Journal Postings: Tom Alward
| (11/09/09): Recap of the last few months | | My residency at The Cub Creek Foundation concluded in early July, which was indeed a hard place to leave. It turned out to be an unforgettable experience, with good times, friends and memories. I grew a lot from having ample time in the studio to develop ideas and work with the indigenous clay from the area, in addition to working and living amongst other artists. Good things like this are always not long enough in hindsight- I miss it already. I’ll remember the long days in the studio, walking through fields of tall grass, a swim in the pond, a glass of whine at dusk… while being in the countryside with the howling frogs and blankets of stars at night, along with the occasional rhythm of a wood-firing, and living in the moment. Yup, those times will not be forgotten, and my best regards to those I shared and had so much fun with. At any rate, it sadly came to an end and I took down my closing exhibition, packed up my belongings and headed back across the country to my home in Arizona. The summer went by extremely quick- the last bit of time in Virginia, then home for about a month, which was just long enough to prepare for a trip to Australia in august…
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| (11/09/09): the pond... | 
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| (11/09/09): Trip to Australia! |  The date was set: 4 ½ months to visit and study with other potters in new surroundings, and absorb what I could from the adventures of traveling. This was the second part of my intention with the Windgate Fellowship. I have long since admired the ceramic works that came out of Australia, and I’m interested in how it coincides with particular landscapes and local materials. At this point I’m also excited to learn from real life, studio potter practices with wood firing. New ways of doing things, what works, what doesn’t, helping out wherever I can, and picking up on the many different spins and perspectives of Australian ceramics. Visiting kiln sites and firings, studios, galleries and art centers were on the to-do list as well. There couldn’t be a better way to travel! Linking together places and potters, following a trail of clay. |
| (06/25/09): Adventures in North Carolina |  Earlier this month I set off for a 10 day trip to North Carolina. What started out as a quick trip to fire a wood kiln with a friend of mine near Ashville, turned out to be an unexpected surprise of adventure and a great experience.
As I descended my way down a pass in the blue ridge mountains, I arrived in Madison county. I had been here briefly once before, and I was beginning to remember what a special place it is. Pretty much a complete 180 from what I'm used to in Arizona, this is a land of lush greenery and a towering canopy of trees, with overflowing creeks and rivers. Yet the style of living is slowed down and casual... definitely the south. This wasn't too much different to what I've come around to embrace in Virginia, although a slight change of scenery made me appreciate the location and landscape even more.
Upon arrival at the kiln site and Josh Copus' property, I took a little while to gaze around and familiarize with the latest progress Josh had made in the last 10 months. I was amazed and felt excited to fire the three chambered naborigama kiln for what would be the 10th firing. I quickly unloaded my pots and did some last minute glazing, just before the rain set in. For the next 3 days it was relentless, with no sunshine and sporadic showers, thunderstorms, even hail. None the less, Josh, myself, and a third potter, Eric Knoche, persevered the Murphy's law of rainfall during loading, and got the front completed. From there, Josh and Eric were glazing more pots as we went. The front of the kiln was bricked up and we started candling with the 1st chamber dampers shut, so we could continue to load the second and third chamber.
To allow special attention for the positioning of pots, we ended up spending those first few days loading. During the second night, when the firing was still low key, some local friends came by and threw down for pizza night, using a makeshift brick oven above the fire. This was a great chance for a "social," as Josh called it, to get friends together and see the process while the kiln isn't in a serious full swing. It was a great time, and great pizza.
I have never spent this much time loading, but in hindsight it was valuable and reassured how important of a step it is in the wood firing process. Eventually, all three chambers were loaded, the dampers were opened, and the kiln began to flow and pick up a rhythm of flame. Having three people for the firing team was quite an effort for this kiln (we luckily had a little help from some locals), but the flip-side was our freedom to experiment, be closer in tune with each other, get all of our work in the kiln, and less effort towards accommodating other people's firing preferences.
The front chamber fired to temperature relatively quick and we weren't totally concerned about getting heavy ash accumulation. Instead we fired for color and spent more time on the ember beds of the side stokes. When the front got to full temperature, we closed it up and cooled the kiln in reduction by down firing. Shifting to the second chamber, we were able to use long slab wood and hit the stokes hard. Most of Josh's functional glaze wares went into this chamber, so he got it up to cone 11 and kept it pretty basic. Lastly, when the third chamber came around it was hard to hold it back. Erik fired this chamber on his own, and it only took a couple of hours to reach full temperature. Some creative stoke ports and channels were utilized to get more varied and ember-related effects.
