Gaia Luna Video Tour: January Thaw

Gem the cat and I would like you to join us on our first ever video tour of Gaia Luna Garden.

We've chosen a pleasant day during our January thaw to make for easy walking.  You'll see where we're starting the year. And in future videos you'll be able to watch how it grows.

Even in this cold time of long darknesses, we know we've turned the corner of the seasons, and we're heading back toward Spring!

(c)2013 Kay Pere ~ Effusive Muse Publishing

SACRED SHARDS: Carpe Diem I

Spent the entire day yesterday working at the community center's pottery studio, 10:30 AM- 7:00 PM. As the day went by I took pictures of my work and the materials used.

This morning while downloading and organizing recent photos from my digital camera I found several older pictures I'd intended to post and write about on my Sacred Shards Pottery blog. They'd been neatly filed on the computer several months ago, then forgotten in the onrush of life.

I need a system for keeping track multiple creative idea streams over time amid the continual shift and resurgence of various priorities. Sometimes the Quiet Little Life isn't so quiet.

Here are links to two of these photos with recent posts on my Sacred Shards Pottery blog:

• VESSELS: Carpe Diem I (in progress)
• VESSELS: Carpe Diem I (glazed)

They describe the process of making a pottery piece that came about through accident and happenstance. The piece turned out well though entirely differently from what I'd first envisioned. Despite obstacles, I set out to SEIZE THE DAY.

(c)2010 Kay Pere ~ Effusive Muse Publishing

THREE PROJECTS: Laying the Groundwork

About a month ago, I found myself at a crossroads.

The people attending our songwriting retreat back in March asked me where they could find recordings of the songs I’d sung for them and when my Creative Compass book would be available for purchase. I realized that I needed to find an answer for myself to the same question they'd asked over and over during our workshops: “How do I find time in my busy schedule for my songwriting?” (or writing a book, or learning to paint, or starting a band, or building a website, or planting a garden, or exercising…)

Their questions and interest motivated me to search for a workable answer.

Right in the middle of one of the busiest periods I’ve been through in many years—six weeks straight teaching lessons, performing concerts, presenting at conferences and retreats, selling pottery at shows, and hosting family gatherings, all without a single day off—I knew I was overdue for a change. I hoped to find a solution that would work for me, while offering tools and ideas that others could adapt to their own lives.

My creative work is piled up like a logjam in side me. It’s fully realized but not in a form that exists without my physical presence. If I’m not on hand to perform the songs, present the workshops, or sell my pottery on the spot they might as well not exist.

A month ago, on Monday, March 29, 2010 I began by making conscious effort to change comfortable old habits that were obviously stealing time and energy. I needed to remove the virtual drug that had been lulling me into complacency about the work I really wanted to be doing.

I’ve waited this long to post this because I didn’t want to try out these changes in public, only to fall back into old habits and have to confess to my backsliding just as publicly.

Four weeks into this change I feel much more comfortable passing along the specific things that have allowed me to start making tangible progress again toward three creative goals that had previously languished for months, even years, until now:

• Recording my "Dolphin's Daughters" CD project
• Writing my "Creative Compass" book
• Spending time making pottery for the joy of it (and to sell online and at artisan shows)

The change has come primarily by reclaiming time dissipated online, time I was numb to having wasted each day. And a change in attitude.

COMPUTER CAPACITY

Recording a CD and writing a book are computer intensive activities. Though my capacity for being glued to a computer screen for hours on end is fairly high, there’s still a limit to how much time I can put in each day, both in terms of endurance and availability. Wasting capacity on mindless internet exploration leaves little for recording a CD or writing a book.

In other words, I can only sit at my desk for so many hours straight before I my backside begins to hurt and I'm overpowered by an urge to run out front door into the sunshine shouting, "I'm free! I'm free!"

I realized that the time I was spending online reading news stories and blogs, skimming Facebook status updates, and watching funny videos must have been meeting some need otherwise I wouldn’t be doing it. What I had to figure out was what purpose they were serving so I could find a more satisfying way to meet those needs and free up my computer capacity for work on my projects.

The conclusion I drew was that time online was serving as a poor substitute for real world random exploration and discovery, enrichment, entertainment, and personal connection with others. If I could make a place for more of these things away from the computer screen, then the changes wouldn’t feel so much like deprivation during the crucial early stages.

TIMER FOR A CHANGE

Four weeks ago I set out first to quantify the minutes and hours slipping past in mindlessly screen staring while I read Facebook status updates and browsed internet news, caught up on artists’ and eco blogs, searched for recipes, listened to music or watched the latest viral Youtube video.

I set a digital timer counting as soon as I went online that first day. I needed cumulative total. Each time I went off to do something goal related or respond to a client email I stopped it. As soon as I returned to the internet in an unfocused way I started it again.

At the end of the first day, I was astounded by what the timer showed. And too embarrassed now tell you what it said, though you can read the fine print in the picture of my journal, below. Had I really squandered the entire morning after breakfast morning, and several wedges of precious time between teaching lessons, then another hour just before bed on that first day? Talking with other people, I soon realized that I wasn't alone, only difference was the time of day I was going online, morning vs. evening for most people.

For the next two days, I continued tracking my time online without changing habits. I had to convince myself of the magnitude of the problem. Was this really the way I'd been living? I made little chart and totaled up different kinds of internet use for several days.

