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Featured Artist: Augustus Rodin

François Auguste René Rodin November (1840 – 17) was a French sculptorgene rally considered the founder of modern sculpture. He was schooled traditionally and took a craftsman-like approach to his work. Rodin possessed a unique ability to model a complex, turbulent, and deeply pocketed surface in clay. He is known for such sculptures as The Thinker, Monument to Balzac, The Kiss, The Burghers of Calais, and The Gates of Hell.

Many of Rodin’s most notable sculptures were criticized as they clashed with predominant figurative sculpture traditions in which works were decorative, formulaic, or highly thematic. Rodin’s most original work departed from traditional themes of mythology and allegory. He modeled the human body with naturalism, and his sculptures celebrate individual character and physicality. Although Rodin was sensitive to the controversy surrounding his work, he refused to change his style, and his continued output brought increasing favor from the government and the artistic community.

From the unexpected naturalism of Rodin’s first major figure – inspired by his 1875 trip to Italy – to the unconventional memorials whose commissions he later sought, his reputation grew, and Rodin became the preeminent French sculptor of his time. By 1900, he was a world-renowned artist. Wealthy private clients sought Rodin’s work after his World’s Fair exhibit, and he kept company with a variety of high-profile intellectuals and artists. His student, Camille Claudel, became his associate, lover, and creative rival. Rodin’s other students included Antoine Bourdelle, Constantin Brâncuși, and Charles Despiau. He married his lifelong companion, Rose Beuret, in the last year of both their lives. His sculptures suffered a decline in popularity after his death in 1917, but within a few decades his legacy solidified. Rodin remains one of the few sculptors widely known outside the visual arts community.

Renew Your Membership

Happy New Year

If you have not renewed your membership yet please do. Until you renew you won’t be able to use the glazes, stains and slips, so the sooner the better.

Still only $15 for the year. Check or cash accepted. Please make checks out to the Potters and Sculptors Club.

I have attached a copy of the Membership Application or you can get one in the studio.

If you can’t make it into the studio just yet, you can mail your check and completed application to :

Potters and Sculptors Club
P.O. Box 2026
Laguna Woods, CA 92654
ATT. Membership

Looking forward to a terrific 2018

Thanks so much,

Sandy

MEMBERSHIP APPLICATION

 

 

2017 Potters and Sculptors Bonanza

Visit the 2017 Potters and Sculptors Bonanza! Once a year we open our beautiful studio to display and sell the work of talented artists, we know you will be impressed! Please attend.

Patrick Shia Crabb

I have pursued several major paths of discovery  over the past 35+ years in ceramics. The “shard vessels” (pots) reflects one path in creating forms and surfaces relating to archeological artifacts of ancient times. The broken surfaces and missing parts of each shard allude to the fragility of surfaces and passage of time from ancient vases and pots. The distinct, bright colors/patterns bridge the past with the present…contemporizing the image.

From the technical standpoint these vessels are both wheel- thrown and hand built. They are then altered during the wet state. After the initial bisque firing, the vessel is intentionally broken into fragments (“deconstruction”) and ready to receive the glaze patterns. Many of the shards are fired in raku, oxidation c/06 (c/10 reduction also), sawdust-horsehair, low-temperature salt, and pit fired. Sandblasting, glass fragments, and actual shards of antiquity (1200-2000 years old!) are occasionally applied to enhance the visual variety. The parts are finally epoxied together.

My adoption of this unique technique was directly influenced by former artist, Rick Dillingham (deceased), who conveyed the concept of broken ceramic surfaces can be an artistic attribute, not a detriment. This approach makes a 180 degree turn in our cultural perception of what can be made beautiful and creative.

The second, but related path of discovery, comes from my temple series. They reference and reflect the countries that I have visited over the past 18 years of international travel. Those iconic temples of the Mayas/Aztecs, Cambodia’s Angkor Wat, Asia’s religious temples/stupas, Egypt’s pyramids, burial mounds of the Incas, abandoned rock dwellings of the Anasazi culture, and more have impacted my creative efforts. These structures in many ways are not dissimilar to vessels…”a holding space”. These architectural forms are infused with multi-cultural icons, reflecting a sense of magical powers and mystery. They are not site-specific, but rather a collection of integrated images.

From the technical standpoint, these forms all hand build from specially designed wood molds (press mold). All are low temperature fired within the range of c/06-c/02. Many employ the raku and oxidation firings.

For more images/content, please visit:

www.patrickshiacrabb.com

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