At last, we were finished. As the kiln cooled, it later became an obvious decision to take some time off and adventure. Josh and I did some hiking, rock hopping, and swimming along a cold and refreshing creek in the mountains. Exactly what we needed. The following day I drove down and visited the Center for Craft, Creativity and Design in Hendersonville. I met some great people and caught up with Dian Maggie, while I got to see the current furniture exhibition in the gallery (very impressive). After that I swung by Judith Duff's studio (check out www.judithduff.com) and said hello, and ended up getting there just as Judith, Dian Maggie, and Elizabeth Kendall were unloading the anagama. The kiln is relatively new and had a few improvements made to it, and this time around seemed to be the best firing yet. It was also really neat to see Judith's beautiful show room of pots, as well as her family and property in Brevard, NC.
My last night I decided to camp in the Pisgah national forrest, a very worth-while experience. It was so green I couldn't help but to feel like some sort of hobbit.
The following morning we anxiously unpacked the kiln, and exchanged information while marveling at the wares. All in all it was a great firing, and we all achieved some excellent results. I was particularly drawn to the work in the front chamber which contained dark and subtle surfaces, with occasional contrasts of bright red, cranberry, orange and yellow flame patterns. The native clay I have been using, careful consideration of the placement of each piece, and reduction cooling proved to be a successful strategy.
Upon packing up my car, driving back to Virginia, and re-capping the last few days, I realized that this trip was a meaningful one. Meeting people, visiting studios, participating in firings, gaining experience, and living in the moment, have all become a major part of my direction with ceramics. I aim to continue this type of education and adventure, as it is traveling and seeing new things which allow me to learn and feel alive as a ceramicist, making it all the more exciting to get back to my own work in the studio.
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| (06/06/09): Exhibition Statement, "Beneath the Surface" |  I have always grown from experiences that aren’t easily learned or prescribed. Working with clay has allowed me to take a deeper look into a medium that seems simple, yet exists in a complexity of beauty. I am interested in bringing forth the natural character, dynamic contrast and elemental attributes of clay that provoke its underlying presence.
In this exhibition, all of the pieces are made with indigenous clay that is dug on location. After processing it to a workable state, I create vessel forms and let the clay speak for itself, while never hiding the original medium. The impurities, stones, tears and cracks that occur become natural qualities that tell a story of the past. The final step of wood firing my work also adds to the uniqueness of the journey, making each piece one of a kind. In this sense, I’m especially intrigued in the spontaneous and varied layers of natural glaze, color, and texture that together create depth on ceramic surfaces.
It is this notion of looking ‘beneath the surface’ that I am currently investigating as an artist. Seeking the unfamiliar, while recognizing the beauty in nature’s solitude, contrast, and eroded features keeps me humble and rooted in my surroundings. Ultimately, I hope to share this visual language and provide insight to places that are yet to be explored.
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| (06/06/09): Materials and recent thoughts... | | Local Virginia Clay:
The two clays I have used for this exhibition are part of my evolving investigation of local materials and wood firing.
The red clay is rich in iron, and full of quartz-like stones. It makes for a dark, muted, and subtle palette of colors after firing, with small white stones that protrude to the surface that often crack or melt. This clay is abundantly found beneath the topsoil, in large deposits.
The white clay is transitory and found near creek beds. It is more isolated and contains a high percentage of silica-sand, making it much different in tactile quality. When fired, it becomes glossy and naturally colored with grays, blues and greens, while other areas become dry and take on more toasted earth tones.
The process and experience of working with these materials has propelled me into thinking more about the importance of location. Digging into the ground and using materials around me has added another dimension to my work as a ceramicist. The elements of raw earth can suddenly be held by hand in our daily lives, providing reassurance of a sense of place. Our roots, and the parallel connection that clay can make to the ground beneath our feet, is a catalyst for discovering an awareness and appreciation of the natural landscape.
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| (06/06/09): Handmade pedestals |  Lastly, here's an image of the pedestals I made for the show. They consist of welded steel and pieces of natural slate, which turned into a fun project and a neat alternative for displaying work.
The show will be up for June 2-27, with an opening reception on June 13 from 5-8pm.
Thanks and cheers!
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| (06/04/09): A brief update... |  It's been a busy month, and I've only a few weeks left of my residency in Virginia. A lot of my time has been spent working on a show recently, that is up now for the month of June at the j fergeson gallery in Farmville, VA. "Beneath the Surface," is a series vessels and platters that deal with native Virginia clays and the elemental contrasts of the medium. The presence of natural force, a sense of place, and a reassuring perspective of landscape are also factors that have influenced me for this body of work. I am excited for the exhibition and to further these ideas in clay.
