See more ceramic work by the artist at link below.
See more in process images by the artist at link below.
Wednesday, June 24, 2026
Mrs. Tesch's Art Class
I found a wonderful resource online, Mrs. Tesch's Art Class. All images and information below is from Mrs. Tesch's Wordpress. Link below to watch a few great videos.
Reminder, for our assignment of figurative bust, anatomical proportions are not required. Students may explore the form and concept of figurative bust. I have several images posted in the clay studio for inspiration.
SUPER IMPORTANT - The interior of your figurative bust must be hallowed out. I will work with each student individually to discuss the best method for hollowing out their form.
The eyes are halfway between the top of the head and the bottom of the chine.
The face is divided into three parts:
Part 1 - Hairline to Eyebrows
Part 2 - Eyebrows to bottom of Nose
Part 3 - Bottom of Nose to Chin
The distance between the eyes (green dotted line) is approximately the width of one eye.
This is the same width of the nose (and to some extent the moth at rest).
The ear length is from the eyebrow to the bottom of the nose (light blue line).
Saturday, January 17, 2026
Linda Lopez, Artist
Artist Statement
I resist acknowledging that the objects inhabiting our lives are inanimate. By considering the objects’ needs, and denying our needs for those objects, they can expose a life and language of their own. A stack of books hidden by a blanket of dust waits patiently to fulfill its purpose. The books appear to be aged and desolate, yet shielded and protected by time and neglect. By carefully observing the relationships between the things around us, I have found them to reveal their physical and psychological states that often go unnoticed. In this realm, objects are personified, perception is ever changing, and things become their true self.
More work to see. Go to Art Axis link:
Sara Allen Prigodich, Artist
My ceramic sculptures are physical representations of our psychological incongruities: the doubts, questions, and shifts in perspectives through which we view the memories of our lives. The act of reflecting upon our experiences can often become an investigation, a system of discovering and constructing underlying emotional structures. I find that a memory’s ability to mutate—to restructure reality or to erode the truth—is a potent source of inquiry for my work.
The sculptures appear soft and pliable, yet they are hardened and permanent objects in space. This perceived softness relates to the flesh of the body in order to connect with our innate humanness and the malleable perception of our memories. The use of materials such as wood and concrete creates a physical and psychological intimacy around a space that is associated with home, structure and shelter. The making process involves a conscious act of piecemeal construction; building as needed to conceal or support the centralized ceramic form. Their fixed state serves as a means to document a single instance of a recalled event, to create a calcified moment of the past. Through various ambivalent postures, props, and subtle comparisons, the forms evoke a curiosity, a desire to empathize with their conflicting state.
-- Sara Allen Prigodich
See more work on Art Axis:
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