AAAS Conference Presentation

In October 2014, with the encouragement of Annie Duffy, a UAF Art Department faculty member and mentor, I presented my thesis work at the Arctic Regional Division of the American Association for the Advancement of Science (AAAS) Conference.  At the time I saw it as a great opportunity to not only practice presenting my thesis, but also present my research to a different and more diverse audience.  Never in my wildest dreams did I imagine that this presentation would enable me to travel and present nationally!! I received the Larus Award which granted me full funding to attend and present at the National AAAS 2015 Conference in San Jose, CA.  What an honor!

The San Jose Convention Center, 2015.

The San Jose Convention Center, 2015.


The conference was six days of exciting lectures, symposia, presentations, and seminars on cutting edge research in the fields of physics, earth science, chemistry, math, and social sciences just to name a few.  As an artist/anthropologist attending the event, the topics and lectures were new and fascinating.  There were lectures about science and communication; how is science and scientific fact presented to the public, what is the dialogue between science and religion and how can they work together, what about science and the community, how can we get the community at large involved with and excited about "citizen science", how do we encourage young girls to become scientific leaders, and how can we integrate the STEM (Science, Technology, Engineering, and Math) Program in school curriculums.  Other topics included cutting edge research and integration of GPS mapping to better understand, document, and map out endangered languages; isotopic analysis of remains in Anglo Saxon cemeteries to compare and contrast the written history of the time period to scientifically derived fact to paint a new and more accurate picture of the people; and state of the art visualization of classical masterworks of art, including face recognition, computational art history and conservation, and multiband imaging using infrared spectroscopy.  

I'm so grateful to the Annie, the University of Alaska, the Larus Award, and all the wonderful people I met at the conference.  It was a remarkable experience! I've learned a great deal more about art, science, and the potential collaborations that will further our knowledge of historic works of art, culture groups, and how we can participate in science every day!  I even learned a little bit about dark matter and our galaxy--now to incorporate that into my next body of work--now back to the studio!

Liz Berry Kiln Rebuild and Relocation

Hello everyone!  The countdown for the thesis continues, and since things at the studio are partially in kilns currently being fired, I thought I'd give an update on the Liz Berry Kiln.  It's been a long process, but we're making some great progress under the direction and coordination of Diana Berry!  The second chapter is being written and we're rebuilding this piece of Fairbanks history at the Fairbanks Folk School.  

Taking the kiln down, brick by brick.  First to go was the chimney.  Almost all of the hard brick was re-usable so they were put on pallets for easy transfer to the new site (which is so conveniently located a few minutes away!)

Down she goes!  Most of the soft brick just crumbled as it was being taken down.  The floor (which were shelves, surprisingly made it though the 103rd firing, but didn't last five minutes when we were taking her down!).  Sadly the majority of the soft bricks were designated for the fill dirt pile.

So we begin with a plan and a model (made by the ever so amazing Stan).  Stan was there for the original build in '77 and has been an enormous help in the second phase of this project.  

And so the rebuild begins! The kiln's design is based on the original plans (and the wood kiln plans found in Fred Olsen's "The Kiln Book") with a few modifications.  Most of the bricks that we're using have been generously donated by local fellow potters--so we have some 3.5" soft brick and some 4" soft brick, hence calculating and thinking on our feet to ensure true structure for the body!  True to the model, a concrete foundation was poured, a layer of cinderblock laid out (to elevate the fireboxes so we don't have to crouch down to stoke--save our backs!), a layer of insulating brick between the cinderblock and firebox, the floor of the kiln (which are two kiln shelves and the last thing we put in), the body of the kiln, and the chimney. The firebox and chimney will be built using hard brick, the body out of the soft brick.  

Getting the firebox laid out.  One slight modification to the firebox are the small ports (to allow additional air in the kiln to increase the draw--like super mini dampers).

Measure twice build once!

As we lay the bricks out, we ensure that we have nice straight walls by leveling them, from the inside and tapping

Now that we have the body of the kiln all in place, we need to get our iron frame welded in place.

The sparks were flying! We have angle iron around the kiln acting as a supporting frame.  

Planning the arch with the aid of the book and the model, of course!

We had to cut a few to ensure a perfect fit for the arch.

We have our form in and ready to build the arch--brick by brick.

Our fearless leader, Diana! All ready for the final row of number 1 arch bricks!

The arch is done! Now the fun part..pulling out the form which is supported by four posts with a small block of wood on each for "easy" removal.  

