Ceramic Painting Quotes

There are people like Senhor José everywhere, who fill their time, or what they believe to be their spare time, by collecting stamps, coins, medals, vases, postcards, matchboxes, books, clocks, sport shirts, autographs, stones, clay figurines, empty beverage cans, little angels, cacti, opera programmes, lighters, pens, owls, music boxes, bottles, bonsai trees, paintings, mugs, pipes, glass obelisks, ceramic ducks, old toys, carnival masks, and they probably do so out of something that we might call metaphysical angst, perhaps because they cannot bear the idea of chaos being the one ruler of the universe, which is why, using their limited powers and with no divine help, they attempt to impose some order on the world, and for a short while they manage it, but only as long as they are there to defend their collection, because when the day comes when it must be dispersed, and that day always comes, either with their death or when the collector grows weary, everything goes back to its beginnings, everything returns to chaos.

People in coats and ties were milling around the Talley gallery, and on the wall were the minimally rendered still lifes by Giorgio Morandi, most of them no bigger than a tea tray. Their thin browns, ashy grays, and muted blues made people speak softly to one another, as if a shouted word might curdle one of the paintings and ruin it. Bottles, carafes, and ceramic whatnots sat in his paintings like small animals huddling for warmth, and these shy pictures could easily hang next to a Picasso or Matisse without feeling inferior.

But the very pattern Olive wore appears on a ceramic figurine of the late nineteenth or early twentieth century that displays traditional Mohave face painting, tattoo, beads, and clothing.

We had pale yellow tile in our bathroom rimmed with thin tiles of white. I’d dumped Tack’s old, mismatched towels and added new, thick emerald green ones. They were hanging on the towel rack. My eyes moved. My moisturizer and toner bottles were the deep hued color of moss. My toothbrush was bright pink, Tack’s was electric blue. There was a little bowl by the tap where I tossed my jewelry when I was washing my hands or preparing for bed. It was ceramic painted in glossy sunshine yellow and grass green. My eyes went to the mirror. My undies were cherry red lace. I grinned at myself in the mirror. I lived in color, every day, and my life was vibrant. I rubbed in moisturizer hoping our baby got his or her Dad’s sapphire blue eyes. But I’d settle if they were my green.

Florence’s mother liked to imagine a life of diamonds and gilt for her daughter. But this, this, was the life Florence wanted. A blue-and-white teacup stuffed with clementine peels. A tangle of white ranunculus in a ceramic pitcher on the windowsill. Amanda had once put a vase of those same flowers on her desk at work. The whole place looked like a painting by Vermeer. And it was cold. Chilly gusts rattled the windows in their frames. Someone had told Florence once that glass was actually a liquid that settled slowly, over eons; that was why in old houses the windows were always thicker at the bottom than at the top. Was that true? Florence didn’t care. In the same way she couldn’t understand why people were so determined to expose Maud Dixon’s identity, she couldn’t understand why they needed to pin things down, turn poetry into fact. Wasn’t poetry better? Why would you turn something beautiful into something quotidian?

There are people like Senhor José everywhere, who fill their time, or what they believe to be their spare time, by collecting stamps, coins, medals, vases, postcards, matchboxes, books, clocks, sport shirts, autographs, stones, clay figurines, empty beverage cans, little angels, cacti, opera programmes, lighters, pens, owls, music boxes, bottles, bonsai trees, paintings, mugs, pipes, glass obelisks, ceramic ducks, old toys, carnival masks, and they probably do so out of something that we might call metaphysical angst, perhaps because they cannot bear the idea of chaos being the one ruler of the universe, which is why, using their limited powers [...], they attempt to impose some order on the world, and for a short while they manage it, but only as long as they are there to defend their collection, because when the day comes when it must be dispersed, and that day always comes, either with their death or when the collector grows weary, everything goes back to its beginnings, everything returns to chaos.

