the two Bailey kilns are being inspected and repaired so that they can serve us better in the new year. Big Momma or Old Faithful? You decide. In any case, classes will resume next week on Monday, have you signed up for a class already? There are also a slew of exciting visiting artists workshop scheduled for this year. Take a look for yourself, I am confident you will find something that peaks your interests. Firing of greenware and glazed pieces will resume next week as well. It's been quiet around Lillstreet and we look forward to seeing you back and playing with clay! So, again, Happy New Year and Welcome back!
Monday, December 12, 2011
Glaze early, glaze often
Made something that you wanted to give out for Christmas? As the holiday approaches, make sure that you keep up with the collection of your bisqued pieces and glaze them quickly. There is two more weeks of firing left -- translation: 4 bisque firing and 4 glaze firing. Check the calendar by the greenware shelves. If you don't know where the calendar is, ask your instructor or a studio monitor. I got an email from Lillstreet today:
We use 19 different food-safe and lead free glazes in our ceramics department. We offer over 600 glaze samples but the possibilities are infinite! Ceramic glazes generally contain silica, which help form a glass-like surface and feldspars, which help the glass to melt. Combinations of naturally occurring oxides are what help to create the different colors of glaze, such as cobalt blues or copper greens and reds.
Glazing is most important for earthenware vessels, which is the same clay that flower pots are made from, otherwise they would be unsanitary due to the porosity of the type of clay. Glazing helps to seal the surface of the clay in order to keep liquids in...and bacteria out. In addition to the functional aspect of glazing, their is also the ability to use glaze like paint and the surface of your pot becomes the canvas. Glazes offer finshes that range from glossy to matte, and mottled to a solid color. Glazes may also enhance an underlying design or texture which may be either the "natural" texture of the clay or an inscribed, carved or painted design.
This is just a simple interpretation of what actually goes into a glaze forumla. If you are interested in learning more, there are tons of books out there. Also, check with your instructor if you have specific questions.
Most of all the work produced by students are fired in one of the two large Baileys in the kiln room. But we also have a kiln for "atmospheric" firing and Lillstreet offer classes in "atmospheric" firing. With atmospheric firing, you don't have to glaze the outside of the pots if you don't want to. Check out the catalog for Winter classes and look for "Soda" classes if you are interested in taking one of those classes.
We use 19 different food-safe and lead free glazes in our ceramics department. We offer over 600 glaze samples but the possibilities are infinite! Ceramic glazes generally contain silica, which help form a glass-like surface and feldspars, which help the glass to melt. Combinations of naturally occurring oxides are what help to create the different colors of glaze, such as cobalt blues or copper greens and reds.
Glazing is most important for earthenware vessels, which is the same clay that flower pots are made from, otherwise they would be unsanitary due to the porosity of the type of clay. Glazing helps to seal the surface of the clay in order to keep liquids in...and bacteria out. In addition to the functional aspect of glazing, their is also the ability to use glaze like paint and the surface of your pot becomes the canvas. Glazes offer finshes that range from glossy to matte, and mottled to a solid color. Glazes may also enhance an underlying design or texture which may be either the "natural" texture of the clay or an inscribed, carved or painted design.
This is just a simple interpretation of what actually goes into a glaze forumla. If you are interested in learning more, there are tons of books out there. Also, check with your instructor if you have specific questions.
Most of all the work produced by students are fired in one of the two large Baileys in the kiln room. But we also have a kiln for "atmospheric" firing and Lillstreet offer classes in "atmospheric" firing. With atmospheric firing, you don't have to glaze the outside of the pots if you don't want to. Check out the catalog for Winter classes and look for "Soda" classes if you are interested in taking one of those classes.
Thursday, April 1, 2010
Hump Day
We've already technically passed hump day this week, but at Lillstreet everyday is hump day. Throwing off the hump that is! This method of throwing allows for repetitive creation of similar pieces using one large piece of clay. Many times this technique is used for making smaller pieces -- where centering a tiny individual piece of clay is not feasible.
Below is a video of instructor Chris Chaney throwing a small teacup off of a larger lump of porcelain clay. One thing to keep in mind is that pieces thrown off the hump are much more prone to s-cracking. Care must be taken when trimming to go back and re-compress the interior of the foot.
