4.24.2018

born with a tail by karin eda sanborn

while preparing this post under a completely different topic i changed my mind...been trying to notice how to do that a lot lately. it stands to reason that if i'm smashing my hand with a brick i've got no one by myself to blame if i don't stop.

this month's post is simple, because that is what i want to be simple. simple is as simple does. my good friend here says it is time now to chase some tennis balls.

the view from Dharma's
pen & ink 2018 sketchbook


4.10.2018

Presence Project #2


This definition of presence is personal. The presence of horse. 

I used a mold to create the plate shape. The mold was invaluable for transport to class. 
I found drawing on clay difficult. You cannot rest your hand on the material to draw because you will get an indent or crack the plate from the pressure. Consequently, it is difficult to get a clean line. 

 Plates will crack if they don't air dry evenly. This plate was 16"+, which was also a hindrance. I had to stand it up in a shelf with support boxes to dry evenly which was a risk. It survived the bone dry stage and it survived being put in the kiln as well. The brittleness of the bone dry clay doesn't allow you to grab the edges as it will break. 

I was pleased that it survived the kiln.  I experimented with new glazes, which gave mixed results. It isn't my best piece but I accomplished what I wanted to achieve with clay which was to learn something new. I hope to explore more 'drawing' with clay soon.

I apologize for the poor quality of this pictures. It takes equipment and skill to best shoot shiny and reflective surfaces. I, as of yet, have neither. 




3.31.2018

in defense of wandering by karin eda sanborn



...a form of connection that is open ended, inexhaustive, non-exclusive, unlimited, exterior, infinite...  

                                                                   —from anarchist without content


Click the photo to view a 12' video celebrating Deleuzian style video making


2.25.2018

lightning rod by karin eda sanborn

How does the imagination operate when the hands are engaged?

Can a translation of life occur, as if by proxy, at the round ends of the fingertips? Can the digits act as eyeballs do—to witness, decode, and report data that smell, touch, taste, sight, or hearing take in to the body? Braille operates by this mechanism.

Biological fire bolts shoot from the circuitry in my brain 24/7 as a result of too much information coming in from the outside world. I engage in an essential form of communication when at work in the studio. My palms receive data signals like the call and response that happens when two jazz musicians play music together. The making process grounds the invisible electricity that I feel. Thorough creativity, I can transform a lot of neurological noise into something productive, be it in the form of a sculpture, a drawing, or a song.

It's taken decades to come to this realization. This month's post is a nod to a significant mentor. 
Thanks Peter. I am learning to play piano...

By Peter Bodge


2.09.2018

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.

1.24.2018

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





Signals

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




1.07.2018

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.