Clay at Lillstreet

1. What is your name (I may not always be able to tell by your email)?

Chuck Escue

2. When did you start coming to Lillstreet?

January 2010

3. What brought/brings you to Lillstreet?

The opportunity to work in clay, which had been an unfulfilled dream of mine since I was about six. I stay because the folks are great.

4. What is the nature of your clay work -- functional or sculptural?

I mostly make functional work on the wheel, though I do enjoy decorative tile as well.

5. What is your process? Do you sketch, prototype and conceptualize? etc.

I try to respond to needs I perceive around me in what I am making. After that, my process in as minimal as I can make it, and as involved as required.

6. What or who influence your work?

My family, my friends, and people I encounter influence what I make. Finishes are an attempt to reflect the world we live in, with it's great beauty and imperfections.

7. Do you work with other medium besides clay?

I do work in other mediums. Photography, carpentry, poetry, and lighting. I enjoy being able to express myself architecturally.

8. What are your duties as a monitor?

As a monitor I help with recycling all the clay scraps we have around. Rotating barrels, empty and full. Mixing unusable scrap with dry clay to make a workable body. And stacking those thousands of pounds into neat, accessible piles.

9. If there’s one thing you absolutely have to inform the Lillstreet clay community that would make your work easier, what would it be?

Do not, please do not, put paper towels into the clay barrels. They rot in there. Stink. And ruin the clay. Certain people actually have skin reactions to the bacteria grown that way.

1.       What is your name (I may not always be able to tell by your email)?
My name is Maureen Finigan aka MOE

2.       When did you start coming to Lillstreet?
I think I started at Lillstreet in 2006. I have always wanted to work with clay and it I researched pottery studios in Chicago and Lillstreet seemed like a good first place to start. My first experience was welcoming, fun and stress free. I have decided to stay at Lillstreet because the community here is supportive, easy going, non competative and, fun & some of the most people I have ever met. I have built lasting friendships here that have transcended my art. I am a better person for having spent time at Lillstreet!

3.       What brought/brings you to Lillstreet?
My work is primarily functional however I am taking my first sculpture class with Robin Power and I adore it!

4.       What is the nature of your clay work -- functional or sculptural?
My process is...I explore art at galleries, in photos, other artists at Lillstreet...I try to replicate what I see that I like and then make it my own. I am a handbuilder, wheel thrower and a sculpter...:-)

5.       What is your process? Do you sketch, prototype and conceptualize? etc.
6.       What or who influence your work?
What influences my work is nature, ie. mountains, ocean life, trees and plant life as well as the textile world. I have been a seamstress and I find those basic skills support my handbuilding process. I also sketch and do some art with pastels on paper.

7.       Do you work with other medium besides clay?
I started as a monitor wet vacuuming the floors. I am currently full time as a glaze maker, slip maker, clean once a week and keep basic supplies filled.

8.       What are your duties as a monitor?
9.       If there’s one thing you absolutely have to inform the Lillstreet clay community that would make your work easier, what would it be?

What artists at Lillstreet can do to make my work easier would be to cover glazes as soon as you finish with them, clean off the stirring sticks thoroughly for others to use, notify your teacher if a glaze consistency does not feel or look correct so I can correct it (or Susan the other glaze maker), NEVER add water to any glaze yourself, keep slips covered and do not hoard them on your shelf they are a community resource for all to use, and please make certain your work space is clean when you leave it just like you were taught in first time potter.

(Editor: I hope you've been enjoying the series. I would love to hear your feedback -- leave comments! Also, a congratulations goes out to Maureen for being selected as one of the participants in the 2013 Annual Lillstreet Student Member Show. Well done, Moe.)

1. What is your name (I may not always be able to tell by your email)?

Fred Follansbee

2. When did you start coming to Lillstreet?

2003 - 5 week "Casual Fridays" class - 1/2 at old Lillstreet, 1/2 at new place on Montrose

3. What brought/brings you to Lillstreet?

clay, people

4. What is the nature of your clay work -- functional or sculptural?

both - functional cups/yunomi, vases....sculptural - wall platters, vases, teabowls - wood-fired and soda-fired work, mostly

5. What is your process?

Do you sketch, prototype and conceptualize? etc. yunomis/cups - make lots, step back and review now and again

6. What or who influence your work?

Peter Voulkos, Don Reitz, Japanese ceramics - Shoji Hamada, Tatsuzo Shimaoka, Shigemasa Higashida http://www.soshintougi.com/english/index.html , Shiro Tsujimura, wood-fired ceramics

7. Do you work with other medium besides clay?

lithograph, acrylic paints

8. What are your duties as a monitor?

soda coordinator

9. If there’s one thing you absolutely have to inform the Lillstreet clay community that would make your work easier, what would it be?