The above video comes courtesy of Tony Gebley of the Chicago Tea Garden, an online retailer of high quality and reasonably priced loose leaf teas from around the globe.
Below is a video of instructor Chris Chaney throwing a small teacup off of a larger lump of porcelain clay. One thing to keep in mind is that pieces thrown off the hump are much more prone to s-cracking. Care must be taken when trimming to go back and re-compress the interior of the foot.
The above video comes courtesy of Tony Gebley of the Chicago Tea Garden, an online retailer of high quality and reasonably priced loose leaf teas from around the globe.
Tuesday, March 9, 2010
Lillstreet on the Small Screen
Within the last week Lillstreet has been featured on 2, count 'em 2 local television new shows!! If you take a minute to watch the segments and you may just recognize some familiar faces from around the studio. These are great little introductions to Lillstreet, so be sure to pass them along to friends, family members, co-workers, and well, everyone else.
Wednesday, March 3, 2010
Early Resistration Discount
With spring right around the corner it is time to think about signing up for that class you've always wanted to take! Lillstreet offers a wide variety of not only clay classes, but textiles, printmaking, drawing, painting, jewelry making, and much much more. Click here to browse the many Spring class and workshop offerings.
If you register for a class and pay in full by Friday, March 5th, you will receive $20 off your 10-week class, or $10 off your 5-week class. (No discount on workshops or camps).
Be sure to take advantage of this great offer!
If you register for a class and pay in full by Friday, March 5th, you will receive $20 off your 10-week class, or $10 off your 5-week class. (No discount on workshops or camps).
Be sure to take advantage of this great offer!
Monday, January 25, 2010
Throwing Bowls
Ever wonder how to throw a bowl? Well wonder no more!! In the video posted below, Lillstreet ceramics department head Karen Avery, demonstrates how to throw two different types of bowls.
Perhaps this video will inspire you to create some pieces to donate to Lillstreet's Empty Bowls event on March 5, 2010, 5-8pm. Not only is it great for the community, it is delicious too!
Perhaps this video will inspire you to create some pieces to donate to Lillstreet's Empty Bowls event on March 5, 2010, 5-8pm. Not only is it great for the community, it is delicious too!
Monday, November 9, 2009
Instructor Introduction: Mary Drabik
Please tell us a little about yourself; your name, background, education, and a fun fact or two.
I grew up in Michigan, a little town just west of Detroit, where I completed all of my beginning education. I recieved my BFA from Michigan State University where I studied under Brian Bolden, Blake Williams and Jae Won Lee, although I learned a lot more practical information from our ceramic tech Michael McCune. I actually did not plan to get an art degree, my orginal major was environmental botany, but at some point I realized that I could not see an enjoyable future in it.
How long have you been working with clay and how did you get started?
I started with ceramics when I was a little girl, finding iron deposits in my backyard and making little vases that dried in the sun. I went on to learn the basics of ceramics in high school and from then on had always found it to be something I really loved. So when my I dropped my botany major, I picked up sculpture.
So my parting words are, I have grown to love Lillstreet. I started as a floor cleaner 3 years ago (which I still do) and soon will be teaching first time potter. I have really come to appreciate the space and the community and the time I spend there.
I grew up in Michigan, a little town just west of Detroit, where I completed all of my beginning education. I recieved my BFA from Michigan State University where I studied under Brian Bolden, Blake Williams and Jae Won Lee, although I learned a lot more practical information from our ceramic tech Michael McCune. I actually did not plan to get an art degree, my orginal major was environmental botany, but at some point I realized that I could not see an enjoyable future in it.
How long have you been working with clay and how did you get started?
I started with ceramics when I was a little girl, finding iron deposits in my backyard and making little vases that dried in the sun. I went on to learn the basics of ceramics in high school and from then on had always found it to be something I really loved. So when my I dropped my botany major, I picked up sculpture.
What are your influences, both inside and outside of the clay world?
Now, I have been out of school for four years, living in Chicago and I find that my motivations have completely changed in the work I create. I feel like my work has become more humanistic and a reflection of the people around me. Also, managing a small cafe, I have become well versed in the habits of other people. I am also still trying to find a balance between work at the cafe, my other arts, my social life, traveling and working at the studio. But I think there is always a see-saw affect in life in general. Maybe that can also be seen reflected in my work where I find my work at the time a bit dualistic, comparing my hand pinched nesting bowls to my playful, thrown sets of porcelain dishes. It has the elements I see reflected from myself, a more serious, romantic side balancing with an outgoing, almost fun outlook on life.
