I am honored to begin this class with a book based on the works of James Watkins, Horn Professor in Architecture, Texas Tech University. He is a friend and someone I have worked with for over 15 years. With that said, I still want you to be honest with your opinion of the book and his story. Really. This is not a trick.
Use "I" language, this means do not use references or other source to prove a point. There are no points to be made. I am interested in your thoughts, your reactions.I know it will hard for some of you, but my hope is that this simple rule will help with the final project when you get to tell/create your story of identity.
As you read the book consider if you think the story was told well. What would you ask if you could or is there anything you would ask of James? Do you think it is true that the art speaks for itself? What did you learn that you may not have known before? What impressed you? Mainly convince me you have read the book and you have thought about it in your own way.
This is a short class and it will speed by so begin thinking about your final project. I encourage art making which due to the short time can be sketches / drawings / work ups. I absolutely love the mix of this class Architecture, PhDs, MAEs...all of you have very different approaches to art /art making, use this time to work on something that is your story. You are not required to continue doing the work you have been doing or you are getting a degree in. Dream. About the you, you want to share.
Hi, Everyone! My name is Elena Popan and I am an international PhD student in Fine Arts. I grew up in the grey communist Romania where the most exciting events for me as a child were the family reunions, the trips to the sea side, and films. I remember very well the overcrowded, chilly cinema theaters, and how eagerly I wanted to feed my eyes and imagination with wonderful Russian adaptations of fairy tales, spectacular and gooey Bollywood productions, or the newest adventures of James Bond. Some of my dearest and vivid memories related to film come from there, and I guess this is where my interest for film comes from, an interest I kept up to the present and made it central to my research.
ReplyDeleteI have a BA in Journalism from Babes Bolyai University, an old and respected Romanian academic institution. Back then, my intention was to pursue a career in cultural journalism, but life in Romania is full of unexpected, so I ended up working for a short time as a translator, and later as a bookstore manager. At some point I realized that I want something else in life and I decided to continue my studies; therefore, in 2011 I started an MA in Russian, East European and Eurasian Studies at University of Texas at Austin, where I focused mostly on Eastern European and Russian cinema.
Beside film studies, I’m passionate about photography and performance art, but I don’t identify myself as an artist (yet?). I am more inclined towards critical studies. What I wish for the next future is to be able to look at my research work from multiple points of view and I guess this is what attracted me to this class: the possibility of a fresh point of view. Since my work deals mostly with issues related to censorship and creativity, what interests me most is how artistic identity develops in conditions of hardship.
I am married to a sociologist who is also from Romania and we are the proud (and sometimes bewildered) parents of two daughters: 6 year old Sara and 10 months old Rose Anna. That’s me in a nutshell… I am looking forward to our discussions!
Hi Elena! Nice to have you for class.
DeleteHi Corina! Happy to take another class with you!
DeleteWelcome to class. I hope you have read everyone's introductions. I know this will be an interesting class filled with a wide range of views.
ReplyDelete-What would you ask if you could or is there anything you would ask of James?
ReplyDeleteI would ask James how he practices lucid dreaming. I know for myself that I frequently find profound resolutions revealed through (un)conscious/semi-conscious mechanisms during sleep. Relatedly, I enjoyed reading about James' pursuit and reverence for the act of remembering. For me, memory is essential to the continuity and evolution of one's life and practice because it facilitates learning. In contrast to this idea but equally significant to me was that he encourages his students to experiment, as experimentation "...opens up new possibilities." (Watkins, pg. 39) To me, James seems like an incredibly humble educator, which is something I find sacred. I believe an instructor's job is to help students interpret history and learn from all of the incredible work/knowledge that came before them, but ultimately to encourage a process of self reflection and a newly established independence.
-Do you think it is true that the art speaks for itself?
I must admit, in terms of ceramic art I am incredibly naive. That being said, when I look at images of James' work I have in mind its scale, the history of African American vessels, the division between utilitarian objects and art objects, and the residue of environment that is evidenced by form, texture, and color. While taking these things into account, I get a strong sense of an individual who has moved through time and space and has reacted in deliberate and meaningful ways to his experiences. However...I probably should have tried to answer that question before reading the book. I suppose what I can say for certain is that reading about James' journey, his influences, and his process added to the quality of my interpretation of his work.
Sylvia, I agree, reading about Watkins' inspirations informed my interpretation of his work as well.