I am an expert cup-cake taster - I will sample and give feedback to anyone

1. What is your name (I may not always be able to tell by your email)?

My name is Lori Hess, aka "Lolitos" ; ) (don't print that)
(Editor -- if you type it, I will print it. LOL)

2. When did you start coming to Lillstreet?

I started coming to Lillstreet in January of 2012 after my father passed away. Having been a caregiver to both of my parents for many years, it was time that I rediscovered my creativity and a friend encouraged me to take a pottery class with him.

3. What brought/brings you to Lillstreet?

What brings me to Lillstreet (almost daily!) are the people, the cooperative effort that keeps Lillstreet a distinct community, and of course, the opportunity to create and learn.

4. What is the nature of your clay work -- functional or sculptural?

My clay work is currently functional, mostly bottles, bowls, cups, containers, and bird feeders.

5. What is your process? Do you sketch, prototype and conceptualize? etc.
My process is yet undefined as I am still learning! Let's just say it's an "adventure".

6. What or who influence your work?

What influences my work is nature; I love birds, bees, trees, etc., and organic forms/textures that represent nature. Who influences my work currently are my fellow Lillstreet students, teachers, and Simon Leach!

7. Do you work with other medium besides clay?

Other mediums: Painting with oils, but have put down the brush now for several years (due to caregiving and corporate job), and my other medium, I would say is food. I am a very creative cook and enjoy preparing healthy, and elaborate meals.

8. What are your duties as a monitor?

My duties as a monitor are unloading/loading the kiln, cleaning the clay studio (my son helps!), consolidating bisque and glaze carts, assisting students who need to buy clay, tools, and help finding their work, answering general questions, and always (whenever I'm there!) cleaning, cleaning, cleaning!

9. If there’s one thing you absolutely have to inform the Lillstreet clay community that would make your work easier, what would it be?

The one thing that I would love to inform the clay community of is that we really need their participation in keeping the studio clean(er). Many students and teachers do not seem to know or understand that it is their own responsibility to clean up after themselves, everywhere they've worked! Another thing that I want them to know is that Lillstreet is an amazing place that we need to respect, love, and nurture it to keep it going!

(Editor: If you've read a few of these, you must be starting to see a theme here -- make sure you clean up after yourself. Clean the wheel after you're done, Wipe down the table you've been using. Return equipment to where you found them. Report issues so that they can be taken care of as soon as possible. Keeping Lillstreet clean and functional for everyone is everyone's responsibility -- not just that of the monitors. Let's all play out part!)

Lillstreet loves Ravenswood. We want to write it all over our notebooks and scratch our devotion into nearby park benches and trees.

August 2013 marks the 10th year in our current Ravenswood location, and we couldn't be happier about choosing to spend the past decade in this cheerful and inspiring neighborhood. To commemorate this anniversary, we're hosting a weekend of festivities in August. Come celebrate with us!

FRIDAY, AUGUST 23

BEST SERVED HOT: CERAMICS FOR THE COFFEE RITUAL

6-8pm (Reception)

Lillstreet Gallery, 4401 N Ravenswood Avenue, Floor 1 & 2, Chicago, IL 60640

For the 6th Annual Lillstreet International, jurors Mark Lyman and Joseph Pintz select ceramic works, both traditional and innovative, that celebrate the coffee ritual. Presented in collaboration with Intelligentsia Coffee, the reception will include live music and refreshments. The exhibition runs August 23-September 29.

Read more

RSVP on Facebook (coming soon)

SATURDAY, AUGUST 24

FALL OPEN HOUSE

12-4pm

Lillstreet Art Center, 4401 N Ravenswood Avenue, Floors 1-3, Chicago, IL 60640

We're kicking off another season of art classes for adults and kids by opening our doors and welcoming family, friends, and new visitors to our community. Come explore the Art Center and try your hand at making something new through our free workshops for all ages.