Now, I have been out of school for four years, living in Chicago and I find that my motivations have completely changed in the work I create. I feel like my work has become more humanistic and a reflection of the people around me. Also, managing a small cafe, I have become well versed in the habits of other people. I am also still trying to find a balance between work at the cafe, my other arts, my social life, traveling and working at the studio. But I think there is always a see-saw affect in life in general. Maybe that can also be seen reflected in my work where I find my work at the time a bit dualistic, comparing my hand pinched nesting bowls to my playful, thrown sets of porcelain dishes. It has the elements I see reflected from myself, a more serious, romantic side balancing with an outgoing, almost fun outlook on life.
Do you sell your work? If so, how can one find it?
I am currently working on a more cohesive body of work, that hopefully soon will be sellable but I haven't really sold anything in Chicago.
I am currently working on a more cohesive body of work, that hopefully soon will be sellable but I haven't really sold anything in Chicago.
What advice can you give to students of the ceramic arts?
My advice to any new student is to try and control your frustrations when first starting to work with clay. One can learn alot about onesself with clay and it has the ability to be very rewarding.
Any parting words?My advice to any new student is to try and control your frustrations when first starting to work with clay. One can learn alot about onesself with clay and it has the ability to be very rewarding.
So my parting words are, I have grown to love Lillstreet. I started as a floor cleaner 3 years ago (which I still do) and soon will be teaching first time potter. I have really come to appreciate the space and the community and the time I spend there.
Sunday, November 1, 2009
Instructor Introduction: Chris Chaney
Please tell us a little about yourself; your name, background, education, and a fun fact or two.
Hi, my name is Chris Chaney. I spent my early college career doing all kinds of art, but ultimately received my BFA in ceramics from Northern Illinois University in 2001. Go Huskies! Fun fact...had I not studied art, I probably would have gone into aerospace engineering. Really.
How long have you been working with clay and how did you get started?
Um, I've been working in clay for about 10 years, give or take. While taking a break from university, I took a pottery course at a community college. Once I touched the clay, I knew it was what I wanted to do. Very serendipitous. I was extremely lucky to finish my college career by studying under a very demanding yet supportive ceramics professor at NIU.
What are your influences, both inside and outside of the clay world?
My influences change with the seasons. I look at everything from historical to contemporary pottery. Nothing is off limits. Currently I am studying the teawares of China, Japan, and Korea. Needless to say I'm making a lot of teapots and teacups...Outside of ceramics I look to military, aviation, and aerospace history and images for inspiration. I'm also a big fan of custom cars and hot rods as well as tattoo culture.
Do you sell your work? If so, how can one find it?
I sell my work periodically through craft sales or the odd holiday sale. I'm currently building an Etsy site which will create another outlet for direct to customer sales. I also sell thru Dancing Loon Gallery in Michigan during the spring/summer/fall seasons. I can always be reached at chris@chicagopotter.net for sales queries.
What advice can you give to students of the ceramic arts?
Practice, practice, and more practice. It's the only way you are gonna get better. Trust me on this one.
How do you spend your time when not working with clay?
I take care of my 1+yr old daughter during the day, which is more than a full time job. I also manage the Lillstreet soda firing program and am the blogmeister. Every now and then I'll go for a bike ride.
Any parting words?
Ceramics is pretty fun, but can definitely be frustrating. Just remember that we all (read: your instructors) started at the same place. Stick with it! Learning to work with clay is a lifetime endeavor. Just when you think you have it down, the next exciting technique will come along!
Website: http://chicagopotter.net
Monday, October 26, 2009
Instructor Introduction: Gary Jackson
Please tell us a little about yourself; your name, background, education, and a fun fact or two.
Gary JacksonBachelor of Science in Art, concentration in Visual Communications, Illinois State University
I worked eighteen years in the corporate world as a Graphic Designer and Advertising Manager for a chain of nationwide retail paper & office products stores. After many years of climbing the corporate ladder, I switched the focus of my life & career to doing what makes me happy. I now work twice and many hours and make half as much money - but love what I'm doing. And having a fun time doing it.
