The Women’s Studio Workshop (WSW) in Rosendale, NY, is a visual arts organization with specialized studios in printmaking, hand papermaking, ceramics, letterpress printing, photography and book arts. Jessica Dupuis was invited to work at WSW as part of their Fellowship Program. Jessica is a ceramist and current artist-in-residence at HCCC. We asked her to provide a few pictures of her time up North and reflect on her experience.
Women's Studio Workshop. Rosendale, NY.
Four weeks at WSW…. a community that was warm, nurturing, and stimulated my creativity. WSW gave me the opportunity to discover what it was like to live and work in the same building, the time to focus on my work, and to interact with other women artists. I spent my days downstairs in the ceramic studio, and above, I could hear the traffic in the printmaking studio. I had potluck lunches in the kitchen with everyone and spent evenings chatting with my room mate, Amber Jensen, a printmaker, or doing research for my work. I found this experience beneficial to the work and residency I am currently completing at HCCC.
Inside Women's Studio Workshop. Rosendale, NY
Detail of Jessica's work in progress while at WSW.
A native of Houston, TX, Clark Kellogg has been interested in woodworking and furniture making since he was 14, when he and his father started building small projects in the family garage. He received his BA from the University of Virginia. He is formally trained as a furniture maker, graduating from both the Center for Furniture Craftsmanship's Nine-Month Comprehensive program and the College of the Redwoods esteemed Fine Woodworking Program.
Clark with his piece, Garden Bench,
for which he received an
award-of-merit in Craft Texas 2010.
I've known about the residencies at HCCC since the organization was founded in 2001, because I've visited the center all these years. I wanted to apply for a few years, but I wasn't settled in Houston. I was traveling back and forth between home and school. Also, I didn't have enough work until recently for a complete application. Once I knew I was going to be in Houston for a few years, and had a larger body of work, I applied.
Part of the plan for my residency is to use it as an opportunity to promote myself and my work in the Houston community. I want to interact with visitors, be part of educating them about what fine furniture can be and how much work goes in to making custom furniture. While in my residency, I hope to balance making some larger furniture pieces with smaller work focused on letter carving. Letter carving is a new area for me and it's exciting to explore and see where this new skill will will take me.
Hemlock Wall Cabinet,
by Clark Kellogg, photo by David Welter.
Music Box, by Clark Kellogg, photo courtesy the artist
I found out about the residency at HCCC when I was in undergrad at Stephen F. Austin University. I didn't feel I was prepared for it at the time, but I stored away the information for later. When I graduated with my MFA, I sought out residencies in the USA and Europe. HCCC was the first to contact me and after accepting the position, I was excited to return back to Houston.
During my residency, I hope to continue researching fabrics and allow this research to influence my jewelry skills. I want to allow this relationship between fabric and jewelry to happen organically. In the end, I hope for two different outcomes. The first outcome being a high end production line of jewelry and the second developing large scale exhibition pieces.
Tea Infuser Earrings,
by Kristi Rae Wilson, photo by Motoko Furuhashi.
Detachment of the Bed Sheet,
still from 2 minute looped video
by Kristi Rae Wilson,
photo courtesy the artist.
Remnants Collar,
by Kristi Rae Wilson,
photo by Motoko Furuhashi.
You can find more about our current artists-in-residence on our website.
Lisa Wilson is a metalsmith and jewelry designer who creates a range of work, from sculptural objects to one-of-a-kind jewelry. An Ohio native, Lisa received her B.F.A. from Indiana University in Bloomington, IN, before going on to earn her M.F.A. from Miami University in Oxford, OH.
Lisa Wilson in her studio at HCCC.
I found the residency at HCCC by word of mouth while I was finishing graduate school. Although I enjoy teaching, I did not want to pursue a teaching career full time directly after school. Applying for the residency seemed like a good match because it provides me time and space to make work, but I’m also able to gain some teaching experience in the Houston community.
While in my residency, I want to focus on taking my large scale sculptural work down to a smaller, more intimate size. My larger sculptures are based on algorithms found in natural objects. By making the work smaller in scale, I hope to capture the way we interact with a majority of the natural world. I want to provide contemplative experiences in my work, similar to those found when picking up a seashell on the beach or a fallen leaf on the sidewalk.
Diffusion Study,
by Lisa Wilson,
photo courtesy Jeff Sabo.
Spiral Growth,
by Lisa Wilson,
photo courtesy Jeff Sabo.
Wave Particle Loop, by Lisa Wilson,
photo courtesy Jeff Sabo.
You can find out more about our current artists-in-residence on our website.
Originally a landscape painter, ceramic artist Elizabeth DeLyria translates the concept of landscape into the functionality of clay. Prior to moving to Katy, TX, she received her MEd in Art Education from the University of Houston. She also attended the Arrowmont School of Arts and Crafts, as well as the Art Institute of Chicago. We talked with her about why she came to HCCC and what she will be working on during her time here.