Each day yielded the same results: several hours irretrievably lost with nothing to show for them but a nondescript sensation that I had done something vaguely useful.

How had I become delusional enough to sincerely believe that the majority of my internet time was being used for writing and responding to business correspondence or goal related reading, writing, watching, and listening online? The hard data I’d collected on myself showed a completely different story.

Fully convinced by the middle of that first week, I switched the timer from stopwatch to countdown mode, allotting myself only 1 hour, total, each day for online entertainment and curiosity.

My previous pattern had been to check email, read news, and browse Facebook over a bowl of generic cheerios or oatmeal, then loose track of time until mid-morning or even lunch time if I got up late. I work for myself teaching voice and piano to student scheduled to arrive afternoon through evening. I rationalized that my morning was the equivalent of everyone else’s evening, when other people relax and blew off steam after a hard day of work. This sort of daily schedule would be fine, except that there are other things I want to be doing.

The change felt more than a little awkward at first. I went through withdrawals on Thursday and Friday of that first week. It was like giving up a drug. Symptoms included a nagging sensation that something important was missing, restlessness, and irritability followed by the intense urge to return to my old ways.

More than a few of times, as I worked on other things at the computer, I lost focus and mindlessly clicked on the browser icon only to return to awareness 10-15 minutes later while skimming news headlines and articles on yahoo.com, or browsing friends and family members status updates on Facebook.

So I started rationing the hour in 15-20 minute increments throughout the day, using it to take breaks from other work. When the time ran out I planned to shut down the browser and return to other activities, but on several occasions the time expired, the timer beeped, and many minutes went by before I returned to awareness.

The next morning unplugged the Ethernet cable before powering on the computer. I didn’t plug it back in until lunchtime and got a lot more done.

BALANCING FOCUS & RANDOMNESS

I could see that if I simply reined in my old habits, while offered nothing as a replacement to meet the needs they were fulfilling, this experiment would fail. If I planned to impose additional structure on an already busy schedule, I would need to offer myself some other form of release of the sort that inspires rather than numbs.

The next step was to begin replacing cyber randomness with real world spontaneous exploration and online social networking with face-to-face interaction.

To fill the need for random, spontaneous exploration, that first week I started taking my new digital camera out for a walks capturing anything and everything that caught my eye.

I spent sunny hours working in the garden for fun, allowing myself to be drawn by whichever task called to me next—picking up leaves, digging holes to transplant rhubarb, picking pieces of antique pottery from the sandy soil like an archeologist, pruning the blueberry bushes.

I spent quiet moments sitting on the grass in the sunshine watching a pair of crows circle high over bare branched early spring woods.

Or by the sea as cloud shadows, wind ripples, and lobster boats pass.

I’ve browsed through the local public library, picking books off of shelves and bringing home CDs to discover new ideas and new music. Sometimes I’ve stayed to write there in a big comfortable chair for a change of scenery.

For human connection, I’ve been more open to conversation with people I encounter when I’m out in the community, choosing activities that will give me opportunities for interaction. It’s amazing what listening and thoughtful sharing will open in another, and in yourself.

This past weekend I struck up a conversation with a woman outside of the hardware store. We’d come out of the store a the same time and I’d noticed that she had a pick-up truck full of bamboo plants. I asked where she’d gotten them, then whether she was selling them, and eventually arrangements to get some for our yard. Not only that but learned a little about her family’s farm, it’s history, and why they're having to sell it. It’s a place I’ve driven by nearly every day and admired, lamenting the 55 acres that will soon be opened to development just a half-mile from our home.

Unlike the hours squandered on the internet, random explorations in the real world and time reclaimed for projects yielded memorable, tangible results.

The vividness of hours spent walking around town with a camera—capturing the shapes, colors and textures of ordinary objects—lingers even a week-and-a-half later. As does the satisfaction I feel each time I look back at those images. The experience of that day is burned into the retina of my heart.

THE PAYOFF

My projects have progressed and I’m feeling more alive!

The payoff can be found in small, tangible accomplishments and memorable experiences. These have replaced the emptiness I felt during the first few days after changing my old routine.

No, the CD is not recorded, not in four weeks, nor will it be finished in the next month or even two, but I now know exactly what I’ve already accomplished and what needs to be done next to keep things moving forward.

A unified awareness of accomplishments and next steps was difficult to holding in my mind before, when the virtual world ruled my attention.

I began a new pottery vessel titled Carpe Diem, which can be seen here, among other things. The scraps from forming this will become labyrinth necklaces to add to my Sacred Shards inventory.

And the Creative Compass book?

I’ve begun again to add 3x5 cards with ideas, quotes, etc. to my pocket chart outline as I happen upon them. I’m open again to uncovering insights and capturing them so they are beginning to appear nearly everywhere I look, as if by magic.

Although more dedicated time is needed to make real progress on the book, many ideas and topics are beginning to take shape in my daily writing.

During the coming month, I plan to commit certain hours each week to work on the book and my blogs. This will be another step forward.

The average non-fiction paperback book contains 40,00-50,00 words. The word count for this little essay has run more 2200 with an investment of about 12 hours total. I started it back at week two, but came back to rewrite and edit several times before it seemed ready to find it’s form.

