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:
Vineet Kacker, Artist
My work draws from the landscape, art and iconography of the Himalayas; from built form that references the sacred, as well as from a personal engagement with Eastern spiritual thought.
Intuitively the works respond to the Himalayan landscape, drawing on a certain sense of self experienced when walking through the mountains and encountering something ancient, mystical, magical and timeless. While the time-worn textures and iconographic markings on the surfaces may appear to reference established traditions, through my working process the text, icons and imagery are remixed and re-contextualized into new works that are symbolic without being derivative, accessible yet also contemplative. The work walks a line between the meditative and the playful, questioning perceived boundaries between Spirit and Matter. Often they are inspired by the phenomenon of street shrines for all over the Indian subcontinent, where associations of faith - often contested - have the ability to transform the meaning of ordinary objects.
-- Vineet Kacker
To see more work, link to Art Axis:
Thursday, August 7, 2025
Saturday, May 3, 2025
Thursday, April 17, 2025
Sunday, January 26, 2025
Nicki Green, Artist
Inspiration for Figurative Bust and Elevate
See more work on website. Link below.
Sunday, July 21, 2024
Netsuke (net · soo · kay)
Netsuke carved from ivory.
Source Met Museum: https://www.metmuseum.org/collection/the-collection-online/search/59689
Typically measuring less than three inches high, netsuke are small, wearable sculptures that were fashionable during Japan’s Edo Period (1615-1837). Expertly crafted, these miniature accessories became highly collectable among American enthusiasts in the late 19th century.
Functioning much like toggles or counterweights, netsuke were attached to purse-like boxes called inrō that could be suspended from a sash wrapped around one’s kimono. Featuring an inrō and netsuke connected by a cord and bead, or ojime, the photo at the right shows a complete carrying case. In order to open the delicate stacked boxes of the inrō, the owner of this case would slide the ojime towards the netsuke. The boxes could then be separated, revealing contents such as medicine, tobacco, or small writing materials.
Language source Springfield Museums: https://springfieldmuseums.org/blog/fashion-function-art-netsuke-carving/
Image to demonstrate opening of inro.
Porcelain Clay with Glaze
Source is Met Museum:
NETSUKE OF THE SHAPE OF A SPARROW, SECOND HALF 19TH CENTURY
Source for two images above:
Carved Bone
Source: https://zentnercollection.com/product/japanese-antique-netsuke-of-a-house-under-a-pine-tree/
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