LILLSTREET + RAVENSWOOD BLOCK PARTY

4-7pm

Lillstreet Loft, 4437 N Ravenswood Avenue, Parking Lot and Floor 2, Chicago, IL 60640

After the Fall Open House, stick around for our Block Party! This family-friendly celebration will have something for everyone--from live entertainment and refreshments to interactive art projects and a photobooth. We've also got a special gift for early guests!

SUNDAY, AUGUST 25

MAKERS MINI CONFERENCE: CHICAGO CRAFT & BUSINESS

1-5pm

Lillstreet Loft, 4437 N Ravenswood Avenue, Floor2, Chicago, IL 60640

We're extra excited to partner with Renegade Craft Fair and Dabble to host this new event for artisan entrepreneurs and craft enthusiasts. We invite you to meet & mingle with friendly folk in the local crafts industry, learn from superstar makers, and participate in a hands-on craft workshop--all packed into an enlivening four hours!

Register at Dabble for the panel and workshop separately.

1. What is your name (I may not always be able to tell by your email)?

JUDY KRECZMER

2. When did you start coming to Lillstreet?

I started taking classes in 1997. I've been a monitor since 2000. (Yikes!)

3. What brought/brings you to Lillstreet?

I love the community of artists and enjoy being part of the process of bringing the students work to completion.

4. What is the nature of your clay work -- functional or sculptural?

Functional. When I am working in clay, I work on "stuff" for my garden.

5. What is your process? Do you sketch, prototype and conceptualize? etc.

If I am working with tiles, I sketch and measure and sketch and measure again. For other work, I usually have the end result in mind and work from there.

6. What or who influence your work?

I love old architecture and the workmanship and craft that went into it. I try to keep that in mind within my own work.

7. Do you work with other medium besides clay?

Nope.

8. What are your duties as a monitor?

I am part of the firing team and I unload/load the Bailey kilns.

9. If there’s one thing you absolutely have to inform the Lillstreet clay community that would make your work easier, what would it be?

Please don't try to sneak your glazed work onto "Cart One". It is not fair to the other students who wait in line! Also, check the bottom of your pots for glaze - I HATE to have to move something onto the reject shelf just because it was not cleaned off properly.

1.       What is your name (I may not always be able to tell by your email)?
2.       When did you start coming to Lillstreet?
3.       What brought/brings you to Lillstreet?
4.       What is the nature of your clay work -- fnctional or sculptural?
5.       What is your process? Do you sketch, prototype and conceptualize? etc.
6.       What or who influence your work?
7.       Do you work with other medium besides clay?
8.       What are your duties as a monitor?
9.       If there’s one thing you absolutely have to inform the Lillstreet clay community that would make your work easier, what would it be?

HI THERE! David Bromley here. I came to Lillstreet in January 2002. I had moved back to Chicago and needed a studio area to work. I had been at Santa Fe Clay in New Mexico and had a private studio as well. I mostly focus on everyday functional work but also some semi sculptural functional work. Most of the time I sketch then let the wheel and the clay edit my thoughts. Principal inspirations are Shoji Hamada, Bernard Leach, Warren McKenzie, Clary Illian, Lucie Rie, and Hans Coper. I also am very interested in glaze chemistry. I did some water color and am a gardener. My duties as monitor include firing the kiln, assisting the glaze makers, making stains, and answering and helping students with questions in the studio. Make and keep a notebook when glazing. I get the constant "what glaze was is? I forgot." My best answer to how a glaze will work is "make a small trial piece and see how it works." If you need anything else, please email me (davidbbromley@comcast.net) anytime. It may take a while but I will get back to you. Thanks for your work

dave bromley

1. What is your name (I may not always be able to tell by your email)?
Chuck Borchers

2. When did you start coming to Lillstreet?
I believe I came in 2009

3.What brought/brings you to Lillstreet?
I was stressed from mental health work and happens to be next two buildings from other (Lillstreet and Thresholds). I needed to find stress release and saw Lillstreet so decided to check it out. Saw the catalog and decided to pick ceramics and fell in love with it ever since.