Though this article won’t be used beyond this blog without further editing, it shows that writing a book is not such a distant, unachievable goal. A simple calculation reveals that 25 essays of this length could well be woven together to create a book of marketable length. [55,000 / 2200 = 25] This is totally doable!

I’m learning in a concrete way that moving these big projects toward completion is just a matter of accumulating incremental progress.

It’s a cliché of the creative world that you can do anything 15 minutes at a time. Well, it’s true.

My threshold of measurable accomplishment seems to be found after 1-3 hours of continuous work. Obviously the hours I’ve reclaimed from useless internet wanderings, and soulless TV watching before that, more than allow for this.

TIME FOR THE FINDING

I found the time in my busy schedule to begin to record my songs, make more pottery, and write the book by turning away from the virtual, toward the real world were songs and pottery and books must come exist apart from my presence, were the need for random exploration and human connection can truly find their fulfillment.

As a wonderfully affirming bit of ironic serendipity, in the midst of all this change an old friend posted a link of perfect relevance on Facebook. Unaware that I’d been working to make these very alterations in my life, she shared the following article, “Time Lost and Found” by inspirational author, Anne Lamott.

After reading it I knew I was absolutely doing the right thing.

A month has passed since I began instituting these changes and tailoring them to accommodate my best way of being and working.

I write today with new habits firmly in place: the ethernet cable is unplugged from my computer. It’s nearly lunchtime and I have not yet gone online today. In a few minutes, I’ll power down the computer, plug the cable back in, then go online to finally post this little article on my “Quiet Little Life” blog for you to read.

When I do, the timer will be close at hand, already set to count down from 1 hour as soon as the day’s browsing begins.

Though I still expect to lose track of time spent online occasionally, I know I’m more awake than before and more aware of the time passed there. Always, I’m eager to return to the real world were more satisfying work and exploration and human connection await.

©2010 Kay Pere ~ Effusive Muse Publishing

BAKING: 1st Cake from Scratch!

Yesterday's Creative Output:

1 Chocolate Buttermilk Cake with Mocha Whipped Cream Frosting

2 8-inch round layers

Life can be home schooling for grown-ups.

That's how I see it. I've turned off the TV, where I'd just be watching other people do things, and I've tuned in to learning and doing things myself instead, using my unscheduled time to following my curiosity.

It has been a goal of mine for a long time to bake a cake from scratch. Why? I'm not entirely sure. Sense of accomplishment? Potentially delicious results? Happy husband?

It's one of those urges you don't question. You just go with it. But where to start?

For my first scratch-baked cake, I meticulously went through all my cookbooks and compared all the chocolate cake recipes (no exaggeration). If I was going to put in the effort to bake a cake this way, I wanted to understand what I was doing and what the options were. I wanted to maximize the chances of success. Nothing is more discouraging to a novice baker that an unpalatable result the first time out.

At the risk of revealing the level my enjoyment of detail and depth, and looking a little crazy in the process, here is a picture of the table I created and filled in with ingredient quantities from 18 different chocolate cake recipes (not including the flourless or chiffon varieties).

Earlier this week, when the number of choices and amount of information was feeling overwhelming, I put this chart together so I could look for patterns. I enjoyed imagining each one as I looked over the recipes.

That's probably why I have so many recipes collected and organized into binders on a shelf in our kitchen. I read recipes the way some people read trashy novels.

Though the cake in the picture above wasn't from the recipe I ultimately used, the photo supplied inspiration for the finished result.

Some recipes used powdered unsweetened cocoa, some solid, some Dutch-process, some non-Dutch-process (wasn't even sure what this meant when I started). Some specified butter or shortening or vegetable oil, or milk or water or buttermilk or yoghurt or sour cream, white sugar or light brown sugar, baking powder and/or baking powder and/or salt. And so on. A lot to understand.

Got a wide variety of reactions when I told people I was planning to bake my first cake from scratch this week--everything from "Why would you want to do that?" to "You've got to try this great frosting recipe!"

Ultimately, I took a friend's advice and chose a recipe with buttermilk for my first attempt. She said it would be more moist. For the frosting, I decided on a flavored whipped cream for simplicity's sake--I already knew how to whip cream and add things to it. Other frostings required unfamiliar steps. One can only take on so many unfamiliar steps at one time.

Mixing the cake ended up not being a big deal. Creaming butter and sugar together on a stand mixer? I knew how to do that. Easy! Measuring and sifting together dry ingredients? I could do that. Again, easy! Breaking eggs? Mixing it all together? Putting the batter into the greased and floured pans? All easy!

Why had it seemed to overwhelming to begin with? Too many choices. Multiple steps examined as a whole. The print began to swim on the page. Until I took it all a little at a time.

Choose and do! That's it.

This is an approach that applies to any other undertakings. Face down the feelings of being overwhelmed by choices and the worry about making the best one. Take the time you need to understand what you're about to do, as much as you can without having done it, then choose and do! Or just jump in and try stuff, see what works and what doesn't. Either approach works.

Many kinds of knowledge only come from the doing.

Three years ago I decided I wanted to learn to bake my own bread. Now I'm very comfortable with the process and enjoying experimenting with methods, inventing my own recipes. I would love to get to this point with other areas of cooking.