Delete-What did you learn that you may not have known before?
ReplyDeleteTo be frank, the first thing that comes to mind is that I'm not sure I really knew how people got involved in art education in the past in the United States. Even today it is very tough to be in a position as a high school student to be able to pursue higher education in fine arts straight away. It was interesting reading about the mail correspondence lessons; I thought a lot about just how much art education has changed and how it differs from place to place. Also, I learned a lot about his process as a ceramic artist. This was really the first time that I've read in depth about this medium, so a lot of the technical aspects were new to me. For example, I liked learning about how James incorporated the landscape into his glazes. Venturing out with such an attentiveness to the exterior world was impressive to me--it made for a very special relationship with environment that seemed very kind. This struck me, as I have moved around quite a bit and always seem to feel like I fall short of appreciating the true nature of a place. I hope this is not too personal to share, but I just realized that I hold a lot of guilt for moving around and not committing to a place. Yet the origins of my identification with moving the feeling of never being from anywhere stem from childhood. The other day a friend said, "...but you didn't live in Iowa very long" when I referred to myself as an Iowan. The thing is, it's the longest I've ever lived anywhere. At any rate, like James I intend to develop an appreciation for West Texas over time. I hope that I can get to know this place well enough to be able to contribute to it in some small, yet genuine way.
What impressed you?
James' sincerity as both an artist and human being impressed me the most. In the book, he is recognized as an intellectual, and he is obviously well educated, but to me he also seems to be an authentic deep-thinker. What I mean is that I interpreted his approach to life as self-realized, open, flexible, and critical (in the best way). For example, I enjoyed reading about his reflections on the act of drawing as marrying cognitive processes with the skill of the hand. It is clear to me that reflecting on drawing-like other processes that have persisted throughout his life, has resulted in tremendous insight. I would love to take a class at Junction if I get the chance to take a studio course!
Nice insights. You can take a class with James, he offers one each semester through Architecture at LHUCA for both grads and undergrads. I highly recommend the class. There is no longer art taught on the Junction campus, it is now a Field Station for biology/range and wildlife. It was a magical place for art making for 47 years
DeleteI like how you see/feel memory.
I have really enjoyed reading this book and what struck me most was what a complex, harmonious person and artist James Watkins is. He seems to be gifted with a sort of wisdom that enables him to balance his personal experiences with art making and his teaching philosophy, while at the same time he pays attention to everything that surrounds him, maintaining a close relationship with nature and attempting to access a superior conscience through lucid dreaming. His life and work look to me like a delicate, serene, and almost fluid composition in which all the elements influence each other and transform altogether. From this point of view, I think that it can be said that his art speaks for itself, because when I look at Watkins’s works I see harmony, elegance, and an inclination towards incorporating symbols and colors of nature; the works also transmit me a sense of atemporality, as if they can be perceived both anchored in the present as well as reverberating ancient memories.
ReplyDeleteI think that the story was well written, but I am not sure if the book’s structure was the most fortunate choice; the content didn’t seem to me so well delimited and strictly related to the title of each chapter, except for the last one maybe (Manifestation). In exchange, the book’s illustrations were not only beautiful, but also very helpful with recreating the story; so were the introductions to each chapter and the vivid landscape descriptions which gave me as a reader a strong sense of the place where James Watkins lives and creates.
There are a few ideas which I found very compelling and I am taking with me from this book. One is Watkins’s conviction that “ceramic art is similar to alchemy because a person can transform something very common into something precious, and often unanticipated” (p.28). This resonates with one of my strongest beliefs related to art in general, namely that you can convey the most powerful messages and evoke the strongest feelings by relying on simplicity and founding inspiration in the everyday things you come in contact with. Another idea refers to developing a rhythm inherent to artistic work while attempting to achieve an equilibrium between material, texture, color, and form. I found this comparison with music extremely interesting and thought provocative. Finally, I really liked his approach to teaching, particularly his conviction that making art “is not an end in itself but a means of making the individual more intimately aware of phenomena great and small in the external world and the internal world of visions” (42), and his opinion on stimulating creativity, namely that you have to be open to what life gives you, to relax and enjoy the journey, but especially to absorb as much as you can.