4. What is the nature of your clay work -- functional or sculptural?
mostly functional but will be taking sculptural class this coming June.

5. What is your process? Do you sketch, prototype and conceptualize? etc.
Ah well normally I just start process once I touch clay. Sometime I read magazines or videos, or other people's work and gives me ideas of what to make.

6. What or who influence your work?
Good question. I believe was that when I go to art festivals, art museums, etc., I start to notice myself that I actually enjoy arts. Reminds me when growing up, I always doodle. So I figured why not get involved. Wish I could've done it long time ago but ah never say never!

7. Do you work with other medium besides clay?
I did took glass bead class. I would like to take more classes with vary kind of arts at Lillstreet but one thing kinda prevents me from taking it is sign language as I'll explain on #9

8. What are your duties as a monitor?
I do wet-vac in handbuilding rooms, second floor hallway, making test tiles, and occasionally clean one of the sinks.

9. If there’s one thing you absolutely have to inform the Lillstreet clay community that would make your work easier, what would it be?
Since I am deaf, ASL (American Sign Language) is my primary language and would love to have an ASL interpreter when I'm taking a class. Hiring one isn't cheap. When I first took class with Gary Jackson as a teacher, he had an assistant who sat next to me at entire time, talking directly at me as I'm able to read lips but not always and when I don't understand him, he wrote on paper for me to read. It's good idea what Gary did but it's not satisfactory. Ok, it's kinda long to explain. Basically, I can speak and able to read lip most of the time which is hearing person's advantage. But he/she either don't realize or understand my disadvantages which are when it comes to a group of people, I'm not able to comply at all. Also I can't always read everyone what they say..some move their mouth very little or have moustache or beard cover their lips. It's very frustrating for me. Only advantage I have in class is when teacher give a demo which is fine but Ill miss out what teacher says with technical terms or such. If I have sign language interpreter present, my life will be whole lot easier and able to understand what's going on with the teacher or students when they talk.

Actually I haven't taken a class for three yrs. because I'm not comfortable taking class without an interpreter. I would take class if its one on one as long I ask for teacher's patience if I'd have trouble understanding the teacher as I'd ask to say it again repeatedly and having teacher write on pen and paper. It is just how it is with me.

Actually monitors and teachers treat me kindly and try to get me involved which I totally respect for their effort, yet it'll always be a struggle for me. Believe me, Lillstreet is a great place to enjoy the work of art and its' learning process. Just wish it would be easy access with communication between a hearing and deaf person.

1. What is your name (I may not always be able to tell by your email)?

Shira Leon

2. When did you start coming to Lillstreet?

Fall of 2010

3. What brought/brings you to Lillstreet?

I was burning out working on the computer all the time and wanted to do something tactile.

4. What is the nature of your clay work -- functional or sculptural?

Functional

5. What is your process? Do you sketch, prototype and conceptualize? etc.

I draw a lot before moving to clay.

6. What or who influence your work?

I'm inspired by the meeting of art and function in everyday objects, modern design, architecture and forms and patterns found in nature.

7. Do you work with other medium besides clay?

Right now, only clay. I've done a lot of drawing, painting and photography in the past.

8. What are your duties as a monitor?

I load one of the Bailey kilns once a week and clean the studio.

9. If there’s one thing you absolutely have to inform the Lillstreet clay community that would make your work easier, what would it be?
The two questions I answer most frequently have to do with the firing schedule and where work is...

Take a little time to read and understand the firing calendar - it's posted just at the entrance to the green ware shelves. It might be easier to understand in terms of loading and unloading. 90% of the time this is the schedule:

Glaze is unloaded and loaded Wednesdays and Sundays

Bisk is unloaded and loaded Mondays and Thursdays

If you don't see your work, it is probably in a kiln or on the shelves/carts. Feel free to turn carts around to get a different view - just watch for wobbly pieces! Look at all the shelves in the green ware area as we condense and sometimes nest after each load. So, your work might be in a different place than where you put it. It's extremely rare that a piece truly goes missing.