And then it snowed..The next step was to build the chimney.  Each hard brick was dipped in fireclay to help seal of the stack.  

Since these photos have been taken, the chimney has been completed and a few minor adjustments have been made.  We're in the process of affixing together soft bricks for the door of the kiln.  The Folk School held a "Pinch Pot and Pizza" party to get community members involved with the school and this exciting kiln! A huge thank you to Diana for all the hard work and effort she's put in to re-building a part of her family legacy and sharing the passion for the wood fire process with the community! The first firing is planned for mid-November, stay tuned or sign up to help out!

My Influences

This past week has been full of research!  I had been asked to give a presentation on my art and inspirations for the 2014 Arctic Science Conference in Fairbanks.  I took this opportunity to try and figure out what exactly it was about Anthropology that inspires my work as a ceramic artist.  Putting together this presentation made me ware of the many ways I reinterpret anthropology; by adapting the visual elements of the Northern ethnographic material that I research and work with at the University of Alaska Museum of the North and link anthropological meaning to utilitarian ceramics.  

Ceramics has a long history, dating back to 9000BCE of being used as a vessel to contain grains, wine, oil, and other foods.  These vessels were decorated with images or patterns that documented a time, place, mythology, and heros of a particular group of people.  Today we still use ceramics--jars, teapots, bowls, coffee mugs, tea cups, platters, plates, the list goes on!  In my work, I try to communicate anthropological concepts and inspiration from the place that I live in, the North.    

"Coming and going of the Shaman" Karoo Ashevak, National Gallery of Canada


Perhaps the most fascinating thing about these cultures for me is the connection between the people and the animals, living off the land, the connection between the spirits and the cosmos, and the way that the people of the north found balance in everything.  Traditionally much deference and respect is paid to the spirits--they controlled the conditions of the hunt, the weather, wealth, misfortune, and accidents.  In order to keep the favor of these spirits, certain rituals were observed (depending on what needed to be alleviated) to appease the spirits and return balance to the community.  Shamans were the main communicators with the spirits, however, each person was able to take precautions and observe taboos to keep the spirits happy.

Detail of an ivory Yup'ik harpoon head.  University of Alaska Museum of the North.



Many ivory objects are ornamented with incised lines that are then filled in with lamp black (a mix of oil and soot from the oil lamps) and rubbed away, like scrimshaw.  Working bone and ivory into tools and weapons was considered more than just a necessary task.  It was believed that if great care was taken when working with the bones and materials from animals, then the animal would be attracted to the hunter without hesitation, almost offering itself.  The lines that ornament the ivory and bone tools, weapons, handles, sewing kits, etc all show respect to the spirits and animals.


Yup'ik spoon showing a painted design on the interior of the bowl. University of Alaska Museum of the North UA98-016-0001



There are also many different kinds of marks found on objects.  For example, wooden spoons or bowls would be more elaborately painted with ochre or blood with images and decorations that would have been passed down from generation to generation.  Many of these marks are ownership marks, that showed who the item belonged to.  These marks would then be simplified on the tools or weapons so that owner could be identified. 


Another object that I've been particularly drawn to are Yup'ik story knives.  Story knives were gifted to young girls and with them they would illustrate stories in the snow or mud (depending on the season) with symbols that would narrate the story.  These stories could be real, make believe, or myths told to them by elders.  Some are elaborately decorated while others have simple lines and designs incising the ivory.  

Yup'ik story knife. University of Alaska Museum of the North.

One from the Story Knife Set.  2014.  Slip inlay, shino glaze, reduction fire cone 10. Kirsten Olson

What I've come to realize in all of this is that the forms and lines of my work reference the many ethnographic objects I've come across in working at the UA Museum of the North.  Much like the story knives, the universal nature of ceramics is such that it creates opportunities to share thoughts and stories with others.  These ceramics vessels not only contain the food or drink we serve in them, they also contain these ideas of Northern culture via the forms I choose to make and the marks ornamenting the vessels.  Perhaps the user will become aware of these ideas of community and culture in using handmade ceramics.  The use of handmade ceramics parallels the use of the ethnographic pieces in the way that it represents a history and culture in addition to its inherent functional use.  When we partake in shared meals, the vessels serve more than just their function, they then hold the cultural meaning, values, and memories of the shared event.   

I encourage everyone to enjoy handmade ceramics, no matter what the inspiration.  It will surely embellish and enrich your own daily rituals.  Cheers!