Most of what we got was crockery: from exotic crystal bowls to ceramic anomalies. Then, a cross-section of rugs- from a beautiful Kashmiri original to a memorable one with printed dragons and utterly incomprehensible hieroglyphics. Dibyendu (typically) gave us a scrabble set and Runai Maashi: that rocking chair. Yuppie work friends, trying to be unique and aesthetically offbeat, went for wind-chimes but there were really far too many of them by the end. We also got a fantastic number of white and off-white kurtas, jamdani sarees with complementary blouses, no less than nine suitcases, suit pieces, imported condoms, bed-sheets, bed-covers, coffee makers, coffee tables, coffee-table books, poetry books, used gifts (paintings of sunsets and other disasters), three nights and four days in Darjeeling, along with several variations of Durga, Ganesh and all the usual suspects in ivory, china, terracotta, papier-mâché, and what have you. Someone gave us a calendar that looking back, I think, was laudably sardonic. Others gave us money, in various denominations: from eleven to five hundred and one. And in one envelope, came a letter for her that she read in tears in the bathroom.’ ('Left from Dhakeshwari')

An android,” Irmgard explained. “And nobody knows. No humans, I mean.” Pris, with the scissors, cut yet another leg from the spider. All at once John Isidore pushed her away and lifted up the mutilated creature. He carried it to the sink and there he drowned it. In him, his mind, his hopes, drowned, too. As swiftly as the spider. “He’s really upset,” Irmgard said nervously. “Don’t look like that, J. R. And why don’t you say anything?” To Pris and to her husband she said, “It makes me terribly upset, him just standing there by the sink and not speaking; he hasn’t said anything since we turned on the TV.” “It’s not the TV,” Pris said. “It’s the spider. Isn’t it, John R. Isidore? He’ll get over it,” she said to Irmgard, who had gone into the other room to shut off the TV. Regarding Isidore with easy amusement, Roy Baty said, “It’s all over now, Iz. For Mercerism, I mean.” With his nails he managed to lift the corpse of the spider from the sink. “Maybe this was the last spider,” he said. “The last living spider on Earth.” He reflected. “In that case it’s all over for spiders, too.” “I—don’t feel well,” Isidore said. From the kitchen cupboard he got a cup; he stood holding it for an interval—he did not know exactly how long. And then he said to Roy Baty, “Is the sky behind Mercer just painted? Not real?” “You saw the enlargements on the TV screen,” Roy Baty said. “The brush strokes.” “Mercerism isn’t finished,” Isidore said. Something ailed the three androids, something terrible. The spider, he thought. Maybe it had been the last spider on Earth, as Roy Baty said. And the spider is gone; Mercer is gone; he saw the dust and the ruin of the apartment as it lay spreading out everywhere—he heard the kipple coming, the final disorder of all forms, the absence which would win out. It grew around him as he stood holding the empty ceramic cup; the cupboards of the kitchen creaked and split and he felt the floor beneath his feet give.

On the first day, he’d completed the stucco walls for a small structure the size of his stallion’s box stall, and the other Sorias had been pleased. On the second day, he’d torn free a section of abandoned railroad and melted it into a beautifully intricate metal gate, and the other Sorias had been pleased. On the third day, he’d fired one thousand ceramic tiles with the heat of his own belief and installed a roof made of them, and the other Sorias had been pleased. On the fourth day, the Virgin had appeared again, this time surrounded by owls; he’d carved a statue of her in this state to place inside the Shrine, and the other Sorias had been pleased. On the fifth day, he’d made a rich pigment from some sky that had gotten too close to him and used it to paint the Shrine’s exterior turquoise, and the other Sorias had been pleased. On the sixth day, he’d held up a passenger train, robbed the passengers, killed the sheriff on board, and used the sheriff’s femurs to fashion a cross for the top of the shrine. The Sorias had not been pleased.

