teaching Bart

We sat down at 8:40 and www.blogspot.com is in Dutch - Had to go to my computer.

Three Weeks Sprint to Final Presentation

As I return to Holland from a much-needed rest in Italy – another side story – I can sense the need to bring closure to all the mini decisions we’ve made over the past 12 weeks.

I understand in principal each facet, and now continue the perspiration to bring to completion a polished piece.

Submitted the Announcement today to the PR arm of EKWC so they can post it to their mailing list. Here ie the text.

“Ties That Bind Us” is an installation featuring the Hand, Mind and Heart of the makers. In an age of increased social isolation, globalization and explosion of digital technologies this installation transcends the perfection of machine made ubiquitous products.

The translucent interior divider has a metaphysical presence and
highlights the unique physical characteristics of ceramics not obtainable using other materials: fluidity, translucency and tactile surfaces.

A cable system hangs thirty-six bone china panels, 35mm x 60mm, creating an interior divider of two parallel architectural skins. A structured “Outside Skin” where finger rhythms hammered the surface and subtle vertical hole patterns become a plane to capture, transmit and telegraph lighting conditions. And the offset parallel plane of “Inside Skin” drapes as if shifting winds are rippling the
fabric that binds humans; no matter the cultural bias.

A collaborative project by Carol Koffel, visual artist, and Sarah
Willmer, architect, during a combined residency at EKWC,
s'Hertogenbosh, Holland.

Completed in 2007

We do not have contacts here in Holland – so we can rely on their world to learn more the next steps.

Off to Philips Lighting Center tomorrow to learn more about potential method for lighting the installation - then meeting on Monday with Simone Maase – that teaches at Eindhoven University, works in clay as well as lighting.

Sharpened a metal punch today to solve the issue with how best to drill accurate holes in the metal pieces, etc.

Up late waiting to close the damper on the Kiln # 7 – and electric kiln – that has a special catalytic system so one can burn out any material. Me – I just selected it since it is the smallest one. I am running experiments for how best to fire the bone china breast molds – to retain the form. I’ve made boxes as shrink slabs (may not work as these are not from the same clay body) and to hold material to block the bone china from collapsing.

One experiment is to use Alumina Oxide - which will not stick to the back of the breast mold – the other is sand. Will take photos as I unstuck on Thursday night or Friday morning.

Stack Kiln #1 again to test another alternative method of making the outside panels. The top loop collapsed without support – and the insertion of a tube is not too clean. This time I’ve inserted a small slab before turning down the loop. I think it is the best solution – but before going forward, I want to fire three to see the result.

More later, it is now past midnight and Kiln # 7 should be at 500 degrees C; time to close the damper.

Hard to capture the wind, constant shifting of the sunlight and the sense of discovery when one rides out into the countryside, no map, or plan. Maybe these reveal some of my experiences, alone pacing myself for the nine-week residency. Past the halfway point now. The Church Bell struck 10 PM. The June night where I captured the fading sun – is now around 10 – 15 minutes earlier. Thank goodness I do not wake each day at 4:30 or so any more with the dawn birds. There are no longer dusk birds singing.

I will return tomorrow with the jig I’ve concocted of wood to seek Aries’ ideas on how to make it more accurate. The holes I am drilling do not always hit in the center of the cold rolled steel rods, since Arie has a studio in the garden for working steel. He built a small studio space for Corry, with quaint steel doors.

Dedication to Liefde

Riding in the “Brook” where in ancient times the town’s people could flood the wetlands for self-defense, I took a self-portrait while riding. I thank Dallas both for teaching me that is possible, but also for the wonderful transition in my expression, as the second photo is dedicated to his presence in my life.

Found out that Lief - meaning willing in middle English - is also a Dutch word meaning sweet. It can become a verb by adding De making the meaning love. There are poems screened on the second story walls of many buildings in Den Bosch. Near the catherdral, there is one about love, that I should photograph. I've always wanted to screen print words on my walls.

Next supplement to production work, will use the screens I've brought along from SF.

A women in the last house, came outside asked of my purpose. I told her the front entry was beautiful. and I was from San Francisco. Then I continued to explore. There was a sign across the small alley that caught my eye. It announced this was the site of a pottery in the mid 1780’s. The women emerged from her home to say; you cannot read that plaque.

Turns out she works in clay and is does stone sculpture. Her husband, grown son and I shared coffee and stories of life.

Country Visit

After morning papers, miss the quotes from the Artist’s Way – but find writing / drawing in my journal good breakfast companionship. My cloistered life is settling into a rhythm juxtaposing production, artist exploration and venturing into the local countryside, working a bit after dinner; welcoming the evening light. Studio 9 is illuminated by an emergency exit sign and my computer screen.

I rode father today and arrive across a canal into a small neighborhood. As I was taking a photo of several houses – a brass doorknocker, modern Dutch version of lace curtains, and a sweet garden entry.

Past the Halfway Point

Woke this morning and realize my deep exhaustion despite nine hours of a good sleep. Discovered I need to pace production studio work. Completed the 100 Kilo’s of Bone China mixed in January today as I completed the last inside {if the firing of these goes well} production panel. Also discovered an “extra” section cut off from each slab, is perfect slab for a series using my plaster breast cast. Alternating production work with series of art concepts. Allows my mind to flow.

I retired the lace found in April at Shelly's wedding tonight. The photo taken shows the oil staining and clay penetrating all the pores of the fiber. The composition is remarkably like the most recent breast draping. Sensual and Suggestive.