How long have you been working with clay and how did you get started?
What are your influences, both inside and outside of the clay world?
I live a pretty simple life.
I have a very simple life motto -
"If it's not fun, don't do it."
And it's worked pretty well for me so far.
I have a very simple life motto -
"If it's not fun, don't do it."
And it's worked pretty well for me so far.
In my previous life, I had a real job. I went to college, worked hard and got good grades. I graduated with honors and got a graphic design job after graduation. I worked hard and made good money. As I worked harder, I got promoted. Soon I was managing an art department. I had employees. I had responsibilities. Another promotion, another rung up the corporate ladder. We all assumed that's what we were supposed to be doing. Moving up the proverbial ladder. That's what we were trained to to. That's what we were expected to do. We had been lead to believe that it was the path to success since very early on in our lives.
After eighteen years of corporate retail advertising & marketing, I realized that it may not be true. That the path to success is not measured by money or rungs on a ladder. The path to my success is happiness. I started out as a graphic designer, but several years later I found myself in countless meetings, dealing with budgets & proposals and doing nothing at all related to graphic design. I had a talented staff to do that... the fun part. I have never been motivated by money. Which is a good thing now that I a full-fledged starving artist... now I get to do the fun part!!!
Over the years I have come to realize that my own happiness is far more important than any company's bottom line or the next investor's meeting. So I struggled with the decision to start my own business and work for myself. While I was still working the corporate gig, I started taking pottery classes at Lillstreet Art Center. It was the perfect creative outlet during my non-creative advertising job. It was tactile, mushy and incredibly creative. You get to make beautiful things out of mud. So when it was time to start my own business, I decided to go with something I love... and I love making things. I always have.
I also love biking. I started biking shortly after college purely as a recreational biker. A quick trip around the block or though the forest preserve. But as my passion grew, so did my sense of adventure. My mileage increased, my stamina increased - and I started pedaling even further. And pedaling further can take you along the coast of Oregon & California, or the other coast from Baltimore to Tampa. The Rocky Mountains from Glacier National Park to Yellowstone... or my greatest biking adventure: cross country from Los Angeles to Boston. I now ride a couple thousand miles every summer - vacations, weekends & mornings before work. I quickly realized that there is nothing better than the sense of freedom you get while pedaling out in the middle of nowhere - and not even caring that you don't know where you are. The sense of wonder and relaxation of stopping, laying under a shady tree and watching the clouds go by - for no reason, in no hurry. And now that I am a self-employed artist, I get to continue my biking obsession. My flexible studio hours allow me the time to get out and pedal... and pedal... and pedal...
For the past few years, I have also been spending my summers teaching Summer Camp at Lillstreet Art Center. It's a great gig - working with 8-12 year old kids and their unending creativity & enthusiasm! They get excited, they make art, they giggle. We do great projects all summer - some for fun, some more educational. From ceramics & painting, to mosaics & drawing, lots of clay, lots of Mod Podge... and my personal favorite - tie-dye! Many people find it exhausting to deal with kids all summer - I find it entertaining and somewhat exhilarating. They make me giggle.
I also work throughout the year with an event production company designing corporate parties, special events and holiday decorations. It's another great gig - a different party, a different theme, a different creative challenge. From large corporate events for thousands of people, holiday decorations for Chicago landmarks & corporate headquarters - to smaller, more intimate events & holiday decor for a few mansions. Both of these "gigs" affords me the chance to work as a full-time potter. And keeping within my own motto... they're both fun!
So that's my life in a nutshell. Nothing too exciting. Nothing too elaborate.
I try to keep it simple. I don't see the need for extra drama or hassles. It takes too much time & energy - that I could be using to do something fun. I don't watch the news. I don't read the newspaper. I don't do sports, religion or politics. I prefer to focus on the positive. I like to be happy. I like to make other people happy.
I try to keep it simple. I don't see the need for extra drama or hassles. It takes too much time & energy - that I could be using to do something fun. I don't watch the news. I don't read the newspaper. I don't do sports, religion or politics. I prefer to focus on the positive. I like to be happy. I like to make other people happy.
Plus I like to make things.
And I hope that the things I make also make other people happy.
And I hope that the things I make also make other people happy.