(Editor: While it is quite ok to turn the glaze cart around to find your pieces, please watch for other people's pieces and also please refrain from touching or moving pieces that are on the green ware shelves. Also, if you truly didn't get your piece back, check the reject shelf at the beginning of the green ware area. If you happen to break someone else's pieces, do not "destroy the evidence" -- let someone know or leave a note to apologize)

No photo available. Please see website for work: http://lauramarmash.com/Home.html

1. What is your name (I may not always be able to tell by your email)?
Laura Marmash

2. When did you start coming to Lillstreet?
2006

3. What brought/brings you to Lillstreet?
The opportunity for a personal, creative outlet.

4. What is the nature of your clay work -- functional or sculptural?
Mainly figure sculpture, but I am currently enrolled in a soda class and revisiting the wheel.

5. What is your process? Do you sketch, prototype and conceptualize? etc.
Depends on the piece. Some figure sculptures are purely representations from live models, others are conceptualized to evoke a mood or feeling.

6. What or who influence your work?
Cristina Cordova is my favorite figure sculptor. Her works are beautiful and haunting, plus her mastery of the figure AND the medium is hugely inspiring.

7. Do you work with other medium besides clay?
I've been playing with ways to incorporate other materials with clay, such as fabric, wood and wool. The challenge for me is to make the added material feel "as one" with the clay, not just an afterthought. It's tricky to get the mix just right.

8. What are your duties as a monitor?
I am a claymaker, and am responsible for making 1000 lbs of clay each month. Making clay at Lillstreet is more art than science. You have to feel the clay for moisture content and plasticity, and add either more dry clay powder or slaked clay until the mixture is just right.

9. If there’s one thing you absolutely have to inform the Lillstreet clay community that would make your work easier, what would it be?
Try not to allow "foreign materials" to get into the clay reclaim barrels. Especially paper towels. When scooping the slaked clay from the barrels sometimes there are pockets of black gunk that's really stinky. Very nasty stuff!

However, the occasional chamois or clay tool is like the prize in a cracker jack box. You never know what you are going to get.

The two new Artist-In-Residence are Sean Clute and Joe Kraft. The new AIR will join us in early September. Joe and Sean have a depth of experience in teaching, firing and general studio maintenance. They are looking forward to being a part of the Lillstreet community.

Sean's work is conceptual and he has an interest in developing his characters. Sean graduated from the University of Montana, had a residency at the Clay Studio of Missoula, and is currently at St. Petersburg Clay Company. This Fall, he will be teaching sculpture and handbuilding classes starting with a new class: Handbuilding New Forms on Thursday evenings and Advance Handbuilding on Wednesday mornings.

While Joe's personal work has evolved to handbuilding, his previous experience as a wheel thrower is sometimes evident in his forms. In the Fall, he will be teaching Saturday Intermediate Wheel and First Time Handbuilding. He attended Waubonsee Community College and graduated from Alfred.

Sign up for these classes on the web using the links or stop at the front desk at Lillstreet.

1. What is your name (I may not always be able to tell by your email)?

My name is Susan Messer McBride, but I sign my pots ‘sam’ for Susan Ann Messer, my birth name.

2. When did you start coming to Lillstreet?

I started taking wheel classes at Lillstreet, back when it was located on Lill in Lincoln Park, in the winter of 1995. It was my first year teaching high school English and I took a class on the recommendation of a grad school professor who believed that effective teachers found a way to ‘stir the soul’ outside of the classroom.

3. What brought/brings you to Lillstreet?

What brought me to Lillstreet in 1995 is similar to what keeps me coming back each day: Working with clay stirs my soul and makes me feel complete. I respect the studio environment at Lill—serious yet friendly, focused yet loose.

4. What is the nature of your clay work -- functional or sculptural?

My work is functional wheel thrown porcelain.

5. What is your process? Do you sketch, prototype and conceptualize? etc.

Sometimes I see forms in pictures or magazines and I will try to replicate them. Other times it is about a shape that I want to hold in my hand for a mug, or a size for a bowl that might fill a certain need.

6. What or who influence your work?

I feel my work is influenced daily by other potters at Lill, whether I realize it or not. Influential teachers for me at Lillstreet include Patty Kochaver and Lisa Harris.

7. Do you work with other medium besides clay?

I mess around with painting for fun, informally and at home, but am interested in taking metals and photography in the future.

8. What are your duties as a monitor?

I am one of two glaze makers who mix and monitor the glazes at Lillstreet.