The opening reception will be Saturday, June 13th from 5-8 pm. For more info and photos, please visit the links below.
www.jfergesongallery.com
www.tomalward.com |
| (05/14/09): The last firing |  A few weeks ago we conducted a firing in the first and second chamber of our wood kiln, and had great results. I have been experimenting a lot lately with some silica rich, local white clay, that is very exciting to work with. This was also the last chance for myself and the other 2008 residents to fire together before we start breaking away to other things. It made it all the more reason to have fun and give the firing our full effort. |
| (05/14/09): Goodies from the kiln! |  Recent work... |
| (05/14/09): A bit more |  Current work... Platter, local clay with porcelain slip and glaze. |
| (05/14/09): Tom the farmer |  My beginner gardening efforts at the resident house are coming along. Learning of some valuable information, nothing beats home grown veggies! Arugula, butter-head lettuce, jalapenos, corn, summer squash, pablano peppers, tomatoes, eggplant... givin' it a whirl. |
| (05/14/09): NCECA |  I know it's a little delayed, here's a couple of the good old buddies and I, during the NCECA conference in phoenix. That's always the best part about it my opinion, catching up with everyone and bouncing ideas around. There was some great shows that we saw as well as some good lectures. |
| (05/14/09): Flagstaff Preconference |  This turned out to be pretty awesome. Great slide lectures and discussions in the studio, and epic stories from Don Reitz. |
| (05/14/09): Flagstaff Preconference |  View of the main studio during the workshop, 6 simultaneous demos... |
| (03/29/09): out west... | | I hopped on a plane a few days ago, and here I am in Arizona! NCECA is just around the corner, and I will be attending both the preconference in Flagstaff and the main conference in Phoenix (April 8th-11th). Although it was tough to leave the studio at Cub Creek, it’s good to unwind and I look forward to spending some time outdoors here. It will be great to catch up with old friends and the ceramics community as well.
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| (03/29/09): In the studio... |  Here’s a glimpse of some recent work... I’m investigating local clays, natural surfaces, contrasts, and painterly applications of porcelain slip. With this direction I’m adding layers and depth to vessel forms, to pursue the essence and vitality of clay as a natural element. |
| (03/29/09): Another example- |  Large vase. |
| (01/30/09): Workshop and show | | The last few weeks have landed me back in the studio after a memorable holiday break. 2009 at Cub Creek has so far been a gradual build up of staying busy and making work. For now I am gearing up to teach a one-day workshop at Longwood University in Farmville, VA on February 2nd. The workshop will be focused on demonstrations with an emphasis on local clay, materials and firing, with discussions on sustainability. I will also be presenting a slide show of my recent explorations in these areas right after the workshop.
In other news, I will be featured in this year’s International Cup exhibition at The Clay Studio of Missoula, from Feb 6 – Feb 25. The opening reception will be February 6th from 5:30pm to 10:00pm. Please check it out!
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| (12/10/08): www.tomalward.com |  If you get a few minutes, please take this invitation to check out my new website. I will be using the site as an opportunity to show images of my work, provide updates and current events, and offer links to related sites. I am excited to write and build on this new project so visit again soon! |
| (12/03/08): Greetings! | |
A brief update of what I’ve been up to… I am making pots, firing kilns, working hard to keep things moving forward at the Cub Creek Foundation, and in many ways I’m really starting to feel at home. There is always great food being cooked up (including an occasional firing of the pizza kiln), and the environment is always thriving with an endless depth of information and energy. The autumn colors, which are pretty much incomparable to what I’m used to, have inspired me quite a lot. Subtle color variation, and trees with epic contrasts and rich colors, all speak volumes. Clay possesses this same type of intriguing splendor to me. I am thrilled to be using lots of indigenous clay in the area, where pockets of white clay lie under small streambeds, and broader areas of dark, iron rich clay are tucked beneath topsoil. It is amazing to work with, and already my work is changing with a new sense of place and meaning. As of now, I am focusing on showing the true character of the clay- the impurities, chunks of quarts, iron blends, rips, tears, and textures… I aim to let the work speak for itself and show its natural beauty.
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| (12/03/08): The landscape at Cub Creek |  As I mentioned, the fall season has been majestic. |
| (12/03/08): Local Clay |  Digging clay out of the earth adds a whole other dimension to the process, and I feel that it adds to my aesthetic of working with such a natural medium. |
| (12/03/08): November Wood Firings |  In other news, I have finished two wood firings in the last month, which were successfully conducted back to back. For myself and the other residents at Cub Creek, it was hard work but plenty worthwhile. The first chamber of our naborigama kiln has been experimental and fun to fire, while it also allows a quick turn around for results. We focused on holding the kiln at high temperature for long periods of time, and slowly cooling the kiln in reduction to achieve a variety of wood fired effects.