Two things that amazed me in his technique and seemed to me extremely innovative are the use of decanted clay for slip glaze (Terra sigilata) and the use of double walls for making large scale ceramic vessels (the way Watkins found a solution to his problem with large vessels struck me as most unusual; actually his entire preoccupation with lucid dreaming is fascinating and something I would like to know more about). I would also have liked to learn more about his stay in Japan and the contacts he and his wife Sara had with Japanese art. Another aspect that stirred my curiosity is the way he relates to Texas. It is interesting that James Watkins adopted a Texan identity, but this doesn’t come as a big surprise; people who live for a long time in a certain place voluntarily and involuntarily develop a relationship with that place and are marked by it; even myself, as an Eastern European, after six years of living in Texas, I am ready to admit that I’ve been changed by this place and I will always carry its imprint with me. But what drew my attention was an observation he made on Texas potters, saying that “they are independent, seek their own level of work, and have less fear of experimenting (33)”. I would be curious to know if he would extend this observation to other Texas artists working in different mediums and what he considers to be the source of this independence and openness towards experiment. In his opinion, is there an influence of the place upon this attitude?
ReplyDeleteLast but not least, I want to mention how much I enjoyed the stories from Watkins’s childhood and college years. I was impressed by the way his family supported him in getting an artistic education, but also by the help offered by his professors who recognized his talent and knew how to offer him encouragement and guidance. His mother’s memories and confessions were colorful and touching, and reminded me of my own childhood in a Romanian village. My grandmother also used to make soap in a cast-iron pot and sometimes she would boil clothes in a solution made with water and ash. At that time I was very interested in the process of soap making, but I could never stand its smell. On summer, we were using the soap for washing traditional carpets at the river; this is one of my dearest memories from that time - I was 7 or 8 years old – I clearly remember feeling useful and important through my work, but also having a lot of fun! Everyone has memories to cherish… we carrying them with us along the way and they are such an important part of what we are at present, but also of what we can become…
Oh yes, I forgot about the soapmaking mentioned in the book. I make my own lye based soap, but I buy my lye. I suppose you could make your own lye from ash, but I never tried it. That is wonderful that you and Watkins share similar memories.
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DeleteThere are a number of books on lucid dreaming. One of the suggestions James shares is to keep a notebook or sketchbook by your bed so as soon as you wake you can make notes on the experience.
DeleteJames gave me the best advise about working in higher education..."Teach your class (and by this he means be in the classroom with the students..be present, be available), go to required meetings then go home to your studio. Leave all the gossip and drama at work." I wish I had listen more.
Your insights on how the book was written are very solid and I agree. Incredible story, wonderful images but sort of off. If you ever get a chance to see his work in person, do so...they are even better up close.
ReplyDelete“Meditation of Fire” was extremely engaging. I like that the writer was immersed in the environment and that the book is written from observation. What I found most captivating about it was the spiritual connection to place, the land, the nature, and the history. Now I see the West Texas skies in the raku fired bursts of color in his artwork, like in “Bird Basket” on pg 47. I understand the connection of the cauldron shapes (as ritualistic objects) and the forms from the cotton gin in the shapes of his pieces as his connection to his childhood in the farm/city in Alabama.
I was surprised that Watkins was so open about spiritual beliefs, occurrences, and the psychic self because these are such taboo topics. I knew exactly what he was talking about when he discussed lucid dreaming. I learned to do lucid dreaming on my own, but it was out of fear. I would suffer from sleep paralysis, and I had to learn to overcome the fear.
I would ask James about his spiritual connection to Junction, and any sensations or encounters there. I remember the first night in the Summer of 2013 in Junction. I had gone to the grocery store and was unloading some bags from my truck. I looked up at the sky and I nearly dropped my bags. I had never seen so many stars in the sky. It felt like I was miles closer to them. I also believe that there are spirits in rivers and mountains that can guide you. I certainly made peace and found guidance from the river in Junction. I found a holy rock the size of a melon in that river.
When Watkins first moved to Lubbock he said that he hiked, observed and listened to the land and nature. This is the first thing that I did when I came to Lubbock, too. I did a little exploring and listened to what the place wanted to tell me. Since then I have been tapping into and exploring suppressed histories of marginalized communities. I consider it no coincidence that I learned in my research that my great grandfather collapsed and later died in Tahoka (about 30 min south of Lubbock), while the family was working. That gives me purpose and conviction to know that this same path I travel to and from the Rio Grande Valley is the same path my ancestors paved as migrant workers for me to have this opportunity to work on my Phd.
