Privacy Must Be Protected

That went out the window as soon as the modem was plugged in…


The Cisiphis Condition 

Dear Jim, 

It’s a another day. 

I just keep pushing that rock up the hill. 
According to the script, I’ll be back tomorrow, waiting at the bottom, staring at the same rock… the same hill.

At least, at the end of the day, with a little applied hope, I get to sit on top of my rock and dream.

Sunday Katchup August 20 2017

Instagram posts and studio notes…

A local professor recently asked her circle of friends, “What were makers favorite points in their processes?”

The obvious answer is “all of it”, but I think for me, the real answer is “any point that embodies potential”. The word that I’m obviously grasping for is “Hope”. Any point where action meets my daydreams and I get to lean back in my chair and bask in hope for any and all potential futures… That’s my favorite point in the process.

Jess has been busy experimenting with linoleum block printing and I’ve been watching and learning. Seeing the design emerge from the block is fascinating. What first appears to be flimsy thin lines when cut, become strong and bold once inked. It’s that boldness that’s pulling me in.

The really engaging part was inadvertently backing into written discussions on the aesthetics and politics of the arts. First with R.G. Collingwood’s 1932 collection of essays “The Pricipales of Art” and William Morris’s 1888 7 lectures, specifically chapter 5, “The Aims of Art”. 

Sunday Weekly Ketchup 

Playing with Jessica’s etching press is a bit of a shift…

Andor has been going through a new set of life changes. Looking for purpose after Highschool and looking for a job… 

No fun… It’s all to easy to put myself back into his shoes. Exasperating.  


“Recklessness is taken as a counterweight to all the errors of reason, that catalyst of misery, that accountant’s demand. The prestige of instinct is the traumatized reaction against too many centuries of unreasonable reason”

Alain de Botton

We go to art school to get dusted in artist’s sensibility, a rationality and sense of reason that can justify literally any action. It becomes obvious that an artist is good and educated when the beautiful, the lovely, exists solely to be deconstructed. an experience becomes superseded by an involuntary need to rationalize, to explain,  a need to understand why something is lovely, or diving even deeper, how can lovely be arrived at. It quickly becomes a matter of reciting an equation or following a recipe to arrive at a desired result.

Admittedly, it’s all entertainment by this point, and one of Art’s many functions is just that… Entertainment

The pivot is when we choose to set reason aside and let instinct drive, chuck the “why” into the back seat… We don’t have to feed the need to rationalize our actions.

…”That” it matters takes can be allowed to take greater precedent than “why” it matters… a stance that openly advocates for a more personal and intuitive mode of making. In action, the “why” seems to take care of itself in due course.

It’s a bit like comparing Classical chamber music with Jazz… rote vs interpretive. Both can be beautiful, but the results are very, very different.

Note to self… Just make the fuck’n work and figure out what your id is saying afterwords please. If you want to make a rooster… make a fuck’n rooster. All the fluff that’s around it can play itself out as it plays out.


Just play…

Stepping Stones

I like the metaphor of seeing each work as a stepping stone. Each leading to the next. A path leading from one daydream to another. From the perspective of the maker, it’s an intensely subjective experience. From the outside, we see each work as an end unto itself.

Art need not be a process. Art can still be a tool to help us relate to and decipher our own inner world. For both the artist and the viewer, art can be transformative. I feel that I am at my best when I’m reaching for something just outside of my own understanding.

I’d like to think that it’s the commonality of that struggle that speaks directly to others. It’s the universality of struggle that is so relatable, but ultimately the audience is silent and I’m left with just myself. Just me alone, inside my own head, watching the busy hands pull me along.

The lesson has been that polish that’s put to each stone in the path is merely the result of a soul in joyful celebration of a greater miracle, creating wonder as a Lover, not as a banker totaling his piles of success.

All the work shown was done in collaboration with ceramic artist, the fair Lady Fong.

SAG Cone 6-7 Shino

The SAG Shino glaze is a cone 6-7 exterior glaze that’s been developed to provide a semi dry, textural surface that interacts with slips.


40.9 Nepheline Syenite

9.8 F-4 Kona Feldspar

18.2 EPK

13.8 Kentucky Ball Clay

17.3 Soda Ash

6 PV Clay

Dissolve soda ash in hot water before adding in the rest of the ingredients.

Bisque fire stoneware between cone 08/05

Apply thinly for a glossier effect. Thicker applications give a chalkier surface.

The results shown have been fired to cone 7

Before and After

Studio note: the SAG Shino went on a bit too thick. The readability was still good, but it bubbled. After grinding the tops off the bubbles, I’m filling them with a yellow underglaze and refireing. I enjoy the strong character of this round. It’ll be worth seeing how it develops.


SAG Shino used again. Thinner application but still a very dry, matt surface came out of the kiln. I think the soda ash has left the glaze as water in the solution became absorbed by the bisque. Dispite that, a light  buffing with a diamond pad softened the surface.


We’ve been burning micro-batches all week testing out clay/glaze/slip combos at cone 7 in a small test kiln. I wasn’t intending on getting hooked on firing this way, but there are a lot of upsides.

The big one is that I keep my risk levels to a minimum by firing 5-7 cups per load. That’s right… 5-7 cups tops. So I can make a decision and either get a result that doesn’t quite work for me (like the above piece) or hit the mark and keep rolling, or screws the pooch, swing the hammer, and make adjustments and try again. It makes it easier to accept one off characters of questionable aesthetics for their uniqueness, after all, there’s only one or two of the buggers rather than a sizable chunk of a proper sized kilnload. 

The above work is a good example… I really enjoy this piece. It’s readable with a decent composition, but it’s surface is fucked up. Strangely comfortingly fucked up. Because there’s only one of these, rather than a dozen, it’s allowed to be what it is… a very nice piece.

Granted, the small kiln isn’t exactly economical, but it’s a trade off. It is perfect for doing some serious R&D. It’s flexible, and the small kilnload size doesn’t just allow for flexibility, flexibility is its greatest strength, (not a bad strength to have) and in turn, it allows us to be flexible as well. 

Frankly, for me, it’s reenforcing a point of view that studio life can and should be more about the joy of passion play rather than merely the pursuit of products. It’s about using the Arts to create a lifestyle that’s worth living rather than a life trapped in a hamster wheel of our own making. After all,we’re not doing this to make a living… We’re doing it to live.

p.s. All the work on this page are collabs with the lovely Lady Fong 🙂


There’s absolutely no way I could have landed this fish without my studio partner Jessica Fong playing the lead.

It’s her sense of form and craftsmanship that not only provides a solid base for the design, but it’s what makes the design truly successful.

The bar for the studio just got raised waaaaaaaaay up.