All the variables of clay, glaze and kilns are beginning to harmonize. I am gathering the tools and thoughts for the next firing in January and we’re looking to include the second chamber of the kiln for glaze ware. I am anxious to begin some new ideas and directions in the studio, and keep the momentum going that is possible here.
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| (12/03/08): Recent Work |  Wood Fired Tea Bowl, native clay and light flashing slip. November, 2008. |
| (09/17/08): Utilitarian Clay Symposium |  Last weekend I was able to attend a clay symposium at Arrowmont in Tennessee, called "Utilitarian Clay V". I was glad and fortunate that I went, because it was one of those things I'll remember for years. This gathering of artists from around the country only happens every 4 years, and deals primarily about functional pottery. I soaked up a maze of information for three days of demos, panel discussions, and lectures. It was also a great surprise to see old friends, meet new people, and engage in countless conversations and interesting ideas. This particular picture is from the last lecture, where all the presenters discussed their favorite pot.
It was a great weekend, and it fueled my thoughts and excitement for clay.
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| (09/07/08): Back in the studio! | | It's early September, and it's hard to believe how time is
flying by already. I arrived at The Cub Creek Foundation in Virginia about one and a half weeks ago. I am thrilled to be here, and couldn't imagine a better place to be for my art! I will be using a lot of local materials and indigenous clay in the area, gathering new sources of inspiration, and focusing on a new body of work. We will be doing a couple gas firings before a big wood firing in October or November. After that we will begin the construction of a train-style wood kiln, which I am very excited about. More news and photos to follow, I'll be getting back to work for now!
Cheers |
| (07/31/08): Results of the "Tomagama" wood firing, 6/2008 |  Unloading was a treat! This is an up-close photo of the front chamber before I pulled the pots out. After removing them and rinsing everything off, rich colors of natural ash glaze and flame pattern painted a historic journey of the firing on each piece. It's a very delicious moment.
The previous photo on the last entry is the kiln in flight- just as I gave it one last heavy stoke of wood and bricked up the door, to let it slowly burn and coast the way down in temperature. This type of closure to the firing reduces the amount of oxygen in the kiln and brings out intriguing colors and surfaces. I was probably thinking about a cold beverage at this point however... |
| (07/31/08): Upcoming plans... a residency at the Cub Creek Foundation |  It's been a lively Summer here in Flagstaff, full of busy work and soaking up the mountain air. As much as I want to stay in the southwest, it is time for me to travel and carry on. The Windgate Fellowship has given me the opportunity to do so, and I have decided on at least a 9 month residency at the Cub Creek Foundation, near Appomattox Virginia. A recent visit out there last month finalized my thoughts of contemplation, and I was able to grasp a view of the road ahead. It is an awesome place... full of gorgeous scenery for miles around with a quiet atmosphere, perfect for focusing and making a lot of work. The wood is plentiful, the studio is spacious with resident housing nearby, and plans for additional wood kiln construction are in the works. I am also thrilled to work with native clays and glazes in the area, and be close to the Appalachian Mountains as well as the coastal region. In addition I'm excited to grow a lot of food and fire year round, while being close to a lot of neat things happening around Virginia, North Carolina and Tennessee. I'll also be in the company of 6 great resident artists including the director of the foundation, John Jessiman.
More news to follow soon; I plan to make the road trip to Virginia around the 20th of August, and hopefully get a website going in the mean time. Other plans for next year include more traveling, to workshops, the national clay conference in Phoenix (April'09), and eventually Australia to work with a few artists along the eastern coast. I'm sure it will be an experience of a lifetime no matter what happens, so I am thoroughly excited for it all.
All the best!
-Tom |
| (07/30/08): Update from Arizona |  Hello everyone!
I finally blocked out some time write about what I've been up to these days. Since graduating from NAU, I'm turning a new page in the book and moving on to the next step. Being a fortunate recipient of the Windgate Fellowship this last spring has been huge, and revolutionized my ideas for continuing with clay. In recent news I was able to fire the wood kiln that I built last year at NAU one last time in June, and had a great experience. Things seemed to come around full circle for me and I learned a ton from this most successful firing yet. Building a wood kiln from start to finish and learning how to fire it was immeasurable, and something I hope to repeat in the near future. I've posted some pictures of the kiln with some results of the firing, and will be updating soon with my upcoming plans.
Cheers to you all and have a great Summer!
-Tom Alward |
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