After all... it's all about me.
And if it's not fun, I don't do it.
And if it's not fun, I don't do it.
Do you sell your work? If so, how can one find it?
I enjoy the art fair circuit and have made many friends and loyal customers along the way.
I love seeing people pick up and item, fell it, touch, love it... knowing that they have to have it.
Anyone interested in making it to one of the art fairs, my schedule is always updated
on my website. I also sell my work in a couple stores throughout the Midwest.
What advice can you give to students of the ceramic arts?
Working with clay is not as easy as many think. It takes practice, focus & determination.
You can't expect to get it the first time. Don't panic. Don't worry. Just remember to have fun.
Everyone is playing in the mud, having fun and expressing themselves. Enjoy the process.
Commit to what you're doing., Don't be tentative. The clay is much more resilient than you think.
And remember that we're not here to make "perfect pots"... if you want perfect pots, go to Pottery Barn!
How do you spend your time when not working with clay?
So to help out, I also work part-time as the Creative Director for a special events company in Chicago. I get to be creative all day, at work and the studio. I get to design great parties and make fun pottery. Along the way, I get to pedal a few mile here and there....
Any parting words?
If it's not fun, don't do it.
Website: http://firewhenreadypottery.com/
Monday, October 19, 2009
Instructor Introduction: CatherineTweedie
Please tell us a little about yourself; your name, background, education, and a fun fact or two. How long have you been working with clay and how did you get started?
My name is Catherine Tweedie, and while I was raised in Evanston, after a decade spent living in various parts of Chicago I feel more native to the City. I remember, vividly, every episode throughout elementary school involving clay: pinch-pots, coil vases, slab boxes and finally wheel throwing in high school. I took at least one ceramics class every semester in college. When I graduated from Beloit College I found myself living in Chicago, and looking for clay facilities. Lill St. became my haven and I've never left. I've been obsessed with clay for as long as I can remember.
What are your influences, both inside and outside of the clay world?
I love to cook, but mostly I love to bake. I make functional ceramic pieces based upon daily use within the kitchen, dining room, garden and beyond. I believe that when you incorporate functional art into your everyday existence it raises your level of ceremony and appreciation. The days where I leave myself enough time in the morning to drink out of a handmade coffee cup, and I'm not just leaving the house with a thermos for the road, are days that start on a more positive note, and my coffee tastes better.
I love numbers, and incorporate them widely in the surface detail/decoration on my pieces. Numbers are how we quantify everything in our lives, and thus they are universal. I think their forms are beautiful and curvy, and they work well to accentuate the rounded forms I like to make. They are endlessly descriptive in their simplicity.
Do you sell your work? If so, how can one find it?
I sell my work in New Buffalo, Michigan at Dancing Loon Artisans, and through my studio at Lill St.
What advice can you give to students of the ceramic arts?
Take advantage of your open studio hours. Lill St. has open studio hours 10am-10pm seven days a week. Keeping familiar with the process will stretch your skills exponentially. So much depends upon reaching the clay at the right wet/dry state. Always work in series. If you're going to make two cups then why not make six? Watch other people throw or hand-build. Everyone has slightly different technique, and the smallest nuance can sometimes make a huge difference in your own practice. Music is vital within the studio setting. Make sure you've got a radio handy at all times.
How do you spend your time when not working with clay?
I bike, garden, wait tables, travel, and cook.
Any parting words?
"Art washes away from the soul the dust of everyday life," Pablo Picasso.
"Eighty percent of life is showing up," Woody Allen.
Wednesday, October 14, 2009
Instructor Introduction: Sharon and David Hartshorne
Please tell us a little about yourself; your name, background, education, and a fun fact or two.
Sharon and David Hartshorne, husband and wife team who teach wheel throwing on Wednesday evenings:
How long have you been working with clay and how did you get started?
We grew up a few miles apart on the Des Plaines River in northern Illinois and fell in love with clay in high school in the 1970’s. Later returning to our hometown, we were married and our combined talents and interests led us back to ceramics.
What are your influences, both inside and outside of the clay world?
As homegrown Midwesterners, we had learned early on to adapt to the changing seasons, preparing us for the challenges presented by our chosen material. Like the seasons, clay provides us with a wide range of opportunities, from expansive freedom of expression to the limits inherent in the material and techniques.