Does the art speaks for itself? Hmm…in general I used to think art did speak for itself, but I don’t believe that so much anymore. I think art is communication, and an experience. I’ve seen Watkins’ work before, but I certainly did not experience it like I did after reading this book.
I also found it interesting that James was named after his mother’s brother, and his mother had a prophetic dream of her brother’s death. Reminds me of a workshop I went to that was discussing names, who we are named after, or the meanings of our name. The speaker was named after her deceased uncle, and emphasized how important it was to embrace ourselves, our culture and our history. This made me stop using “Chris” at coffee shops or other places and start using my own name. I had wanted to avoid having to repeat, pronounce, and spell my name.
Some lines that really impacted me was on page 2, “We find other places on our journey within ourselves understanding that spirituality the bases of art.” Also, by Alice Walker, “Some of our mothers and grandmothers did not have the luxury of being artists, but they were creative.” I love that, it is so true. They didn’t know they were always artists.
“We pick and choose, filter and distill to create a trove of mental images and physical sensations. Memory exists in the minds which envelopes the entire body, not just the brain” (pg. 55). This resonated with me, looking back at how I managed panic attacks, anxiety, and how I heal from trauma. I also believe that nervous energy manifests in the body, and we need to find ways to filter. I am learning more and more how to filter and hopefully getting to the point of distilling.
Beautiful. I am so glad you had the experience of Junction. I know I simply hold it in my heart where ever I go.
DeleteWow, it is amazing how you found out about your great grandfather while researching! I also liked Alice Walker's words... so true indeed...
DeleteA Meditation of Fire was a very captivating reading. I appreciate his connection to Texas and the fact that he has created so much art based on Texas landscape. Living in a fast paced world can make us ignore our surroundings and take things for granted, so every time he mentioned how a place in Texas inspired him, it made me think that even though I know those places, I've never taken the time to go and appreciate it the way he did. One of the quotes that I really enjoyed, that relate to what I just mentioned above was on page 25 "I think that no matter where 1live, there will be influence from the environment. In my work, I try to absorb everything that's around me."
ReplyDeleteI liked the illustrations and sequence of the reading, the book was written in this chronological order that made it easier to understand. He is a gifted, amazing story teller. It started by giving us some of his background as a child that later on helped me understand why he took that path. In the beginning of the reading they mentioned how he started drawing and understanding perspective at age 3.There is no doubt he was born to be an artist, he had a very artsy vision since he was little.
It is funny how pottery can relate so much with architecture. The relationship between people and art is very similar to the relationship between people and buildings. "The textures and layering make people interact more with the pieces. I can look at some of my work and never really absorb all that is there." (p. 30). Being in architecture sometimes I struggle with concept or inspiration so reading about how his visual stimulation was just amazing.
He is definitely a role model and an inspiration in so many ways. By the reading I can tell he is very passionate and dedicated to what he does, like when he mentioned he was "in love" with pottery. Someone that is in love with what they do tend to inspire, specially him being a teacher and an artist inspiration is key. He also inspires by proving you can make great things with the most simple, such as when he mentioned about using color, movement, perspective and dust to create art. He approaches his work in a very sensitive way and he responds to his surroundings, specially to nature and the way it brings excitement. He has a tremendous ability to creating a relationship between idea and final product, about how his work reflects his dreams and personal experiences, in my opinion this adds value to his work. When Watkins talks about dreams it makes me wonder if only certain people have dreams that inspire or if we all do but aren't capable of identifying them?
A question I will like to make him would be is he thinks he would have persuaded the same path if it wasn’t for Ferguson? if he thinks he would have persuaded the same path if it wasn’t for Ferguson's encouragement?
One thing I definitely learned from him was that the key to a creative process is to absorb everything and not take anything for granted. I think I see Watkins evolution of inspiration as an evolution of human being and I appreciate how he embraces every stage of his life, culture and how his personal experience and his dreams became his source of inspiration. I truly admire the support of the family towards him, the support his professor gave him, his great passion and the story behind his work that sometimes only Watkins will be able to know.
Interesting question. I once asked James how did he learn to be such a great teacher and he said "its easy, you ask the student what they want to do, where they want to get with their art and then you help them." As you pointed out his own art path was enforced with positive support.
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