Cooking is just another thing to know, useful knowledge with edible results. It's a way of relating to the things that us bring sustenance. It's the raw material for an enjoyable experience, sitting down with others to converse.

So many of the other creative things I'm involved in are what I would call "long cycle" activities.

From concept and clay to finished piece to gallery or market is a relatively long cycle, on the scale of weeks or months, sometimes years. From concept to song to performance to recording to distribution is another long cycle of months or years.

Baking is a creative activity with a "short cycle" from beginning to end, just a matter of minutes or hours. The recipe I chose said "2 1/2 Hours Total, including cooling, 25 minutes active." A small investment when I know we will enjoy this cake all week.

Besides, what else was I going to do? Watch TV?

[I have chosen not to include the recipes I used, leaving the fun for you to choose your own. Both cake and frosting recipes came from "A Piece of Cake", by Susan C. Purdy, which has 380 recipes for all varieties of cakes and frostings--purchased used for $3 at last spring's library book sale.]

SACRED SHARDS: New Blog, Vessel Shown & Sold

Sacred Shards Pottery, new blog, new post:

READ MORE HERE: VESSELS: Ammonoidea I - SOLD!

I recently imported all the posts I've made on this blog to a new blog that will focus specifically on "Sacred Shards Pottery." I will continue to update this "Quiet Little Life" blog with links over to my other topic-specific blogs so those who wish to can follow those areas in more depth.

SACRED SHARDS: Work Play Work Play

I've been working at play, playing at work, working and playing at clay for the past several weeks. Putting in many 9-10 hour days doing something I love to prepare for two artisan shows coming up:

• Stonington Village Fair: Saturday 8/1/09, 10 AM-4PM, Stonington Village Green, CT
• Mystic Outdoor Art Festival: Saturday 8/8 10AM-6PM & Sunday 8/9/09 10AM-5PM. Look for my SACRED SHARDS booth in the parking lot of "You've Got to Be Beading" near the Mystic Post Office, Mystic, CT.

These are TOUCH STONES from my WORD WISE collection, ready to go into the kiln for a first firing (bisque). Then they'll be glazed, high fired and packaged for the shows.

Each is a little mantra to hold in your hand, wear around your neck, put in your pocket, hang from your rearview mirror or use to create something of your own. There will be dozens of words to choose from. Or you can combine several to make a unique statement.

Each comes with a length of colored cotton cord, a small organza bag, and a tiny card with quotes inside.

In the photo above are prototypes at several new items: hand built bowls available with Om symbol, chai (hebrew not tea), or hearts; spiral-design napkin rings; and tiny nests to wear as pendants or display close at hand. The nests can be customized with initials on the eggs to represent those who share your home nest and a small inscription on the back.

After working out tricks and details for putting these items together smoothly and consistently, I've made more. Each item is hand built and individually signed. No two are exactly alike.

The first wave can be seen ready to bisque fire in the photo below.

The photo above shows the bottom shelf of the kiln loaded for bisque firing.

Two more layers of greenware (dry unfired ceramics) to bisque fire in the same load.

Drying shelves hold 9 vessels and a stack of napkin rings awaiting their turn in the kiln. 75% humidity has slowed drying to nearly a standstill. I'll probably not be able to have these ready by the first show, the smaller of the two. With luck by the second.

All of this is just the tip of the iceberg, a small representation of the work and play that's part of making things I care about to share with others.

SACRED SHARDS: Documenting Recent Work

Too long I've been making things and selling them or giving them as gifts without taking pictures or making sketches for future work.

Today I set up a make-shift photo booth in a well illuminated part of the house, got out my "good-enough" cheap digital camera, and started documenting my work.

This heart shaped bowl and matching ladle will be a gift for a family member and his bride, getting married this weekend.

I'll be making more in the coming weeks for sale on Etsy, in local shops, at LUNCH shows and in my art show booth.  Wanted to make sure I could remember what these looked like since I won't have them on hand as samples.

Taking and editing these photos was also a useful practice run for the things I need to do for my Etsy online store and for my own website.  They will go into my file of potential work samples to use when approaching retail outlets and and artisan shows.

A bowl made for a baby girl, now a two-year-old and feeding herself.   Took me a while to finish it and photograph it before giving it to her.  Bad Auntie Kay.  Still, it's great for finger foods and reheating little portions. 

A couple of adults have told me they wanted one for themselves--customized with their own name or a special word--so I'll probably be making them in a variety of sizes and colors.

This one is about 5 inches across and 2 inches high.

A similar bowl was made for a baby boy family member, but I didn't take a picture of it before giving.

I also made sketches and took measurements today so the next go around will be easier.  I jotted down notes on glazes, processes, and where the JPGs of these images can be found on my computer.
All this was time consuming, but I'm hopeful that by honoring past effort in this way--by documenting it--the process of making many more will go more smoothly, and perhaps lead to new ideas that otherwise might have been lost.

(c)2009 Kay Pere ~ Effusive Muse Publishing

SACRED SHARDS: Completely Glazed Over

Look what the kiln elves did overnight!  Pretty colors!

Some sale-able items for this summer's craft shows.  A few gifts.  Lots of experimental stuff (mugs, etc.).  And a couple of keepers.