Elizabeth in her studio at HCCC.
I had visited HCCC in the past and was always very impressed with the organization. Once I retired from teaching a year ago, I realized I wasn't familiar with the ceramics community in Houston. I had always known Houston as a teacher, not as an artist. I decided to apply for the residency and learn more about the ceramics community.
While at HCCC, I hope to further develop the emphasis of merging sculptural and functional characteristics in my pieces. My work is derived from nature and I want to expand it and make forms that I haven't had time to explore until now.
Birch Forest,
by Elizabeth DeLyria,
photo courtesy of the artist.
Petoskey Cairn, by Elizabeth DeLyria,
photo courtesy of the artist.
Birch,
by Elizabeth DeLyria, photo courtesy of the artist.
You can find out more about our current artists-in-residence on our website.
Jessica is a ceramist from Chapel Hill, North Carolina. She received her BFA from Alfred University in New York, and her MFA from the University of North Carolina, Chapel Hill.Jessica uses the combination of clay and discarded materials, such as newspaper and cardboard boxes to construct objects that are light and fragile, but packed with power.We talked with her about what she will be working on while in residency at HCCC and how she found the program.
Jessica in her studio at HCCC.
While finishing graduate school I researched artist-in-residency programs at various organizations and did searches through search engines like Alliance of Artists Communities. I discovered HCCC's program while reading through online offerings on Ceramics Monthly's education resources page. I wanted to go to a new place, particularly a new city, and have access to a strong arts community. I thought this program sounded like a great stepping stone from graduate school to my professional career.
Work in progress at HCCC by Jessica Dupuis.
I brought with me a bucket of scraps and remnants to Houston from my graduate school work. My goal for the artist-in-residency is to make a new body of work and just experience being an artist in a community. I have enjoyed the opportunity to work in a space that is my own and I love exploring Houston and what it has to offer.
Grid by Jessica Dupuis, photo courtesy of the artist
Untitled by Jessica Dupuis, photo courtesy Edie Shimel
You can find out more about our current artists-in-residence on our website.
We do! So, we took some time to talk with the three award winners and wanted to share a little more about the pieces that won.
To Left: Clark Kellogg with Garden Bench.
Bottom Right: Catherine Winkler Rayroud with Mama Never Told Me.
Top Right: Eskimo Kisser #3 by Gary Schott
First up, Clark Kellogg is currently an artist-in-residence at HCCC and won an award-of-merit for Garden Bench.
In your artist statement you talk about the importance of material, in the case of Garden Bench why did those pieces become a bench rather than a cabinet?
Sometimes my furniture starts with the wood and ends with the piece. In the case of Garden Bench, the opposite occurred. Here I found pieces of wood to fit with the concept and design of the bench.
Why do you choose to make furniture? I love making things with wood. I want to make something quiet and friendly that will become a part of someone’s home and for me that is found making furniture. I believe it is important to have your interaction with a space be positive and furniture can really determine how you interact with space.
Also creating interactive pieces, Gary Schott is Chair of the Metals department at the Southwest School of Art, and won an award-of-merit for Eskimo Kisser #3. Below is a video of the piece.
Can you talk about the importance of interaction in your work, specifically is Eskimo Kisser #3 meant to interact with two people?
Yes, this piece is meant for two people to interact with. I’ve created others that focus on the importance between the intimate experience between the piece and the person but this is an object for two people. I intend for the devices to be playful and provide a cheeky reaction to modern technology. In a sense, it is akin to how texting provides a technological interaction or interface between individuals, but here it is an object reminiscent of nostalgic toys.
Are people meant to actually touch noses with the piece and how did that dictate your material choices?
Yes, your nose is supposed to touch and so material choices were very important. I tried out many different materials and wanted to find something that was desirable for someone to touch with their nose. I had an “a-hah” moment when someone reintroduced me to needle felting.
The third award-of-merit winner was Catherine Winkler Rayroud for her paper-cut piece, Mama Never Told Me.
Mama Never Told Me,by Catherine Winkler Rayroud, photo courtesy the artist
What narrative are you creating in the imagery in your piece, Mama Never Told Me?
This piece is very personal and illustrates the examples I was given about a woman’s place in society while growing up in Switzerland. There were certain things my Mother would say but do differently. For instance she would say a woman shouldn’t study because she won’t find a husband, but then I saw how she would write books in her spare time and be unhappy that she couldn’t find more time for these activities. This piece documents the personal journey I went through as a girl becoming an adult and the awakening I had after coming to the United States ten years ago. I often wonder what would be different if I would have been able to grow up here, would things have been different?
For those who aren’t familiar with paper-cutting, can you explain the process?
All of the paper-cuts are done from one sheet of paper with nail scissors and sometimes an exacto-knife. In this piece, I only used nail scissors. Initially I fold the sheet in half to cut the symmetrical images. Then I unfold the paper to cut the asymmetrical images, the difference in the mirror images is meant to be playful, the viewer can try and find the differences.
