Encounters

My newest series is called Encounters. It’s a mini series comprised of four paintings depicting encounters which are dramatized through the use of classic film genres.

The project is a collaboration between myself and Julia Rago. Julia is involved in the planning stages of these works. She is responsible for finalizing thumbnails and compositions, researching the historical background of the genres as well as using photoshop to pull images from different media sources in order to create works that represent the feeling of the genre rather than being a copy of any particular scene from a film. I, Elizabeth Rago, am responsible for researching films, thumbnailing and creation of the final works.

The series is set to be complete by the summer of 2021. The first of the series is called, “Encounters on the Edge of the World” which showcases the Spaghetti Western.

Spaces

My name is Elizabeth Rago. I have had the privilege of practicing ceramics on multiple continents and in multiple contexts. My current body of work is functional wear which uses Black Mountain clay and B-mix in combination with single glaze applications to create sleek designs that can be used in the home. Each setting in which I have practiced has created visible change in my work.

Production

I began working in production in 2014 and have continued to do so on and off since then. This is tedious work and anyone earning a degree in ceramics with this career path in mind should consider this aspect of the profession. This tedium is corrosive to both the mind and body. Thinking ahead and protecting one’s body before problems arise is therefore crucial. Throwing standing up or sitting on a tall chair, wedging with softer clay, all make a huge difference in the long run. Furthermore, it is important to consider whether striving towards someone else’s form will bother you artistically. I was lucky enough to work for a company who encouraged personal work during off hours, yet unfortunately, due to the mental and physical exhaustion that one experiences by the end each day, there were very few times where I felt able to take advantage of this opportunity.

Though repetitive, production can offer a workspace where artists can meet with likeminded people daily. My knowledge of Myers-Brigs, Enneagrams, Incense and the ceramic medium as a whole wouldn’t be the same today without this time in my career. More importantly, production pushes potters to develop skills that will prove necessary to their personal oeuvre. Not only will you learn to create products that are similar or identical after years in the profession, but you will also develop the endurance to work for long periods of time. This is a discipline which may extend outside the realm of ceramics into other media like painting or printmaking.

University

The university experience is colored entirely by the professors in that department. These are the people who judge your work, encourage you to strive toward one style or another, and push you to create a certain amount of work. Keeping a positive relationship with your faculty is essential not only in ceramics alone, but in any art department. Choosing a university based on the quality of faculty is essential. I am infinitely grateful for every faculty member at Baylor University that I had the privilege of working with. My work both in ceramics and my other medias would be entirely different without their council.  

What an amazing time in my life was throwing in the Baylor Ceramics Studio. The room is full of Whisper Wheels, the glaze shelves are full of options, firing is free and extensive, and you have the ability to mix your own clay. The best thing about working at a university is not only the accountability from professors, but also that of peers. Those people who stand beside you during the wood firings can offer one on one critique.

Community studio

The Potter’s Studio in Berkeley is unlike any other studio I’ve found in the area. This particular space requires you to pay a monthly fee and in return, you gain access to wheels, any in-studio glaze, discounts on clay, and the ability to fire your own kilns. You are able to take free classes on a myriad of subjects including glaze mixing, and after a month of membership, you can earn 24/7 studio access. While there are many perks to a community studio, working in this setting also requires conflict resolution skills. However, if you are ready to learn from others and willing to help those with less skill, this experience can be invaluable.

Working in a community studio has served as an important step for me artistically. My recommendation would be to make your own work, whether you have just started out or if working in production. Sometimes at Baylor the pressure to create quality pieces hindered me from producing a large enough quantity, while in production I became so burnt out from having to be a human 3D printer that I wasn’t in the right headspace to make my own work. There’s a time for everything in ceramics; there is a time to take classes, a time to think about it as a career option, and a time to branch out and own your style. Community studios give you such an opportunity. The level of responsibility also goes up as you become solely responsible for every step of the process. A fact that may be overwhelming at first, but if mastered, it gives you a greater control over your end product.

Working in production, university and community studios have had a profound impact on my work. Production has given me a love for clean lines and modern, reproducible pieces. Working at Baylor has given me the opportunity to experiment with a myriad or glazing and alternative firing methods. As a result, I’m beginning to scale back and simplify. I’m now interested in single or subtle glaze applications, and the effects of under glaze and white slips. Due to a seemingly endless (and discounted) clay supply at the Potter’s studio, I’ve discovered my love for Black Mountain clay and have finally learned to fire a gas kiln. I am proud to say that every moment and every setting is visible in this body of work.