Drawing on diverse fonts of artistic expression, from the naturalism of Bernard Palissy to the contemplative Agnes Martin, from the innovation of Oribe-ware to the ephemeral Andy Goldsworthy, our goal by collaborating is to combine our individual perspectives of inspiration with our delight in working with this earthy material.
What advice can you give to students of the ceramic arts?
Lillstreet Art Center has provided us with the opportunity to share our abilities and combine the talents unique to each of us to enhance the experience of each student. Realizing the frustration in initial attempts at creative expression, we are always reminded that we will never play a piano concerto well if we cannot play basic scales. On the other hand, new students often bring a fresh perspective to a piece that many veterans strive to achieve.
Our teaching technique remains to encourage beginning students to persevere in order to more clearly see the finished piece, enabling them to find the voice in their work, a voice that is truly their own.
Finding the soul in a shape that has been around for thousands of years remains elusive, yet in the Arts and Crafts tradition, every handmade piece is a work of individual human expression.
Any parting words?
By creating handmade pieces of art from raw clay, we hope to exude the enthusiasm that so many artists have come to recognize as a process as simple and as complex as our own human experience.
Lillstreet’s promotion of diverse opportunities in the arts continues to provide individuals with the means to express themselves, and provides us with the rare ability to bring a tandem approach to the joy of working with clay, enabling us to tailor our approach to each student’s unique needs and abilities.
Cheers! Sharon and David
Monday, October 12, 2009
Instructor Introduction: Momoko Usami
Please tell us a little about yourself; your name, background, education, and a fun fact or two.
I’m Momoko Usami. I went to under graduate, and graduate school at Kyoto City University of Art in Kyoto, Japan. I came to the U.S. last year to change my environment, and to research how the cultural difference influence people’s view.
How long have you been working with clay and how did you get started?
I have been working with clay since University. So almost 9 years.
What are your influences, both inside and outside of the clay world?
Ceramics for souvenir, Japanese painting in Edo period, dreams, find something on the street
Do you sell your work? If so, how can one find it?
Woman Made Gallery. You are more than welcome to stop by my studio.
What advice can you give to students of the ceramic arts?
Learn from trial and error, just need to be patient and take your time.
How do you spend your time when not working with clay?
Drawing, cooking, eating, reading, thinking or sleeping
Any parting words?
I like beer.
Website: http://momokousami.shichihuku.com/
I’m Momoko Usami. I went to under graduate, and graduate school at Kyoto City University of Art in Kyoto, Japan. I came to the U.S. last year to change my environment, and to research how the cultural difference influence people’s view.
How long have you been working with clay and how did you get started?
I have been working with clay since University. So almost 9 years.
What are your influences, both inside and outside of the clay world?
Ceramics for souvenir, Japanese painting in Edo period, dreams, find something on the street
Do you sell your work? If so, how can one find it?
Woman Made Gallery. You are more than welcome to stop by my studio.
What advice can you give to students of the ceramic arts?
Learn from trial and error, just need to be patient and take your time.
How do you spend your time when not working with clay?
Drawing, cooking, eating, reading, thinking or sleeping
Any parting words?
I like beer.
Website: http://momokousami.shichihuku.com/
Wednesday, October 7, 2009
Instructor Introduction: Tom Lucas
Please tell us a little about yourself; your name, background, education, and a fun fact or two.
Thomas Lucas. Originally from the Philadelphia area, BFA Tyler School of Art, MFA S.A.I.C. Director of Printmaking Dept at Lillstreet and Master Printer at Hummingbird Press LAC, also located upstairs in the print dept.
How long have you been working with clay and how did you get started?
I have been working with clay off and on for the last 20years. I used to work for John Dowell, an artist and professor in Philadelphia who worked in clay, print, painting and music. I have done a bit of throwing, hand building and raku. Recently I have developed a series of classes at Lillstreet in the Print Dept. that teach printmaking on clay techniques.
What are your influences, both inside and outside of the clay world?
Currently I am influenced by the history of art and technique as it applies to the realm of printmaking and clay.
Do you sell your work? If so, how can one find it?
I do sell my work. It can be found at Lusenhop Fine Art as well as Nicole Gallery in Chicago. I also sell out of my studio.
What advice can you give to students of the ceramic arts?