Batter bowl (upper right), Peace Dove ornaments, Word Wise bowl with hearts (peeking from under shelf), ... and hiding on the bottom shelf where I can't see them, surprises!

Going now to unload the kiln and see what I've got!

SACRED SHARDS: Glazing Over

The little kiln that could.  She's an L&L kiln.  Needs a name.  I'll call her Lana, as in Lana Lang.  Powered by meteor rocks.

Finished glazing and loading this afternoon.  Firing initiated at about 3:45 PM.

Here's what's inside.  There's another layer below the one visible at on the lower right.

And here's what it looked like just a little while ago, glowing amiably in the darkness of the basement.  Alien Power Source at work.

Temperature read-out on its way up, with the glow under the kiln lid showing through.

The glow  under the lid and between the kiln's sections projects onto the basement walls in stripes of yellowish orange, but my camera's shutter speed doesn't go slow enough to capture this.

The picture above was taken over an hour ago.  By now, it's probably reached Cone 5 and is on it's way back down. 

I'll be able to open it tomorrow.  It's always like opening a surprise package.

SACRED SHARDS: Body Wisdom Displayed

My first ever torso sculpture, "Body Wisdom" above, was fired in the first load in my new kiln.

Last Saturday morning I put "Body Wisdom" into the Hygienic Art Gallery's thirtieth annual Salon des Independants Show.  This is a sort of art free-for-all whose motto is "No Judge, No Jury, No Fees, No Censorship."  What better place to break some rules and break new artistic ground for myself.

It was the first time I'd shown my work simply to make a statement, as opposed to displaying work with potential customers in mind.

I designed a display card using Photoshop to place with the sculpture.

The display card repeats the words encircling the top and bottom of the vessel.  Between these it adds words taken from my song "El Dia de los Muertos" for a reflection on the relationship between body and spirit.

Beneath the title the card reads:

STRENGTH       WISDOM      PATIENCE

Doctors diagnose

with speculum and stethoscope

take blood in vials

make patient files

Look within!

I'm more than these.

BALANCE      PASSION       HEALING         JOY

"El Dia de los Muertos" was written several years ago, but I feel the linking of its sentiments to an earthen vessel made by hand just a few months ago to be grounding, healing, hopeful.  The words in bold type stand guard between my own physical vessel of Self and the practiced guesswork of MDs.

Other elements of the display are equally emblematic.

The pink scarf is wrapped around the display box as an expression of solidarity with women engaged in the fight against breast cancer.  By extension, it is also symbolic of the power of a caring embrace to ease human physical suffering.

[Lest some worry about my health, let me say that I'm generally in good repair.]

The brown wooden box the sculpture rests upon represents the sturdy structure of medical knowledge, a structure left empty inside to reflect the medical community's traditional neglect of the things beyond the physical.

We are not simply body or spirit.  We are both.  We are an integrated whole.

Health and illness are equally mysterious.

I am more than these.

We each are.

Look within!

(c)2009 Kay Pere ~ Effusive Muse Publishing

SACRED SHARDS: Organized & Spontaneous

I’ve been happily busy this past week or so getting my pottery inventory organized and finishing up designing the photo sheets to submit to additional shows (once I've got enough inventory built up).

I will be participating in the artisan show in Nov and Dec at the art gallery in town. When I took my application and photo sheets down to the gallery manager, she hardly looked at them. She had seen my work before. :-) Had bought one of my necklaces at an outdoor show this summer. (I'd hadn't remembered who she was at first, when she made the purchase.)

Though I needn't have worried so much and the sheets weren't important in this case, I'm glad it served as a motivation to get this piece of promotional material in order.

As an extension of this, I also came up with and executed a workable idea for organizing all the various pottery things I've been making to sell.

I bought a bunch of comic book storage boxes (expensive but just the right size) and affixed stick-on plastic pockets to the outside of each. Then I cut up my photo sheets and glued one picture each to the blank side of a bunch of 3x5 cards. The 3x5 cards slip into the plastic pockets to show what's in each box. Works really well.

Now I can see at a glance what's stored where AND how many of each I've got. I put a post-it note on each card with the quantity in each box. As I sit in my work area I can see what I need to make. The back of each 3x5 card can be used to record in-flow and out-flow of goods, to track what's selling, when and where, and how long things have been on the shelf. Spreadsheets just don't do it for me.

Now I finally feel like I have a handle on all this stuff I've been making and selling, not a huge volume so far, but the potential seems to be there to do much better with a more organized approach. Now I can make more, have a place to store it and find it again when I need it. The 3x5 cards can be moved around if I discover I need to reorganize the goods in a different way.

Because labels weren't stuck permanently to the boxes, I didn't feel I had to do it perfectly the first time or figure out in advance any possible change I might want to make in the future. The flexibility to just get it done and see how it works got me past the procrastination and inertia that often accompanies a project like this.

This preparation has freed me to be more spontaneous with my clay play. I spent 3 hours yesterday up at my work table upstairs, making things. First time in about 2 months. Part of the time was production of 13 "spiral drop" pendants, like the one shown one of my previous posts in this blog. (I'd only made two of those at the time, to test how well they'd sell, and they both did.)

Then I played and made a primitive serving spoon with shell impressions on the handle to go with a confused and lonely serving dish I'd made about a year ago, but hadn't used or sold. Now it has a companion to give it purpose and meaning. :-)

The spoon was another off-shoot of organizing my inventory.

