Showing posts with label Artist residency. Show all posts
Showing posts with label Artist residency. Show all posts

Friday, March 22, 2013

A Week With Li-Qua-Che 1.0

Li-Qua-Che, Brad Ford Smith
My good friend and fellow artist Kent Peaslee came down from Chicago to spend a week with me playing with Li-Qua-Che. It was like creating our own artists residency.

What is Li-Qua-Che? Basically it's a liquid paper mache that has been refined to the point that it looks more like porcelain slip. It's designed to make slip castings of things like doll heads.

During our week of investigation, we played with a lot of casting techniques, learning a lot and pushing the product to its limits. Over the next four BFS blog posts I'll be reviewing projects that focus on casting a tile from a one piece mold.

Li-Qua-Che, Brad Ford Smith
Our first project was to create an 8"x11" sculptural tile that incorporates an open space in the center of the tile. Above is the original design drawing.

Li-Qua-Che, Brad Ford Smith
In this photo we are building the sub-straight for the tile using sheets of cork. We then covered the cork with oil clay and added some details. 

Li-Qua-Che, Brad Ford Smith
This is the plaster mold we pulled from the model. The mold was placed in a warm oven to speed the evaporation of the water from the plaster. Be careful doing this as the plaster will go through thermal shock if it gets too hot too quickly or cools down too fast.

Li-Qua-Che, Brad Ford Smith
Now for some casting. Here the Li-Qua-Che has been poured into the mold. After waiting 8 minutes it was poured out of the mold. What remains is a 1/8" thick wall of Li-Qua-Che (The gray stuff).

Li-Qua-Che, Brad Ford Smith
The Li-Qua-Che shrinks 4-7% as it dries. Just like slip casting with ceramic slip, it pulls away from the walls releasing itself. In theory, as long as there are not undercuts, the casting, after 30-60 minutes should just drop out of the mold. Unfortunately our design with the big open space in the middle of the tile created a large solid form that the Li-Qua-Che locked onto as it shrank. Getting it out of the mold caused cracks in the casting. After curing, the casting simply fell apart at the weakest structural points.


Thursday, June 23, 2011

A Workshop in Strategic Planning for Artists

The people at Creative Capital call it a Professional Development Core Weekend Workshop, PDCWW for short. It is a "Crash course in self-management, strategic planing, fundraising and promotion. Based on a rigorous and comprehensive curriculum..." Those of you who are regular perusers of my abombitallizations of grammer, know that I do love orderly things and planning, but the closest I ever come to Rigorous, is babbling on and on and on, (case in point)

How every, when I read more about this workshop, I saw it as an opportunity to focus on some of my weaker points... in a healthy constructive sort of way, as opposed to the binge induced rants that me and my fellow artists normally indulge in.

So I applied for 1 of the 24 spots, sending 10 slides, a CV, and a short artist's statement. I am happy to say that I was selected, AND I got a Creative Capital Subsidy Grant as well!

Sorry, that's getting very close to blowing my own horn, but I am very excited about this workshop. Hopes are high that I will learn a lot about modern professional art practices, and connect with a new group of artists to interact with.

The workshop is being held at the Arthouse in Austin, hence the oldish photo of me standing next to the Arthouse placard.

Hey! have you signed up to get the Brad Ford Smith Blog delivered straight to your email box?!

Wednesday, July 22, 2009

Reflections from VSC posted on Art & Seek




This posting about my posting on Art & Seek is a bit late. I've had a lot to catch up on sense getting back to into town.

Anyway, Here is the Art and Seek link to my follow up article on the Vermont Studio Center.

You can also see more photos of VSC at my flickr page.

Friday, June 26, 2009

End of the Third week at VSC


It's not quite the end of the third week, but things are going so fast around here that by the time I post this it will be dinner time. Eating being the most common way of telling time at VSC.

Above is a figure drawing that I did at one of the daily figure drawing sessions. I am not trying to render the figure in terms of proportions or scale, but in terms of mass pushing against mass. The pencil is used as a sculpting tool to dig out areas and push material together. You can see more of the drawings at my Flickr page.

Monday, June 22, 2009

Houston Public Art Proposal #1001


This is one of four video for an imaginary Houston Public Art Proposal. the other three plus other videos can be seen on my Youtube page

Rodin @ Vermont

This is a fresh on the wall photo of the Rodin project that I am working on while at VSC. It started with an old art book on Rodin. I removed the photos and then mapped out the sight lines found in each image. Using these sight lines as a guide I created new forms. To see more photos of this project please go to my Flickr page.

Saturday, June 20, 2009

New posting on Art & Seek



The great people at KERA Art and Seek posted my article on the first 14 days at the Vermont Studio Center. Below is a draft, or you can click here to read it and see all the photos on Art and Seek.


Johnson, VT. -
You would think that without the distractions of job, family, and phone, making art all day would be a piece of cake. Well, it is sweet, but it is also a strangely surreal experience. Large blocks of time are consumed in focused bursts of creativity that leave you staggering back to your bed hoping to grab a few hours of sleep, but then you come across a some comrades sitting on the front porch, and you find yourself engaged in conversations about art, books, and movies, swapping silly stories, and laughing that kind of painful gut wrenching “Stop! Stop! I’m going to pee in your pants” kind of laugh that is so very rare and so very, very good… Then you find it is once again 3AM.
This is my second week at the Vermont Studio Center, and I am just now getting around to writing about my experiences so far. The days here are full, quick and exhausting. Trying to schedule them in the same fashion that I would while at home is not possible. That would be forcing a structured regime onto a world where the only real passing of time is measured by when to eat.
So, here is a little info on the Vermont Studio Center. It is an Artists Residency program located in the small town of Johnson Vermont. Each month 50 artist are set up with a private studio and a house that they share with a few other artists. All meals are provided in the Old Red Mill. There is always desert served after dinner. The artists here are either writers or visual artists. I am of the latter, but hanging out with a bunch of writers has been a novel and wonderful experience. The VSC web site explains the program in detail; so check it out because I’m going to focus on the more ethereal aspects of this experience.

