PROCESS

Here are a few  in progress shots of the pots I'm working on. The clay is porcelain and the surfaces are a combination of colored slip and underglaze with a healthy amount of wax resisted etching.
I've decided to add this acid yellow to my pallet, which has been a bit of a challenge. On the technical side I've noticed that it likes to turn green only sometimes when on top of my blue slip, so that's probably an application issue that need to be sussed out.  Aesthetically the yellow slip can be overpowering and out of place, in particularl if I take it to far.

However, taking it to far seems to be the theme of my work this year and I think that's a good thing for now. I've decided to really try and make the kinds of pots that I want to make and that gets into my larger objective of being the kind of man I want to be.  For the past two years I've been the person I needed to be, the son I needed to be for both of my parents, the business partner and confidant my father needed. As of three weeks ago I am trying to be the person I want to be. I'm trying to wake up everyday and do what I need to do.

My first instinct was to wake up and roll right out of bed and into the studio. I found myself consumed with throwing as much as I possibly could and a week later I found myself with more unfinished greenware than I've ever had to deal with at the one time. While this gave me a great opportunity to experiment with different surface treatments and motifs, I found myself missing out on some of the informed decision making that comes out of the ceramic process; the ability to improvise based on what is happening in front of me.

 Everyday I work with clay I think back to my Junior Pots class with Linda Sikora and the great discussions she would lead. I remember her talking about Michael Simon one day (and this was at a time when I was really looking at his pots everyday and reading as much of his writing and writing about him as I could get my hands on) and she began to describe his daily practice.

Linda Sikora

Michael Simon

While most potters work in cycles of making specific forms i.e. today I'm going to throw 20 cups and 30 bowls, Simon would come in and produce a wide variety of forms every day. At the end of the day he would have a wide range of objects, all expanding on different forms and surfaces but at the same time sharing a common touch that held it together as one body of work. 

 That is how I want to work and while I am certainly no Michael Simon, this approach has been really helpful. I am making less work but making more progress. I'm taking risks, asking questions and accepting the consequences.

COMPOSITION

I walked into the studio this morning to find a sea of white porcelain forms waiting to be decorated.   Cups, bottles and pitchers are my canvas at the moment. Considering how involved my throwing and trimming processes are it always takes a bit of courage for me to make those first marks, setting the tone and establishing the frame work for my composition.  My forms are so loaded with information it can be overwhelming trying to apply a surface that works with and not against the sharp curves and horizontal banding that seems to be so present in my work these days.

So feeling a little stuck I decided to get a large cup of black ice coffee, go home, take out my sketch book and look at some artists whose compositions really work for me. Here’s where I’m at so far

Josh DeWeese- Platter

Untitled (Peonias series) by Cy Twombly

Ogata Kenzan- Japan, 17th century

 

JOHN FAHEY'S ACOUSTIC HISTORY OF THE UNITED STATES

KEEP ON KEEPIN' ON

The Hall

I think this pretty much
says it all.

For the past two years I’ve been working as manager, in house accountant, bartender, server, dish washer and resident plumber at  Haakon’s Hall, a bar and grill I own with my father.  It has been one of the most challenging and rewarding experiences of my life. Working with my father, James Lenzi, on a daily basis has given me a lifetime of experience and I am so thankful to him for that.  I’ve also had the pleasure of meeting some really amazing characters and made some lifelong friends , including the entire Military Veteran community at Columbia University who taught me to  improvise, adapt, and overcome, not to mention the love of my life Sophie Fader. 

However, the time has come for me to step down from Haakon’s Hall in order to pursue my passion for ceramics.  The transition will be a difficult one, but since my last day of work this past Monday I’ve made more work than I have in the last year and it feels really good.

Here are just a few images of work in progress, dirty dishes and my Easter gift to my mother…

Jars out of the bisque firing, approx. 36''

I always said I started out in this business as a dishwasher and I would go out as a dishwasher. This is the last rack of dirty dishes I ran through the dishwasher at Haakon's Hall.

Showing up 45 minutes late to Easter dinner at mom's might have not gone as well if  I hadn't walked through the door with this in my hands.

STATEMENT OF PRACTICE

After turning out a string of overly heady artist statements i finally decided to have a little bit more fun and be a lot more honest. So here it is.

Soda fired jar 2010

Urn-Tang Dynasty 8th century

My practice is centered around the potter’s wheel.  The concept of handmade ceramics and the function it serves excites me. The rhythm that is offered working within the various states of ceramics is a driving force in my life. I am married to the constant satisfaction and heart break that the material subjects me to.
 

Bill Evans Trio- 1959

Bob Dylan- 1975

While I make work that often references art and ceramic history, I try to let my process be the guiding force. I am influenced by Tang Dynasty ceramics and Bob Dylan. The endeavors of the Bill Evans trio are a wellspring for my composition. The concept of establishing a theme and exploring it simultaneously with three separate elements centered on that same theme informs my process.

Broken Record

Once again there hasn't been much happening on this blog. My studio in Brooklyn didn't pan out... However, as of today I will be starting an independent study at Teachers College, which will provide me with studio access 24/7. Getting into the studio may be a challenge as I currently work upwards of 85 hours a week running my name sake bar Haakon's Hall on 119st and Amsterdam ave. here in NYC. Working 12-17 hour days will make it tricky to get into the studio, but it's a challenge that
I'm up for.

NEWS FLASH: NEW STUDIO IN BROOKLYN... I AM MAKING WORK

So I know that there hasn't been a whole lot going on in this blog for the past couple of months. I've been busy managing my family owned restaurant here in my home town of nyc. And while I am still busy managing my restaurant Haakon's Hall, I have secured a studio space in Brooklyn and put in two pretty good days last weekend, throwing, trimming and attaching handles.

That being said, I should get some studio shots up by the end of the month. However, it might be some time before i have any finished work. I'm in a process of total upheaval. Going from high fired atmospheric stoneware and porcelain to low fired terra cotta. At the moment i have access to kilns but no raw materials to speak of. So once i get that sussed out i can start running tests and maybe get somewhere.

As Jaco Pastorius would have said, "I got some fresh ideas"