On Claud, though, the look is very cool.) For example, today she was wearing a neon green tank top under a white oversized man’s shirt and fuschia pink stirrup pants. The shirt was rolled at the sleeves and belted with a colorful woven belt. Claud finished the outfit with dangly ceramic-bead earrings she’d made herself in pottery class. She’s super artistic. She paints, sketches, draws, sculpts. You name it! Besides art and cool clothing, Claudia loves junk food. Her parents disapprove of Ho-Ho’s and Twinkies and stuff like that, so she hides them all over her room. You never know when you’re going to pick up a pillow and find a bag of potato chips or something behind it. The other thing she stashes away are her Nancy Drew books. Her parents don’t approve of those, either. They don’t think the mysteries are “intellectual” enough. Claudia couldn’t care less if the books are “intellectual.” One thing Claud is not interested in is school work. Although she can’t spell for anything, she’s definitely not dumb. She just doesn’t like school. And, unfortunately, her grades show it. She’s the complete

We turned off the path then, following a line of red, cup-shaped wildflowers that I had not seen before. And then abruptly, we came to a door-- an actual door, because the Folk are maddeningly inconsistent, even when it comes to their inconsistencies--- tucked into a little hollow. It was only about two feet tall and painted to look like the mountainside, a scene of grey-brown scree with a few splashes of green, so realistic that it was like a reflection on still water. The only thing that gave it away was the doorknob, which looked like nothing that I can put into human terms; the best I can do is compare it to a billow of fog trapped in a shard of ice. "It has the look of a brownie house," Wendell said. "But perhaps I should make sure." He shoved the door open and vanished into the shadows within--- I cannot relate how he accomplished this; it seemed for a moment as if the door grew to fit him, but I was unable to get a handle on the mechanics as not one second later he was racing out again and the door had shrunk to its old proportions. Several porcelain cups and saucers followed in his wake, about the right size for a doll, and one made contact, smashing against his shoulder. Behind the hail of pottery came a little faerie who barely came up to my knee, wrapped so tightly in what looked like a bathrobe made of snow that I could see only its enormous black eyes. Upon its head it wore a white sleeping cap. It was brandishing a frying pan and shouting something--- I think--- but its voice was so small that I could only pick out the odd word. It was some dialect of Faie that I could not understand, but as the largest difference between High Faie and the faerie dialects lies in the profanities, the sentiment was clear. "Good Lord!" Rose said, leaping out of range of the onslaught. "I don't--- what on--- would you stop?" Wendell cried, shielding himself with his arm. "Yes, all right, I should have knocked, but is this really necessary?" The faerie kept on shrieking, and then it launched the frying pan at Wendell's head--- he ducked--- and slammed its door. Rose and I stared at each other. Ariadne looked blankly from Wendell to the door, clutching her scarf with both hands. "Bloody Winter Folk," Wendell said, brushing ceramic shards from his cloak. "Winter Folk?" I repeated. "Guardians of the seasons--- or anyway, that is how they see themselves," he said sourly. "Really I think they just want a romantic excuse to go about blasting people with frost and zephyrs and such. It seems I woke him earlier than he desired." I had never heard of such a categorization, but as I was somewhat numb with surprise, I filed the information away rather than questioning him further. I fear that working with one of the Folk is slowly turning my mind into an attic of half-forgotten scholarly treasures.

Simonton finds that on average, creative geniuses weren’t qualitatively better in their fields than their peers. They simply produced a greater volume of work, which gave them more variation and a higher chance of originality. “The odds of producing an influential or successful idea,” Simonton notes, are “a positive function of the total number of ideas generated.” Consider Shakespeare: we’re most familiar with a small number of his classics, forgetting that in the span of two decades, he produced 37 plays and 154 sonnets. Simonton tracked the popularity of Shakespeare’s plays, measuring how often they’re performed and how widely they’re praised by experts and critics. In the same five-year window that Shakespeare produced three of his five most popular works—Macbeth, King Lear, and Othello—he also churned out the comparatively average Timon of Athens and All’s Well That Ends Well, both of which rank among the worst of his plays and have been consistently slammed for unpolished prose and incomplete plot and character development. In every field, even the most eminent creators typically produce a large quantity of work that’s technically sound but considered unremarkable by experts and audiences. When the London Philharmonic Orchestra chose the 50 greatest pieces of classical music, the list included six pieces by Mozart, five by Beethoven, and three by Bach. To generate a handful of masterworks, Mozart composed more than 600 pieces before his death at thirty-five, Beethoven produced 650 in his lifetime, and Bach wrote over a thousand. In a study of over 15,000 classical music compositions, the more pieces a composer produced in a given five-year window, the greater the spike in the odds of a hit. Picasso’s oeuvre includes more than 1,800 paintings, 1,200 sculptures, 2,800 ceramics, and 12,000 drawings, not to mention prints, rugs, and tapestries—only a fraction of which have garnered acclaim. In poetry, when we recite Maya Angelou’s classic poem “Still I Rise,” we tend to forget that she wrote 165 others; we remember her moving memoir I Know Why the Caged Bird Sings and pay less attention to her other 6 autobiographies. In science, Einstein wrote papers on general and special relativity that transformed physics, but many of his 248 publications had minimal impact. If you want to be original, “the most important possible thing you could do,” says Ira Glass, the producer of This American Life and the podcast Serial, “is do a lot of work. Do a huge volume of work.” Across fields, Simonton reports that the most prolific people not only have the highest originality; they also generate their most original output during the periods in which they produce the largest volume.* Between the ages of thirty and thirty-five, Edison pioneered the lightbulb, the phonograph, and the carbon telephone. But during that period, he filed well over one hundred patents for other inventions as diverse as stencil pens, a fruit preservation technique, and a way of using magnets to mine iron ore—and designed a creepy talking doll. “Those periods in which the most minor products appear tend to be the same periods in which the most major works appear,” Simonton notes. Edison’s “1,093 patents notwithstanding, the number of truly superlative creative achievements can probably be counted on the fingers of one hand.