How do images affect form and how does form affect the image?
How do you spend your time when not working with clay?
Working on drawings, prints and paintings.
Any parting words?
BE INSPIRED!
Website: http://hummingbirdprint.com/
Tuesday, October 6, 2009
Instructor Introduction: Yong Hyun Chung
Please tell us a little about yourself; your name, background, education, and a fun fact or two.
I have earned my MFA from School of the Art Institute of Chicago in 2007. I also studied ceramics at Kookmin University, Seoul, Korea and earned BFA.
How long have you been working with clay and how did you get started?
I met clay when I went to college in 1997, and keep doing artwork with clay. I do sculptural as well as functional ceramic work. Since past two years, I am in love with soda firing. I am making large scale vessels and delving into soda kiln nowadays.
Do you sell your work? If so, how can one find it?
I have my website, www.claynmore.com. People can purchase my work via my website, Etsy.com(forthcoming), or visiting studio at Lillstreet Art Center Ste. 205 West.
Wednesday, September 30, 2009
Instructor Introduction: David Trost
Please tell us a little about yourself; your name, background, education, and a fun fact or two.
David Todd Trost. MFA, School of the Art Institute of Chicago. BFA, Pen State University. Although it may be surprising to some, my grandfather was an award-winning clown with the Shriners.
How long have you been working with clay and how did you get started?
I first started making objects with clay in high school. Our school had a small ceramics program consisting of four potter's wheels, an electric kiln, and a clay mixer. I was lured into the whole culture of ceramics with a few of my classmates as we began mixing our own clays by hand, taking interest in firing techniques that were unavailable to us, and trying a number of unconventional techniques to compensate for our limited facilities.
What are your influences, both inside and outside of the clay world?
I draw the bulk of my influence from the greater culture within which we live, I am consumed by the political machinations of our government (mostly the historical implications of their actions) and the visible remnants of our shared histories.
Do you sell your work? If so, how can one find it?
I am presently without a gallery, agent, or art dealer. I am open to selling work directly from my studio in #209 at Lillstreet.
What advice can you give to students of the ceramic arts?
Patience and planning are the two keys to a successful practice in ceramics.
How do you spend your time when not working with clay?
I enjoy searching for rare or unusual musical instruments and learning to play them. I also like to read history, biographies, and sociological essays.
Any parting words?
klaatu barada nikto
Website: http://www.davidtoddtrost.com/
David Todd Trost. MFA, School of the Art Institute of Chicago. BFA, Pen State University. Although it may be surprising to some, my grandfather was an award-winning clown with the Shriners.
How long have you been working with clay and how did you get started?
I first started making objects with clay in high school. Our school had a small ceramics program consisting of four potter's wheels, an electric kiln, and a clay mixer. I was lured into the whole culture of ceramics with a few of my classmates as we began mixing our own clays by hand, taking interest in firing techniques that were unavailable to us, and trying a number of unconventional techniques to compensate for our limited facilities.
What are your influences, both inside and outside of the clay world?
I draw the bulk of my influence from the greater culture within which we live, I am consumed by the political machinations of our government (mostly the historical implications of their actions) and the visible remnants of our shared histories.
Do you sell your work? If so, how can one find it?
I am presently without a gallery, agent, or art dealer. I am open to selling work directly from my studio in #209 at Lillstreet.
What advice can you give to students of the ceramic arts?
Patience and planning are the two keys to a successful practice in ceramics.
How do you spend your time when not working with clay?
I enjoy searching for rare or unusual musical instruments and learning to play them. I also like to read history, biographies, and sociological essays.
Any parting words?
klaatu barada nikto
Website: http://www.davidtoddtrost.com/
Monday, September 28, 2009
Instructor Introduction: Marjorie Woodruff
How long have you been working with clay and how did you get started?
I started seriously working in clay at Northern Illinois University when I was 19 and haven't stopped.
What are your influences, both inside and outside of the clay world?
"Free Jazz" music -- going to hear music live and Labor History students in graduate school who opened my eyes to labor history in our country and the world -- both of these influences have greatly influenced my life and my work.
Do you sell your work? If so, how can one find it?
I have work for sale at Woman Made Gallery, Artisan Gallery (http://womanmade.org/) and I will be including work on the Etsy Web site this fall.
