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Share A Dialogue With The Piece | Kathy Skaggs | Episode 1149
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A Dialogue With The Piece | Kathy Skaggs | Episode 1149
Kathy Skaggs | Episode 1149
Kathy Skaggs holds her MAE and MFA in Ceramics. Kathy taught art in public schools for 30+ years and founded Atlantic Pottery Supply. Kathy is now a Ceramic Education Consultant with AMACO, training educators and artists in clay integration and surface printing techniques.
SPONSORS
You can help support the show!
GRPotteryForms.com
diamondcoretools.com
Number 1 brand in America for a reason. Skutt.com
For all your ceramic needs go to Georgies.com
Is there an approach you take to get in the mode to have a dialogue with your work when you begin?
The biggest thing is you have got to listen. You can’t go hell or highwater into it with this masterplan. It’s like listening to a friend. You have to catch the subtle signals that are right in front of you. I mean, all you have to do is listen.
Does that mean it is an inner dialogue or an outer dialogue of the piece?
Well, all I know is when I am working on something and something happens in front of me, which is unplanned, or I planned a different way, and it planned another way that I don’t hello or highwater bring it back to the original plan. Like if it takes a right turn, I gotta go more right. Instead of trying to make it go left like I wanted it to initially. You have to read the signals and say; I am going to go with that.
It’s like someone said it’s the idea of almost complete, but never fully complete so you want to have room for something else to redirect your thoughts. Is that what you are saying?
A hundred percent. A hundred percent. I think you go in with a basic premise, with an idea, but I see people who have too full-blown ideas, and their ideas are so full-blown in their head that they are constantly disappointed. Or initially when they work in clay, they are disappointed. Instead of looking at what’s in front of them and reacting to that.
Should we be asking while working with a piece, does it flow or is it disjointed? Is that a good thing to stop and ask those questions? Or what should I add or what should I remove?
I think you do have to say; What should I add, what should I remove? When you go up with a basic concept, you put something down, you get the ball rolling. And then you look at it and you want to capitalize on what’s going on.
Book
Architecture Without Architects by Bernard Rudofsky
Contact
kathy-skaggs.com
Instagram: @kathyskaggsclay
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By Show Notes – The Potters CastKathy Skaggs | Episode 1149
Kathy Skaggs holds her MAE and MFA in Ceramics. Kathy taught art in public schools for 30+ years and founded Atlantic Pottery Supply. Kathy is now a Ceramic Education Consultant with AMACO, training educators and artists in clay integration and surface printing techniques.
SPONSORS
You can help support the show!
GRPotteryForms.com
diamondcoretools.com
Number 1 brand in America for a reason. Skutt.com
For all your ceramic needs go to Georgies.com
Is there an approach you take to get in the mode to have a dialogue with your work when you begin?
The biggest thing is you have got to listen. You can’t go hell or highwater into it with this masterplan. It’s like listening to a friend. You have to catch the subtle signals that are right in front of you. I mean, all you have to do is listen.
Does that mean it is an inner dialogue or an outer dialogue of the piece?
Well, all I know is when I am working on something and something happens in front of me, which is unplanned, or I planned a different way, and it planned another way that I don’t hello or highwater bring it back to the original plan. Like if it takes a right turn, I gotta go more right. Instead of trying to make it go left like I wanted it to initially. You have to read the signals and say; I am going to go with that.
It’s like someone said it’s the idea of almost complete, but never fully complete so you want to have room for something else to redirect your thoughts. Is that what you are saying?
A hundred percent. A hundred percent. I think you go in with a basic premise, with an idea, but I see people who have too full-blown ideas, and their ideas are so full-blown in their head that they are constantly disappointed. Or initially when they work in clay, they are disappointed. Instead of looking at what’s in front of them and reacting to that.
Should we be asking while working with a piece, does it flow or is it disjointed? Is that a good thing to stop and ask those questions? Or what should I add or what should I remove?
I think you do have to say; What should I add, what should I remove? When you go up with a basic concept, you put something down, you get the ball rolling. And then you look at it and you want to capitalize on what’s going on.
Book
Architecture Without Architects by Bernard Rudofsky
Contact
kathy-skaggs.com
Instagram: @kathyskaggsclay