We start with a next-generation miso soup: Kyoto's famous sweet white miso whisked with dashi made from lobster shells, with large chunks of tender claw meat and wilted spinach bobbing on the soup's surface. The son takes a cube of topflight Wagyu off the grill, charred on the outside, rare in the center, and swaddles it with green onions and a scoop of melting sea urchin- a surf-and-turf to end all others. The father lays down a gorgeous ceramic plate with a poem painted on its surface. "From the sixteenth century," he tells us, then goes about constructing the dish with his son, piece by piece: First, a chunk of tilefish wrapped around a grilled matsutake mushroom stem. Then a thick triangle of grilled mushroom cap, plus another grilled stem the size of a D-sized battery, topped with mushroom miso. A pickled ginger shoot, a few tender soybeans, and the crowning touch, the tilefish skin, separated from its body and fried into a ripple wave of crunch. The rice course arrives in a small bamboo steamer. The young chef works quickly. He slices curtains of tuna belly from a massive, fat-streaked block, dips it briefly in house-made soy sauce, then lays it on the rice. Over the top he spoons a sauce of seaweed and crushed sesame seeds just as the tuna fat begins to melt into the grains below. A round of tempura comes next: a harvest moon of creamy pumpkin, a gold nugget of blowfish capped with a translucent daikon sauce, and finally a soft, custardy chunk of salmon liver, intensely fatty with a bitter edge, a flavor that I've never tasted before. The last savory course comes in a large ice block carved into the shape of a bowl. Inside, a nest of soba noodles tinted green with powdered matcha floating in a dashi charged with citrus and topped with a false quail egg, the white fashioned from grated daikon.

Katherine couldn’t have cared less about furniture or ceramics at that moment, but she felt glad that she was not the only one in London appalled by what the Lord Mayor had unleashed. She took a deep breath, then quickly explained what she and Bevis had heard in the Engineerium about MEDUSA and the next step in Crome’s great plan, the attack on the Shield-Wall. “But that’s terrible!” they whispered when she had finished. “Shan Guo is a great and ancient culture, Anti-Traction League or no Anti-Traction League. Batmunkh Gompa can’t be blown up …!” “Think of all those temples!” “Ceramics!” “Prayer-wheels …” “Silk paintings …” “F-f-furniture!” “Think of the people!” said Katherine angrily. “We must do something!” “Yes! Yes!” they agreed, and then all looked sheepishly at her. After twenty years of Crome’s rule they had no idea how to stand up to the Guild of Engineers. “But what can we do?” asked Pomeroy at last. “Tell people what is happening!” urged Katherine. “You’re Acting Head Historian. Call a meeting of the Council! Make them see how wrong it is!” Pomeroy shook his head. “They won’t listen, Miss Valentine. You heard the cheering last night.” “But that was only because Panzerstadt-Bayreuth had been going to eat us! When they learn that Crome plans to turn his weapon on yet another city …” “They’ll just cheer all the louder,” sighed Pomeroy. “He has packed the other Guilds with his allies, anyway,” observed Dr. Karuna. “All the great old Guildsmen are gone; dead or retired or arrested on his orders. Even our own apprentices are as besotted with old-tech as the Engineers, especially since Crome foisted his man Valentine on us as Head Historian…. Oh, I mean no offense, Miss Katherine….” “Father isn’t Crome’s man,” said Katherine angrily. “I’m sure he’s not! If he knew what Crome was planning he would never have helped him. That’s probably why he was packed off on this reconnaissance mission, to get him out of the way. When he gets home and finds out he’ll do something to stop it. You see, it was he who found MEDUSA in the first place. He would be horrified to think of it killing

