Revisited by Andrea Zimon

In the 1984, I had the privilege of taking a class taught by Anthony Russo. 
 While he probably shared an amazing amount of knowledge, my teen-aged brain retained these three nuggets. 
He taught me to be generous with color as Leroy Neiman did, an artist I admired. 
Second, he told me artwork is never done. You should have seen my brain attempting to accommodate that one. 
Third, he taught me the Italian word 'capiche'. I probably often had a blank, vacant look which probably prompted his Italian language.

Back in March 2016, I took an amazing welding class and started this heart. As you can see this piece sat for a while before I returned to it. 

While I was originally content with it, I decided to do more work on it. I added these hammered with in an inch of their lives leaves with cold joins. I added details of wired wrapping, beads, and horse hair. These additions made the piece more finished and original.  

My instructor's advice has been very freeing to me as an artist. 
Thank you, Mr. Russo and yes, I understand!

photo credit: clarke linehan

photo credit: clarke linehan

A special thanks goes out to Karin Sanborn and Don Brown for sharing their tools and materials so I could make the well hammered leaves and to Karin, for repairing my welds that broke.


signals by karin eda sanborn

The compensation of growing old [is] that the passions remain as strong as ever, but one has gained — at last! — the power which adds the supreme flavour to existence, — the power of taking hold of experience, of turning it around, slowly, in the light.

— Virginia Woolf, Mrs. Dalloway


MFA Thesis Sculpture Installation
By Karin Eda Sanborn

On display until 2/24/2018
Roger Williams Gallery
77 Amherst Street
Manchester, NH
Hours: Tuesday - Saturday  11:00 am - 5:00 pm


Handprint Bowl by Andrea Zimon

I assigned my friend, Karin with picking out the inspiration word for my independent study in ceramics. She came up with some good ones but the word ‘presence’ resonated the best with me. 

Creating a piece inspired by a word was challenging but the following project was the result. There are ten projects in all. I hope you enjoy these projects over the next ten months as I am taking a break from clay.

Photo Credit: Clark Linehan

Photo Credit: Clark Linehan

Photo Credit: Clark Linehan

Photo Credit: Clark Linehan

Handprint Bowl.  American Indians announced their presence by painting their hands then putting their hand prints on rock walls. As I child, I made paper turkeys out of the outline of my hands. As an adult, I combined both techniques and used the outline of my hand to create my hand prints on rock (i.e. stoneware) to announce my presence.

Please note that these pictures were taken by Clark Linehan, who did an amazing job with this piece and others. 


merci by karin eda sanborn

a rare post with no images

to leave space for new things to happen

and to give thanks for another rare event

which of course,

 is entirely the responsibility of



Something Other than Clay by Andrea Zimon

I typically carry on about my clay adventures but nothing is yet glazed.

I took drawing over the summer. I am taking illustration now.

These drawing and illustration classes are demanding and stressful but I am thankful to have experienced them because they are making me a better artist.

Here is a sampling of my work. The only thing spectacular about these works is the journey.

From Drawing, pen and ink, line work

From Illustration, Pen and Ink, found object (snaffle), line work
From Drawing, conte crayon
From Illustration, pen and ink, jaw bone, pointillism and line work
From Illustration, Pen and Ink, shell, pointillism
Scratchboard, perspective building

Scratchboard, Still life (the object on the left is a horseshoe crab) 

Scratchboard, shell

Scratchboard, self protrait, Medusa, don't look at it or you will turn to stone. 


we'll dance by karin eda sanborn

A day in the studio, what does it look like? 
How does the work start? 
What informs it? 

Everyone's process is unique. I sit down in uncluttered studio space or go for a walk. 
Then I begin with no idea but I do have tools. 

Phenomenology is the primary cog in my creative engine. Phenomenology directly investigates without preconceived theories or notions. Dabney Townsend described phenomenology as the finding of place.(1)

The French philosopher Gaston Bachelard (1884-1962), wrote The Poetics of Space to celebrate space, time, and imagination through the diverse world of phenomenology. It is a practice where every lens taking the view in is worthy. He wrote: 
A phenomenologist takes the image just as it is, just as the poet created it, and tries to make it his own...to the very limit of what he is able to imagine.(2) 

When the architecture of the world meets the physicality of my body, the five senses engage to experience the transient nature of the universe. It does not matter where I am or if I have art supplies. Now I am ready to begin interpreting the event visually. In the next step of the creative process I practice the shotokan martial arts sentiment, know your environment, to decide the next move. 

(1) TOWNSEND, Dabney The Southwestern Journal of Philosophy Vol. 8, No. 2 (SUMMER, 1977), pp. 133-139. 
(2) Bachelard, Gaston The Poetics of Space. 1994. Beacon Press, Boston, MA p. 227.

2017 observation