On the first day of residency, one of the staff members shows you to one of the old wood-framed houses that will be your new home. Then it’s over to your studio, which contains a chair, two sawhorse tables and your boxes of art supplies that you shipped up from home. The studios are large, clean, and very white. Most of them have windows with wonderful views of either the river or the wooded hills. Then, with a “see you at dinner” you are left to your own devises.
In fact, being left to your own devices seems to be the unwritten motto of VSC. They provide you with food and shelter, plus a calendar of optional social events and lectures. From there you are free to go in whatever direction you wish. You can dig deep into your creative physi, or spend your days in the coffee shop down the street reading trashy tabloids. There are no expectations for what you do with your time or for the creation of some end product. You are free to let whim and whimsy run amuck. Of course, this freedom creates a scenario where things can get a bit surreal.
A quick survey of my artistic comrades reveals that the first thing we loose track of is the days of the week. Monday, Wednesday, Saturday, they all feel the same. At this time of year in Johnson, the sunrises at 4:30 AM, so by 5 it is so bright that your internal clock skips a beat and then stops. Soon, sleep only happens a few hours a night, or more likely while attending one of the numerous slide lectures or readings. Note to visiting lecturers: The snoozing audience seated before you is not bored, they are exhausted.
The first week of residency is all about adrenalin and remembering. You are in hyper drive to get started on a self-centered creative adventure, while at the same time desperately trying to remember the names of all 50 artists you have just meet. A few of my personal stumbling blocks have been finding I did not pack the right computer cords, but I did pack a two year supply of pink highlight markers. I also keep misplacing my dental floss, and the nearest store to get moisturizer is 20 miles away. (I need the moisturizer because I am working with plaster, which tends to dry my out hands… and I like having baby soft skin) As for remembering names, I suck at it, but I am really good at remembering art and creative ideas, so the names have been slowly falling into place.
Referring again to my quick survey, the second week begins with complete exhaustion. The adrenaline is gone. Only twelve people show up for breakfast on Monday morning. By 11:30 you might find a few people shuffling around listlessly in their studios. Dark circles under the eyes seems to be the trend of the day. Over the next few days, the amount of dirty coffee cups at breakfast is three times the amount of dirty plates and bowls. If asked how things are going in the studio, the enthusiasm of the reply is usually tempered by the amount of coffee just consumed.
The second week is also an emotional rollercoaster ride, where the creative struggles in the studio start to clash with personal expectations and perhaps a wee bit of delayed stress syndrome. Personally, I am flip flopping from what I feel is either a creative brake through or just arty dabbling and then back to visions of grandeur. I also have a stack of very sophisticated novels that I am completely ignoring, opting instead to downloading audio books by Edgar Rice Burroughs, which are filling my head with images of Pellucidar, the World at the Earth’s Core.

Friday was the first Open Studio Night, which means everybody got the chance to visit everybody else’s studio. This created a frenzy of activity that kept the creative juices flowing for the last three days.
It is now Sunday night. I know that because the Red Mill only serves brunch and dinner on Sundays. There is an unspoken realization in the air that the residency is now officially half over. How that will affect the dynamics of the third week I can only muse upon.

Please note, this posting should to be taken with a grain of salt, as it is based solely on my personal and by now somewhat surreal observations. Each person’s experience at VSC is different. Some are actually getting up early to jog miles and miles through the lush green hills of Vermont, or spending hours in yoga posses that would cause me to spit blood. Some people are even eating right and going to bed on time.

Sunday, May 17, 2009

Packing for the Vermont Studio Center



Packing. How do you decide what to take to a place you have never been? This reminds me so much of packing for my first summer camp. I was about 8 years old, and I was both excited and scared. What to take? What if I forget to pack that one thing that is totally necessary for this experience to work, like underwear?

Well, I've done lots of research, and I have also had the luxury of talking to some local artists that have been to VSC; Sally Warren and Billy Hassell. They both said it was a totally wonderful experience on all levels. 


Sunday, April 26, 2009

Vermont Studio Center, Making the decision

When I applied to the Vermont Studio Center way back in June of 2008, the economy and my life style were a bit different.

When I was granted a partial grant to attend VSC, it kind of threw me for a loop. I knew I would go to VSC if I received a full grant to attend, and that I would apply to some other residency if I didn't get a grant. But it never occurred to me that I might receive only a partial grant, or that our family income this year would be cut by half.

So for the last few months I have been walking the fence. Should I go, or should I put off doing an artist residency for yet another year?

Well, the VSC deadline for the deposit is next week. I have been filling up pages with pros and cons, and having long talks with friends about the extended finical hardships that this month in the woods would create.

Then a patron of the arts, who will remain anonymous, made a generous donation to the Send BFS to VSC fund. So now the issue finances have been reduced to a less head pounding red beacon, and I can now focus on the art related merits of this a enterprise.

What do I want to accomplish with this opportunity? Well that answer is in the pages and pages of notes I have been generating for the last few months. Hopefully VSC will be just the place to flesh out some of those ideas.

Tuesday, November 11, 2008

Vermont Studio Center Residency Program

I just found out that the Vermont Studio Center has accepted my application for their Artist Residency Program. They gave me an Artist's Grant and a Work Exchange Award to help cover the cost. I'll be there in June 09 for 4 weeks.