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My inspiration comes from many sources. Clearly, Mother Nature has always occupied an important position in this regard, which is tied up to my early experiences in Mexico. In addition, the patterns used in Mexican arts and crafts—ceramics, textiles, tiles, masks, etc.—also have been present in the development of my mental and artistic imaginary from the very beginning. Other elements that I can mention are indigenous myths and legends, the expressions of other artists from various cultures, iconic historical figures, and the works of poets and other writers, some of whom are my friends. Obviously, my surroundings are also a big source of inspiration, as my series of paintings on the Pacific Northwest clearly show. (Interview in Artophilia)

Response to 'What branch of art is the closest to your heart?' Painting. Even though I’ve tried my hand at drawing and ceramic sculpture in different moments, the vast majority of my works are oil paintings.

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I was accidentally at the forefront of a movement that was taking shape—what Li Jin, former partner at Andreessen Horowitz and founder of Atelier Ventures, calls the “passion economy”—“a world in which people are able to do what they love for a living and to have a more fulfilling and purposeful life.” At the time I created Gumroad, online creator platforms were still new, but the rise of no-code solutions has made building and charging for podcasts, video and audio content, online courses, virtual teaching, and virtual coaching almost seamless, so that starting a business around something you love has never been more attainable. You probably have something you enjoy, something that on its face has nothing to do with your “real” job. Maybe it’s marathon running or ceramics or electronic music or another passion that you pursue in your free time. Whatever it is, building a minimalist business around the people you love to spend time with and the ways you love to spend your time depends on being part of a community. You may already be thinking about how to solve the problems of a current community you participate in, or you may simply be planning to join a community based on something you love. Either way, finding your people is really important at the beginning. Not just for the sake of your business but also for the sake of your own well-being. Taking writing and painting classes in Provo reminded me that my community wasn’t just the people in front of me; it was also a wider group who wanted, like me, to “turn their passions into livelihoods.” The real communities I was a part of didn’t care about growth at all costs; that kind of accelerated expansion would have cracked them into a million little pieces. Instead, their priority, like mine, was connecting to each other in ways that allowed for the space, time, and freedom to explore their interests and to eventually transform their passions into businesses in meaningful ways.

I fall in behind him as he makes his way to the door, noticing several ceramic gnomes in the flower beds as we pass. I can’t help thinking how sad they look, worn by sun, wind, and rain, their paint faded to chalky-hued pastels. The sharp black eyes that once graced each face have worn away to cataracts, and the once-bright clothes have weathered, looking no better than the garments one might find on a neglected scarecrow. If my mother were here she’d probably wipe their faces with a damp handkerchief and bless them for good luck.

Despite its apparent neglect, it was warm and cozy with extremely stereotypical British furnishings like paintings of the countryside, ceramic bulldogs, and a bust of Winston Churchill.

She looked at the decorations inside the pub, here an oil painting in an old gilt frame, there a huge ceramic vase on the floor with fresh ferns to sweeten the air.