In the process of cleaning up upstairs, I went through a pile of magazine and catalog clippings I'd been saving and taped them onto loose sheets in a binder. Each little scrap of paper represents an idea for a shape, pattern, theme, etc. that can become the jumping off point for creative play. The binder has dividers made out of file folders, cut up and 3-hole punched, so I can organize the ideas into categories. Sometimes I'll scribble notes around the pictures in pencil to remind myself what my original intention was when I saved them.

Though my "Ideas Binder" already contains enough scraps of inspiration to last a lifetime, I continue to gather clippings that catch my fancy. These pile up in a pocket folder until I get the chance to sit down with tape and scissors, and stick them into the binder.

When I want to tickle my imagination, I can leaf through the binder to see what I might like to try that day.

In the case of yesterday‘s primitive pottery spoon, I stumbled upon a picture of several interestingly shaped spoons printed off another artist‘s website. That said, I never, ever copy another artist’s work directly. There would be no fun in that. Instead, my habit is to combine ideas from multiple sources, then allow each project to unfold in it's own unexpected directions.

Like the pockets and movable 3x5 photo-cards on my storage boxes, I use a 3-ring binder with loose-leaf sheets so I can organize and reorganize as the ideas shift and regroup in my mind.

All the materials in my “Ideas Binder” are cheap--scrap paper, clippings from discarded magazines and catalogs, photos printed off the internet, plain manila file-folders, and scotch tape--so my stingy side can't object and short-circuit the process.

I honor the muse by respecting her desire to collect and sort without demanding to know exactly why or what the outcome might be -- and inspiration usually follows.

I thought as I worked on the organizing and creating, that maybe some ideas would be useful to others. Let me know what you think. :-)

©2007 Kay Pere ~ Effusive Muse Publishing

SACRED SHARDS: Fresh Slabs & New Directions

I went to the pottery studio late yesterday afternoon. It was the first time I'd gone in many weeks, because I'd been sick.

It's amazing how doing something you love can be so energizing. I dragged myself over there yesterday, feeling tired, but knowing that I'd feel even more disappointed and frustrated if another day went by without working on my pottery. I ended up working there for nearly an hour and a half, wedging and rolling out 5, 1/4 inch thick slabs, (3 white, 2 red) working slowly and methodically, enjoying the stillness of the studio and the company of another woman who'd come there to glaze her pieces.

Rather than using cardboard scraps to transport the slabs as I usually do (see photo above), this time I took several small 14x15 inch squares of drywall I'd prepared by ceiling the edges with thin strips of duct tape (very bad to get plaster in clay--it explodes in the kiln). Each slab was transferred from the SlabMats onto a square of drywall then slid into a 16x16 inch square zipper bag purchase from the Uline catalog. I've used some regular drywall, some waterproof, to see which will work best.

When I got home, I was re-energized enough to work for about 3 hours before calling it a night. I sat at the kitchen table, near the woodstove, playing and stamping designs using my most recently fired hand-carved stamps. This morning I have 13 new pendants and 11 new Christmas ornaments ready to go over to the studio for bisque firing, all from just one slab of white clay. These are designs I've not tried before.

Usually, I work almost exclusively in red clay. I like the natural, earthy look is gives. By experimenting with the white clay this time, I began to look at my designs differently, to feel free to try new ideas. I'm hoping to shake myself loose from the things I've already done, to build in new directions.

The pieces that have been selling well, the button box pendants, are things I began to develop nearly 2 years ago. Of course, I'll still continue to make these. They have a story that continues to resonate for me. At the same time, I'm ready to find an artistic direction that reflects who I am in the here and now. I'm excited to discover what that will be.

©2007 Kay Pere ~ Effusive Muse Publishing

SACRED SHARDS: Tools 1

Most of my pottery work, to date, has involved hand building small objects. I've collected an unwieldy assortment of small sculpting tools. So, last year, as a birthday gift to myself, I made this tool roll from scraps of a canvas painter's drop cloth. The design is my own, customized from the features of other tool rolls I've seen in stores.

I personalized it with hand written phrases and mantras composed from my experiences working with clay. I wanted to capture in words the elemental magic I feel as I work.

"Simple tools of transformation . . . hands, mind, imagination."
©2007 Kay Pere - Effusive Muse Publishing

"SACRED SHARDS"
"Artifacts of the Spirit, uneartherd to tell their stories"
© 2007 Kay Pere - Effusive Muse Publishing

"Fire, Water, Wood, Stone / Earth, Air, Silver, Bone"
©2007 Kay Pere - Effusive Muse Publishing

It stands on it's own. The ties that secure the bundle when it's rolled up can be tied through a loop on the opposite edge to make it stand for easy access to the tools.

Pottery is a messy business. Before beginning to cut and sew, I machine washed the canvas in hot water and dried it on high to remove any shrinkage. The writing is permanent, done with a brown sharpie marker, tested on scraps for washability before beginning on the final piece. When the time comes that my tool roll is unrecognizably caked with clay, I can throw the whole thing in the washer, minus the tools of course.
©2007 Kay Pere - Effusive Muse Publishing

Throwing

Word for the day: throwing.

