A Blog from Brady McLearen
2016 Jerome Ceramic Artist Project Grant Recipient
Introduction
With the support of
the 2016 Jerome Ceramic Artist Project Grant awarded by Northern Clay Center, I
accepted an invitation to a six-week artist-in-residence program at
Guldagergaard International Research Center in Skælskør, Denmark. This opportunity provided me
with deep exposure to an international network of artists, an introduction to
unique tools and clay making processes, and inspiration from beautiful new
surroundings.
The site is located
about an hour southwest of Copenhagen by train. The living space, gallery, kiln
yard, and ceramic studio are all planted apart from each other within a public
park. The walk to and from the facility buildings has you immersed with the
local community in the park. Everyday we would cross paths with the morning
walkers and well trained dogs, young and grey haired bikers, teenagers on
revving mopeds, duck families from the pond, and hunters controlling the
blackbird population, often referred to (by us residents) as, "The Gunmen".
Dinner duties alternate and each night one of the residents prepares a meal for
everyone staying in the house. We would all sit down at seven to eat together. In
the summer, the sun is up until 23:00 and artists have access to the studio
24/7. The small town of Skælskør is a beautiful quaint town with an unbeatable bakery,
few shops, a pleasant harbor, and a relaxing beach 3km away...and a kilometer
is 1000 meters, and a meter is 100cm, and water boils at 100 C, and bisque is
at 1000 C. Love it.
Studio
Time in the studio
was spent involving myself with processes that I'm usually not involved with. The
center has a spacious plaster room with a plaster lathe, as well as a plaster
wheel on which templates are used on the partially hardened plaster. Working so
closely with plaster was as educational as it was difficult. I was searching for
how to be expressive with the time-based, transformative material. I created
multiple-part molds for slipcasting techniques-- something I have had little
experience with. Besides working with the white hard dust, I spent time
designing patterns in a CAD program called Rhino and operating the 3D clay
printer. A few weeks practicing and watching online tutorials gave me a good
foundation to hit the ground running for the 3-day workshop that I took towards
the end of my residency. These three days (and Henrik Troelsen's fabulous
English, extensive knowledge, and extreme patience) were so informative
and helpful. Contrary to my preconceptions, the CAD programs and 3D
printing machine requires an extreme amount of work, patience, and babysitting.
Similar to working with the white, chalky, brittle, hair-pulling plaster,
the time I was allowed with the 3D printer, not only introduced me how to
use the tool, but more so, how to understand how my approach to using the tool
can be unique in order to create meaning within the work that is produced.
Artist Statement
My sculptural ceramic
studio work is an experimental investigation of the formal languages and
frequencies that we find in the natural existence of the universe. From
this viewpoint, I focus on how humankind has harvested materials and ideas
within reach in order to control and make sense of this wild place in which we
exist. I use clay along with other materials to question the meanings embedded
within fundamental three-dimensional forms. Certain designs within
our observable universe came before us--we did not invent them.
Thanks
to the Jerome Foundation, Northern Clay Center, and everyone at Guldagergaard.
—Brady
McLearen
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