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Aesthetic ideals emerging from Zen art focus heavily on naturalness, on the emphasis of man's relation to nature. The Zen artists, as do many moderns, liked a sense of the materials and process of creation to come through in a work. But there is a subtle difference. The Zen artists frequently included in their works devices to ensure that the message reached the viewer. For example, Zen ceramics are always intended to force us to experience them directly and without analysis. The trick was to make the surface seem curiously imperfect, almost as though the artist were careless in the application of a finish, leaving it uneven and rough. At times the glaze seems still in the process of flowing over a piece, uneven and marred by ashes and lumps. There is no sense of "prettiness": instead they feel old and marred by long use. But the artist consciously is forcing us to experience the piece for itself, not as just another item in the category of bowl. We are led into the process of creation, and our awareness of the piece is heightened—just as an unfinished painting beckons us to pick up a brush,

Over Stock Art is an online art gallery of hand painted art and frame shop, original prints on canvas, and hand carved ceramic tiles.

In any case these people—Roosevelt called them the Paituna culture, after a nearby village—had ceramic bowls, red- to gray-brown. Found at Painted Rock Cave and other places in the area, it is the oldest known pottery in the Americas.

You know those DIY craft kits for kids, where they supply the blank ceramic base and it's just screaming out for the paint and glitter?" She relented when he cast his eyes ceiling-ward. "It's lovely. Elegant, chic, and perfect for the brief. And inspiringly executed. If I had my Operation Cake crown coin, I'd award you the thousand quid." He addressed her with typically crisp brevity. "Your ingenuity was never in question. But your technical ability now---" "Is neck and neck with yours.

Meals are occasions to share with family and friends. The ingredients are often simple, but the art lies in orchestrating the sun-warmed flavors. Courses follow in artful and traditional succession, but the showpiece of the meal is tender, juicy meat; this often means lamb or goat grilled or roasted on a spit for hours. Souvlaki--melting pieces of chicken or pork tenderloin on skewers, marinated in lemon, olive oil, and a blend of seasonings--are grilled to mouthwatering perfection. Meze, the Greek version of smorgasbord, is a feast of Mediterranean delicacies. The cooks of the Greek Isles excel at classic Greek fare, such as spanakopita--delicate phyllo dough brushed with butter and filled with layers of feta cheese, spinach, and herbs. Cheeses made from goat’s milk, including the famous feta, are nearly ubiquitous. The fruits of the sun--olive oil and lemon--are characteristic flavors, reworked in myriad wonderful combinations. The fresh, simple cuisine celebrates the waters, olive groves, and citrus trees, as well as the herbs that grow wild all over the islands--marjoram, thyme, and rosemary--scenting the warm air with their sensuous aromas. Not surprisingly, of course, seafood holds pride of place. Sardines, octopus, and squid, marinated in olive oil and lemon juice, are always popular. Tiny, toothsome fried fish are piled high on painted ceramic dishes and served up at the local tavernas and in homes everywhere. Sea urchins are considered special delicacies. Every island has its own specialties, from sardines to pistachios to sesame cakes. Lésvos is well-known for its sardines and ouzo. Zakinthos is famous for its nougat. The Cycladic island of Astypalaia was called the “paradise of the gods” by the ancient Greeks because of the quality of its honey. On weekends, Athenians flock to the nearby islands of Aegina, Angistri, and Evia by the ferryful to sample the daily catch in local restaurants scattered among coastal villages. The array of culinary treats is matched by a similar breadth of local wins. Tended by generation after generation of the same families, vineyards carpet the hillsides of many islands. Grapevines have been cultivated in the Greek Isles for some four thousand years. Wines from Rhodes and Crete were already renowned in antiquity, and traders shipped them throughout the Greek Isles and beyond. The light reds and gently sweet whites complement the diverse, multiflavored Greek seafood, grilled meats, and fresh, ripe fruits and vegetables. Sitting at a seaside tavern enjoying music and conversation over a midday meze and glass of retsina, all the cares in the world seem to evaporate in the sparkling sunshine reflected off the brightly hued boats and glistening blue waters.