Throwing out old music educator magazines I'd been saving for the articles, some since 1998, after tearing out just the parts I wanted and filing them. My bookcases are beginning to have room for more important things. Much more to do.

Throwing a pottery bowl today on the kick-wheel out in the barn, doors open looking out on gray sky, green lawn and almost leafless trees beyond. Just as I finished the bowl, the temperature started to drop, from 60F earlier to 53F, the wind and rain came. Brrrrrr. I was damp from the water and clay. Had to clean up quickly, hurry inside and take a hot shower. I'm a wimp when it comes to cold. Really need to check out getting that propane heater and lights.

Getting ready to throw my hat back into the business marketing/promotion ring at another level. I've begun learning to use Constant Contact in preparation for sending out a monthly e-newsletter. I'm still several steps away, but the goal is in sight.

I've been thrown off a bit the past few days. Haven't heard from friend who was out on the road, going through a tough time. I hope she's OK.

I really need to take a day to throw caution to the wind and go out on an adventure myself. I've been delaying, not sure why.

PS - A clarification. I'm actually recycling all the old magazines. Three paper grocery bags full, so far.

I'm a fanatic when it comes to recycling. I pick through the trash here at home to find things that others didn't take the time to put in the recycling bin. The thought of recyclable and reusable things going to the landfill really bothers me. I'm sort of weird that way.

Same thing for wasted food. Very little gets thrown away here if I can help it. Scraps either go to the cats, if they're meat or dairy, or into the compost pile if they're plant matter or eggshells.

I thought about saving the magazines for collages, but it just felt better to make a clean start this time.

©2006 Kay Pere - Effusive Muse Publishing

SACRED SHARDS: Art Barn

I'm about to head out the work in the barn glazing about 60 Sacred Shards pendants, plus a dozen labyrinth pocket stones and another dozen or so word stones.

So I thought it was time to share some photos.

Standing inside Gaia Luna, looking past the "South/Fire/Summer" stone, the barn is visible in the background. The plants, from left to right, are eggplant and marjoram, basil in the background, with a few weeds sprinkled in between.

My view from inside the Sacred Shards Art Barn. This is the same door visible in the photo above. My kickwheel in the foreground and an improvised work bench on the right. That's where I'll be sitting to work in just a few minutes.

On Saturday I passed a yard sale at a very old farm near here. I needed a scale to weigh my clay (for making vessels of about the same size on the wheel). This one was so rusted that the green paint was completely hidden and the tile on the top is cracked, but it still works! After a bunch of scrubbing a little WD40 it was ready to take it's place in the Art Barn atop a set of shelves from the same sale. Total cost: $5.

My gardening tools on the side of the barn opposite my work bench. I like to arrange them like this. It has a peacefulness about it.

SACRED SHARDS: Messy Momentum

Finally, a photo.

That wasn't so difficult! Digital camera connected by cable to PC, copy image from camera to PC, upload to blog. Hurray!

Our dining room table has become a production space this week. The reddish brown and white items at the left of the photo are bisque fired pottery pieces waiting to be glazed and high fired. The chocolatey looking pieces on the right are unfired pendants in various stages of drying. The darkest pieces were just made this morning.

In the past 2 days I've sculpted 38 more Sacred Shards pendants, in between teaching lessons and barely tending to household needs.

When I'm in the active (versus contemplative) phase of the creative process the house ends up looking like there was a combined explosion in a laudry mat, convenience store and art supply store.

Eventually, things cycle around to the domestic/practical side. The bills get paid, the laundry washed and put away, the pile of dishes in the sink washed and the refrigerator restocked. The house will eventually return to a state of order, though only temporarily.

If I derail the creative process with "shoulds", like cleaning, precious momentum is lost and nothing moves forward.

A mess is a small price to pay.

SACRED SHARDS: Pottery Pilgrimage

I'm happy to report that I'm about to head out to the barn to work at my pottery wheel for the first time. I've had it for over a month, but things keep getting in the way.

Today, I've loaded all my pottery things into my garden cart and I'm about to make the pilgrimage out to the new work space. I'll spend the afternoon out there at the wheel and hand building with no interruptions.

Very exciting!

I'm slowly transforming the barn from a junky storage space full of dust and spiders to a functional Art Barn facing out onto the field and Gaia Luna.

The rustic wood and antique tools in the interior are an inspiration. Parts of it were built over 100 years ago. The family who originally owned the land lived in the central section of the barn, where my wheel is now, while they were building the house.

I spent all day Tuesday cleaning out one of the stalls to make room for ... whatever develops from this. Found 5 old horse shoes that had been sitting upside down in a corner, and gave them a place of honor, lucky side up on a wooden ledge inside the barn, arranged with a small heart shaped stone from Gaia Luna.

Quotes for today:

"There is no shame in happiness."
-- Albert Camas

"Be patient toward all that is unsolved in your heart."
-- Rilke

Peace,
Kay

SACRED SHARDS: A Beneficent Boss

Today I'm engaged in repetitive work, putting together packaging, assembling necklaces, stitching beads on baskets, and sitting at the computer for hours to work on graphics. I enjoy all this, up to a point. I have to use distraction and bribery to get myself through this last phase of the creative process when it requires assembly line work or being chained to a computer for hours.