9. If there’s one thing you absolutely have to inform the Lillstreet clay community that would make your work easier, what would it be?

My, our, work is made easier when people have fun, clean up after themselves and look out for others’ work in the process.

Lillstreet International is a prestigious and well know international exhibition. This year the show is juried by Joseph Pintz and Mark Lyman. The show will run from August 23 (next Friday) to October 6*. This year, a number of Lillstreet studio and community members have been juried into the show.

Congratulations to Katie Biederbost, Fred Follansbee, Sam Hostert, and Nixon Khoo on your acceptance to the show. Please come and show your support.

Opening Reception and Awards Presentation with Joe Pintz:
Friday, August 23, 6-8pm

To read more information about the show.

FYI -- Joe Pintz will also be conducting a workshop (Less is More: Hand Built Vessels) on Saturday, August 24th, 9-5pm at Lillstreet.*This is different than the information posted at the Lillstreet website. October 5 and 6 is the Ravenswood Art Walk and the show has been extended so that the gallery is not left empty.

Ellen Neely

1. When did you start coming to Lillstreet?

I took my first pottery class a little over three years ago.

2. What brought/brings you to Lillstreet?

The curiously great joy I get trying to make something beautiful or useful from a lump of clay.

3. What is the nature of your clay work – functional or sculptural?

Most of my work is supposed to be functional, although I have made a few covered forms with strong sculptural elements (and a few pitchers that look good, but don’t pour so well!)

4. What is your process? Do you sketch, prototype and conceptualize?

I’ve recently started sketching – I now have little notebooks filled with ideas for pots and tiles. When I’m really interested in a form, I’ll work in a series, tweaking a spout, a handle, a rim, a foot just a little until I get what I want. And sometimes, I’ll just play around with whatever appears on the wheel – some of my favorite forms have their foundations in these kinds of experiments.

5. What or who influences your work?

Everything I see influences me – the work of other potters and craftsmen and the shapes I see in buildings, objects and nature. Trips to museums and antique shops can be particularly inspiring, but sometimes it’s just a description in a novel or a photograph in an old book that helps me start a new project. And my Lillstreet classes are a huge influence – I’ve learned so much over the past three years, and I have so much more to learn!

6. Do you work with other media besides clay?

I dabble in photography for myself, for friends and for an organization with which I’m involved.

7. What are your duties as a monitor?

My main job is to hose down and wet vac the wheel rooms and glaze area overnight on weekends.

8. If there’s one thing you absolutely have to inform the Lillstreet clay community that would make your work easier, what would it be?

It’d be great if open hours could last all day and all night, but they can’t and they don’t. When we’re doing the floors, it’s wonderful if folks leave by 10 pm – we don’t like to kick you out, but we will!

1. What is your name (I may not always be able to tell by your email)?

2. When did you start coming to Lillstreet?

3. What brought/brings you to Lillstreet?

4. What is the nature of your clay work -- functional or sculptural?

5. What is your process? Do you sketch, prototype and conceptualize? etc.

6. What or who influence your work?

7. Do you work with other medium besides clay?

8. What are your duties as a monitor?

9. If there’s one thing you absolutely have to inform the Lillstreet clay community that would make your work easier, what would it be?

(Editor -- Amy chose to answer in a paragraph format to keep the readers on their toes!)

Amy Odgers

I started coming to LS in January 2009. I am not sure what took me so long to get here...I knew about the old Lillstreet and always wanted to take a class but never got beyond thinking about it. I finally took the plunge when a friend asked me to take a class with her. I was a goner from day one. I have found a wonderful community here, and an endless source of inspiration.

I do mostly functional work on the wheel but I have also done alot of hand building and also some metalsmithing projects to complement some of my ceramic pieces. Sometimes my process is to start throwing and see what happens. I also like to look at things and figure out if I can duplicate them. I am working on some post caps for my deck and thinking about a replacement for my black plastic doorbell cover. I am drawn to texture and looking for ways to get more of it into my work. Mostly I just love playing with clay.

I started as a claymaker this past winter. The pugger and I had some struggles early on, but it’s getting better. My request from the community to make my work easier...watch what you are dumping in the reclaim buckets. Shammies and plastic are the most common offenders, but I occasionally find things that could be hazardous if they get through the processing, and nobody wants to find a thumbtack or a piece of wire in their piece!