I periodicaly do art fairs and just had a solo show at Woman Made Gallery called Rack and Ruin. (http://womanmade.org/show.
What advice can you give to students of the ceramic arts?
Advice to students... explore and try lots of things, get comfortable with the clay as a material. Begin setting some personal goals for what it is they want to achieve... such as for our beg/intermediate handbuilding class... some students have expressed that they are there to relax and have fun, others have very specific goals -- either technical or very personal expressive goals, or to just create objects to give as gifts that they have personally created. So... by talking with people, knowing their goals, as a group class we adjust what we focus on each 10 week session surrounding the basic handbuilding construction techniques. Thus each class begins to have specific slant depending on needs and wants of students in class. Students end up influencing each other as well which is great to watch and observe as a teacher.
How do you spend your time when not working with clay?
Outside of clay, I garden and cook, go hiking and camping out west on the Mississippi River, bird watch, thrift for old interesting objects. Plus just bought a new used bicycle at Working Bikes Co-op (great not-for-profit place that gives bikes away around the world -- http://workingbikes.org/) ... so I am biking more again and hope to lose some pounds as well! Last of all, I am the Membership Secretary for our part-time union at City Colleges of Chicago called CCCLOC that is part of IEA (Illinois Education Assoc). We just were able to form a new region just for Higher Ed in the Chicago area that includes Columbia College, United Staff of Columbia College,Triton, Roosevelt and our City College union. So it is exciting times for unions! I am passionate about this work because it is about learning how to become an active citizen.
Any parting words?
Enjoy... life is shorter than you think!
Website: www.marjoriewoodruff.com
Wednesday, September 23, 2009
Instructor Introduction: Corinne Peterson
Please tell us a little about yourself; your name, background, education, and a fun fact or two.
I’m Corinne Peterson, handbuilding teacher of Dreams, Myths, Stories at Lillstreet. I grew up on a Minnesota farm, among other things taking note of a slippery clay bank near the house and exploring the insides of field stones. When my sons were teenagers, I went to University of Illinois Chicago to earn my MSW and embarked on a career as a psychotherapist.
How long have you been working with clay and how did you get started?
In 1986, dreams about clay objects led me to take a class at Lillstreet. I had no product in mind, but was curious why I had dreamed about clay. I often built objects to further explore my dreams.
What are your influences, both inside and outside of the clay world?
My first influences were the teachers and studio members of Lillstreet. I especially liked the textures and narratives of Lisa Harris’s and Phil Schuster’s sculptures and the off-beat grace and colors of Eric Jensen’s hand-built functional ceramics. I visited the Art Institute, the Oriental Institute, Field Museum and art galleries in Chicago to see all I could of current and ancient ceramics. I was excited to realize how clay objects and writing in clay gave us so much knowledge of past societies, their myths and stories. Currently, a strong influence is old pillars and walls, how their textures, materials, and colors give clues to their history, and what they might reflect of the human psyche.
Do you sell your work? If so, how can one find it?
I sell my work through studio contacts, exhibits, art consultants and my website, , sadly out of date, while I build one I can manage myself. I’ve just completed two commissions, and have also worked on numerous clay tile murals through association with many different groups, especially Chicago Public Art Group. You can see them throughout the city. The nearest to Lillstreet is on Stockton School at Montrose and Beacon, and the largest is in the Roosevelt and State CTA station.
What advice can you give to students of the ceramic arts?
I got my best advice at a Jeff Oestrich clay workshop at Lillstreet in 1987. I wanted to take clay more seriously, but was afraid of what a studio of my own would cost me. Would I be so worried about making work to sell that I’d lose my joy in clay? When someone asked Jeff how he determines what the market wants, he quoted another clay artist as saying, “You make what you love, and convince others they want it!” “Of course”, I thought, and took courage. I pursued my passion wholeheartedly–soon in a group studio, and eventually in a Lillstreet studio of my own.
How do you spend your time when not working with clay?
Time not working with clay is taken up with family and friends, enjoying nature, reading and looking for ways to move my art out into the world, so there will be room in my studio to make more.
Any parting words?
For me, clay is a doorway into my own soul. It gives me a way to explore my inner life and recover a deeper and more vital connection to myself and to all of life.
Website: http://www.cdpeterson.com/
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