Ehren tool los angeles

But after the images and details are finished, each cup is entirely unique. The vessel has long been a representation of the human body, and after witnessing the process of Tool's work in its entirety, we see this connection made and his message is fully realized: while we may all share similar beginnings, each of us has individual worth and merit, and each life is precious. Before we dive in, I'd love for you to tell us more about your artistic background.

When did you first become interested in ceramics? ET: When I got out of the Marines my plan was: go to school and find something I like to do, with the idea that if I liked what I was doing I'd be good at it, and eventually someone would pay me to do it. I started drawing and painting, but ceramics-- and the cup specifically-- seemed to be the correct material and scale to talk about war and related topics.

A lot of people probably aren't familiar with the technique behind adding images to ceramics. Can you tell us a little more about the process? Where do you find most of your images? ET: I use a few different techniques to get images on the cups.

I borrow Veterans' insignia and make molds from them and press them into the wet clay. I also use laser engraved stamps. I use iron oxide decals to get photographic images on. Sometimes I have the opportunity to use color decals that I have to send away to have printed. I am happy to share the information I have, but this could get long and technical. Why did you first chose the cup as your canvas? ET: I started with drawing and painting and came to cups because I realized it is the only scale.

War is something that is hard to grasp. I think the most rewarding exchanges happen one to one, hand to hand. The cups are like my little Marines telling their stories.

From my hand to your hand to some point , to one million years in the future. One million deaths is a statistic. We'll never know what the war-dead could have contributed. I think clay is is a good material to use because it lasts so long, as do the effects of war. Has your work always been political? For the war? Okay-- but do not turn away when the coffins come home.

I think artists and potters, have an opportunity to shine light on topics that are important to them. The strange places where military and civilian cultures come together really stuck me when I got back from the '91 Gulf War.

Seeing the gas mask I wore as a toy for " ages 6 and up". Seeing my war turned into a video game-- it all kind of freaked me out. I wanted to talk about that. Now with the new wars and Veterans, my stories overlap and mix with the new generations. I know that you sometimes throw cups site-specifically to where you're currently showing, and that you've even used the clay from those specific places.

Do you feel more connected to the people of those places when you're using their own resources, especially in Vietnam where thousands of both American and Vietnamese soldiers lost their lives?

ET: I did get a chance to go to Vietnam and make cups there. I did think it was powerful to use clay from the country where the bombs and blood fell. Museum Tours: For group tour information, call Above: Ehren Tool, , Installation view, , Stoneware with glaze and ceramic decals.

Photo by Ian Martin. Courtesy of the artist. Your email address will not be published. Ceramics Now is an independent art publication and magazine specialized in contemporary ceramics.

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Magazine About us Submissions Advertise Contact. Thursday, January 13, Home Exhibitions. Applications are due by February Thomas was a major artist who in her lifetime was unjustly denied the acclaim she merited. This show is a brave beginning. For years, Fueki has been quietly creating a singular body of mind-bending work that has never fit into the New York art world.

What if every regional museum could offer free or subsidized daycare that taught secular values about participatory democracy and culture? Carren is an art, architecture and design writer based in Manila and Los Angeles. Her work has been spotted on Core77, Dwell, Surface More by Carren Jao. I think that its vulerability to shattering is a striking metaphor for trauma.

Skip to content. Exhilarating Dreamlands of the Unconscious at the Met Museum Tensions between resistance to Surrealism as cultural imperialism and the embrace of it as a universalist vision of freedom unfettered run through the show. Challenging the Perception that Photographs Present an Objective Vision Imagining the photographic print as a singular art object.