That's it. Thanks for your interest!

1. What is your name (I may not always be able to tell by your email)?
Daniel Eugene Barnett-Pugh

2. When did you start coming to Lillstreet?
Fall 2004

3. What brought/brings you to Lillstreet?

Lynn (my wife) made me do it. It’s all her fault.

4. What is the nature of your clay work -- functional or sculptural?
Flower vases, are those functional or sculptural?

5. What is your process? Do you sketch, prototype and conceptualize? etc.
I utilize everything I can get my hands on; cardboard, toothpicks, pen & paper. Recently I have even begun to use 3D drafting software to workout design issues.

6. What or who influence your work?
Sol Lewitt’s “Sentences On Conceptual Art”

7. Do you work with other medium besides clay?
I work in all plastic mediums but clay remains my favorite. It’s immediate.

8. What are your duties as a monitor?
Monitor-of-All-Trades (Cleaning, Firing, Building, Repairing and Commiserating)

9. If there’s one thing you absolutely have to inform the Lillstreet clay community that would make your work easier, what would it be?
“Cleanliness is next to godliness,” but is all else fails please scoop up your trimmings.

1.   What is your name?
Amanda Syler

2.     When did you start coming to Lillstreet?
1994 or 95 (yeah... it's been a while)

3.   What brought/brings you to Lillstreet?
I can't stop making stuff out of clay! And I’m kind of starting to be a kiln rat.

4.     What is the nature of your clay work -- functional or sculptural?
99% functional. I admire the hell out of sculptors, but there's something in my background (German/Swiss type A-ness) that keeps me coming back to the wheel. I want to make everything more functional, more ergonomic. And in the process hopefully make it beautiful.

5.     What is your process? Do you sketch, prototype and conceptualize? etc.
Usually I have an idea of what i want to make when I sit down. But sometimes I’ll see something (another pot or some kind of art) that makes me think "I can totally make that" or "I can do better" OR someone says "you should make this." I usually do a quick sketch, or play with fonts on the computer until I design what I’m thinking of. Then I go to the wheel and make prototypes until I feel like I’ve got the form down. After that I might paint on slips or colored underglazes, bisk it, and maybe add an image or type transfer, and finally glaze (usually just a liner for soda firing).

6.     What or who influence your work?
Other clay artists, graphic patterns, textures, typography, nature, architecture; modern, mid-century and rustic types of design.

7.     Do you work with other medium besides clay?
graphic design, drawing & jewelry

8.     What are your duties as a monitor?
I’ve been a clay maker and a regular monitor in the past. Now I’m a monitor on the soda team, so we load, fire and unload the soda kiln, and take care of it (the soda kiln needs lots of TLC). I also mix slips & glazes, answer questions (if I know the answer), teacher-assist, get clay & tools, and clean & organize of course (or whatever Karen needs me to do). And I design signs & labels for around the studio.

9.     If there’s one thing you absolutely have to inform the Lillstreet clay community that would make your work easier, what would it be?
Getting students to use best practices when wadding their work for the soda kiln. we spend a lot of time re-wadding pieces and it makes the loading process (which is already long) much longer. I’m working on doing a sheet with drawn examples that we can put up, but it will say this: make sure you're wadding your work for STABILITY on the kiln shelves, and for SUPPORT of your piece. Little tiny wads on a huge piece, placed only in the very center? Not good - your piece may warp, crack, or even fall onto someone else's. ask your soda instructor or a soda monitor if you're not sure.

This is the 100th post I've written for the Ceramics Blog -- Clay at Lillstreet. On many occasions, I am trying to find things to post as I am not always "in the know". I comb through the Lillstreet website to find information to post here or I learn of something in passing while speaking to a teacher or another fellow Lillstreeter. So, with that said, if there's anything you like to know more about or a burning question you need answers to, send me an email (nixon.khoo@gmail.com) or leave me a comment here. I will try to get the expert's opinion and research the topic so as to provide you with an accurate and in-depth response.