This last phase of the creative process* is called proliferation. It involves reproduction, packaging, and marketing a creative work.

This last phase of the creative process is the most neglected among artist and musicians. We create because we like to make something new out of ideas and raw materials. Many of us also create because we hope the things we make will be meaningful or at least entertaining to others. But no one will encounter our work unless it's given legs of its own to venture beyond the confines of the artist's studio.

As an artist/musician/writer/educator, I work for myself, by myself, most of the day. I'm learning to be sensitive to the needs of my creative process, while running a small business.

I'm the business manager, but I'm also the art department, marketing consultant, accountant, admin support, public relations, product development, travel agent, computer tech, database manager, licensing/legal, print shop, mail room, purchasing agent, inventory control, and cafeteria chef, all rolled into one. As business manager I'm required to be financially responsible, organized, plan ahead and follow through even when it isn't any fun.

Managing my creative side, really allowing time for it to manage me, requires a completely different set of skills.

Creative work in it's earliest stages has to be play or it just doesn't happen. When I sit down at the piano to write or slice off a fresh slab of clay to sculpt, I don't know what I'm going to end up with, if anything. Results are far from guaranteed. It's all about enjoying the process, following it where it leads. I start with raw materials, a stretch of time and an image or a concept or a feeling or nothing at all. Things progress spontaneously rather than sequentially.

Sometimes, after several hours of intense effort, all I have is a better idea of where I might be going and a pile of pages covered with scribbled words, or used up materials that have to be tossed out. Sometimes the results are so unexpected that I feel as if they've arrived by divine providence.

Creative play/work doesn't follow a typical business model.

A good boss for a creative person plans for spontaneity by not packing the schedule too tightly. A good boss for a creative person arranges for abundant materials to be on hand and easy to find. A good boss for a creative person shields the artist from concerns about finances and marketability while the artist is developing something new.

A good boss for a creative person actually realizes that the artist is the employer, not the other way around.

Am I the kind of boss I enjoy working for? A Beneficent Boss?

That depends.

I try to be a good boss. When I'm working intently, I try to remember to give myself breaks to get up and stretch, get some food and take care of other necessities. I try to see that I work in a studio, not an office. I try to stay focused on deeper motivations: to be happy, to make a difference in the world, and hopefully have something for paying the bills.

Unfortunately, there are times when I'm a slave driver. The slave driver insists on doing one more thing, then another and another, before I'm allowed to stop for lunch. The slave driver forgets about the artist's need for unscheduled time and makes too many commitments. The slave driver is all about practical applications and marketability, all the time. The slave driver demands that the work space is perfectly picked up and the To-Do List is completely crossed off before the artist is allowed to play.

The slave driver boss threatens to take possession of the artist's successful creations by setting expectations for the artist to produce the same work over and over.

The artist is not a factory worker.

Today, I'm an artist working the assembly line of proliferation. I'm bridging the gap between creating in seclusion and putting a tiny piece of art into the hands of someone who will enjoy it.

I'm pretending not to be doing something repetitious. I'm distracting myself by writing this little essay while the box inserts for Sacred Shards necklaces come out of the printer by the dozens.

Is this efficient? For me it is.

In a little while, I'll rent a couple of sappy movies and pile a plate with snacks, then sit down to cut the box inserts to size, hand stamp 50 or 60 box lids, assemble necklaces, and sew beads on baskets. There'll be a break to teach a couple of voice lessons early in the evening. Then it's back to the assembly shop for a couple hours to meet a deadline coming up this weekend.

If I do this, the good boss has promised me some uninterrupted time to write songs, play with clay and dig in the garden. Just as soon as this big push is all over. I'm trusting the good boss to follow through.

:-), Kay
http://www.kaypere.com

* For more on the phases of the creative process [Creation, Realization, and Proliferation] see Bill Pere's articles at:
http://www.billpere.com/Songwriter_Tools.htm

COPYRIGHT 2006 - Effusive Muse Publishing

SACRED SHARDS: Independent!

Exciting news! Today I was approved to be an independent artist at the pottery studio where I've been going since February.

This means that I can go work there anytime someone is in the office to hand out the key (usually 8 AM-9PM). Now I can work for as long as I want, totally unsupervised. My creative flow won't be interrupted anymore by the end of a class. I can make use of the studio slab roller and all the special glazes. I can fire my pieces in the studio kiln. All for a very small fee that amounts to the cost of daily cup of really cheap coffee.

I set this goal for myself several months ago. Feels good to have reach it!

It's the beginning of many new and wonderful things.

:-), Kay

Sacred Shards

Sacred Shards: Artifacts of the Spirit
Unearthed to Tell Their Stories
Hand-Sculpted Stoneware by Kay Pere

I'm going public with my pottery. Not in the stock market sense. Public in the sense that my pottery pieces are now in a store where people can buy them without me being present. I've been selling them for the past 6 months at shows, but now they're taking on a life of their own.

Now I'm officially being refered to in the press as a Musician/Artisan. Sorta kool!

The new store is "Simply Sage" on Rt.1 in Stonington. I'll be doing a concert for their official grand opening celebration on Sunday 4/30 at 2:00 PM. More info on address, etc. soon

When there are photos of the pottery posted on the website, I'll put the link here.

Peace!
Kay