IT has been said that pottery is not a medium that can express any very significant concept; that the technical processes which necessarily follow the artist’s work blur his line and color, destroying fine differences and taking away from the immediacy of his touch; that it is at its best when it is anonymous form and color; that in “personal” ceramics gaiety, decorativeness, and fantasy can survive but not much else; and that quite apart from the limitations of size and surface the ceramic equivalent of a “Guernica” is unthinkable. And in this particular case it has also been said that in the course of years the dispersion of Picasso’s energy over some thousands of minor objects encouraged his facility and, by sapping his concentration, did lasting damage to his creative power. This seems to me to overstate the case: but although I love many of the Picasso vases, figurines, and dishes I have seen I think few people would place his ceramics on the same level as his drawing, painting, or sculpture. It may be that he did not intend to express more than in fact he did express: or it may be that Picasso was no more able to perform the impossible than another man—that neither he nor anyone else could do away with the inherent nature of baked clay. Yet even if one were to admit that pottery cannot rise much above gaiety, fantasy, and decoration (and there are Sung bottles by the thousand as evidence to the contrary, to say nothing of the Greek vases), what a range is there! Picasso certainly thought it wide enough, and he worked on and on, learning and innovating among the wheels, the various kilns, and the damp mounds of clay in the Ramiés’ Madoura pottery, taking little time off for anything except some studies of young Claude, a certain number of lithographs and illustrations, particularly for Reverdy’s Le Chant des Morts, and for Góngora. He had always valued Góngora and this selection

Frida Kahlo once told her class of painting students that there is not one single teacher in the world capable of teaching art. The truth in these words comes to mind in every art class I teach. I believe you can teach technique and theory, but it is up to the individual to do the art part. For the student, this means giving yourself permission to work your way, whatever way that is. Once you accept that permission, you can incorporate foundation skills. This is no longer the Renaissance, and artists are no longer judged (or compensated) solely for realism and representation. There was a time when painting and drawing, coiling a clay pot, or fashioning a bucket to draw water from a well was part of daily life. Now we peck at keyboards, buy Tupperware, and drink from plastic bottles. By not using our hands, we lose our senses. I see this in my students. Proficient on the computer, they click out sophisticated graphics. But they are baffled by and fumble with a brush, frustrated at the time it takes to manually create what they can Photoshop in a flash. I’ve taught art for a quarter of a century and rely on sound lesson plans and discipline as well as creative freedom. Still, during each drawing, painting, and ceramic class I teach, I remind myself how I felt when I scratched out my first drawings, brushed paint on a surface, or learned to center porcelain on a wheel—how it felt to tame and be liberated by the media. And, how it felt to become discouraged by an instructor’s insistence on controlling a pencil, paintbrush, or lump of clay her or his way. For most of my Kuwaiti students, a class taken with me will be their first and last studio arts class. I work at creating a learning environment both structured and free, one that cultivates an atmosphere where one learns to give herself permission to see.

had he known a domineering, cold-hearted Russian surgeon would one day ask him to cut off this poor man’s leg, he would have studied still-life portraiture, landscape oil painting, sculpture and ceramics, he would have sacrificed his brief celebrity within the village, if only to safeguard himself from this man’s leg.

She picked up a roundish thing from the ground and shook the sand off. It was the top of an old ceramic jar, once painted bright blue and gold. The humans had so many jars. And amphorae. And vases. And vessels. And kegs. And tankards. So many... things... to put other... things in. Merfolk rarely had a necessity to store anything beyond the occasional rare and fancy comestible, like the sweet golden-wine they used to trade for when she was a child. Merfolk ate when they were hungry, almost never had the need to drink anything, and rarely had a reason to store food for the future. She dropped the lid and sighed, drifting over to the rock she used to perch on while admiring her collection. Things, so many things. Things she never found out the proper use for in her short time on land. Because she had been too busy mooning over Eric. In some ways, that was the part of the seagull's story that bothered her the most. She could not believe the reaction her traitor heart had when the bird mentioned his name. Eric. Eric remembered something? He wrote an opera about it? About her? It wasn't just the flattery of it, though. If Eric remembered enough to compose music about it... would he remember her, too? A little? She remembered him far too often. Despite the fact that her life had been ruined because of her pursuit of Eric, when she closed her eyes to go to sleep, her last thoughts were often still of him. Or when a perfectly handsome, reasonably amusing (and mostly immortal- not an irrelevant point) merman tried to win her affections, and all she could think about was how his hair might look when it was dry. Would it bounce, like Eric's?