Finally, to celebrate the 100th post I've written, I am encouraging all existing subscribers to recommend/refer this blog to their friends at Lillstreet or to people who are interested in knowing what's going on in Lillstreet's Clay Department. The referrer stands a chance to win a prize. Simply have the person you referred subscribe to the blog and write a comment to this post with your name in it. I will let this run for two weeks. Good luck!

1.      What is your name (I may not always be able to tell by your email)?
Symerrian Sullivan

2.      When did you start coming to Lillstreet?
In 2004

3.      What brought/brings you to Lillstreet?
Don't laugh but, I was inspired by the movie Ghost. When I saw Demi Moore on the wheel. I wanted to learn how to throw.

4.      What is the nature of your clay work -- functional or sculptural?
Both

5.      What is your process? Do you sketch, prototype and conceptualize? etc.
I'm a handbuilder.

6.      What or who influence your work?
All kinds of art, but specifically African art. Also my friends inside and outside of Lillstreet.

7.      Do you work with other medium besides clay?
Yes, stained glass and stained glass mosiacs. In addition to doing stained glass pieces I also put designs on tables using stained glass.

8.      What are your duties as a monitor?
I'm a part time kids monitor. I wipe down the tables and counters in the 2 children's rooms, empty garbage, sweep up any debris that might be left behind. Also do the same in the 2 adult handbuilding rooms. Straighten rooms if they have been rearranged. Make sure there is toilet paper in the women and men bathrooms, make sure there are paper towels in the dispensers. Clean assigned sink every 3 months. wrap and box the children's ceramics once it's fired. Help with Artreach when needed. And help with anything that Kimberly Pancoast and Karen Avery need me to help with.

9. If there’s one thing you absolutely have to inform the Lillstreet clay community that would make your work easier, what would it be?
Please place the furniture back the way it was found after class if it has been rearranged. And clean up extremely big messes before leaving.

1. What is your name (I may not always be able to tell by your email)?
My name is Amber Weatherford
(Editor -- Amber is also known as Amber Celadon :) )

2. When did you start coming to Lillstreet?
I took Gary's Beginning/Beginning Advanced class for four weeks in June 2010.

3.      What brought/brings you to Lillstreet?
I came to Lillstreet to take textile classes because I wanted to go to graduate school for textile design and hopefully one day work for Patagonia. I remembered I loved ceramics in college and kind of got stuck on the first floor. he he

4.      What is the nature of your clay work -- functional or sculptural?
My work is mostly functional but every now and then I like to make something for myself. Pelagic subject matter, big boats or whales usually.

5.      What is your process? Do you sketch, prototype and conceptualize? etc.
I have sketched, but normally I conceptualize.

6.      What or who influence your work?
I tend to just think of things that I would like to have and would use. I also like to look at other peoples work in the studio, gallery or internet. I hope to try new things in the future.

7.      Do you work with other medium besides clay?
I work with lots of different mediums but nothing as consistently as clay. I am taking a few classes at Lillstreet outside of the clay department, it's fun to branch out.

8.      What are your duties as a monitor?
I fire the kid's work in the electric kilns and I do general cleaning of the kid's rooms and some of the hand-building rooms.

9.      If there’s one thing you absolutely have to inform the Lillstreet clay community that would make your work easier, what would it be?
One thing?, clean up after yourselves but also don't throw liquid away in the trash cans . . . i.e. half full soda cans or water bottles . . they leak garbage juice its gross.

Ode to Monitors -- Chuck Escue

Ode to Monitors -- Maureen Finigan

Ode to Monitors -- Fred Follansbee

Ode to Monitors -- Lori Hess

Lillstreet at Ravenswood -- 10th Anniversary

Ode to Monitors -- Judy Kreczmer

Ode to Monitors -- David Bromley

Ode to Monitors -- Chuck Borchers

Ode to Monitors -- Shira Leon

Ode to Monitors -- Laura Marmash

Meet the New AIR (Artist in Residence)

Ode to Monitors -- Susan McBride

6th Annual Lillstreet International -- BEST SERVED HOT: CERAMICS FOR THE COFFEE RITUAL

Ode to Monitors -- Ellen Neely

Ode to Monitors -- Amy Odgers

Ode to Monitors -- Daniel Pugh

Ode to Monitor -- Amanda Syler

100th Post

Ode to Monitors -- Symerrian Sullivan

Ode to Monitors -- Amber Weatherford