My studio is located behind my house in Saratoga Springs. Both structures were built in 1892, and the studio originally served as separate living quarters. It is a very bright south-facing building, but is a pretty small space, measuring about 500 square feet, so all of my firing is done off-site. During the summer I work both inside and outside, and in winter I finish some of my fired work in the basement of the main house.
My studio is a converted horse stable, located in the Pioneer Valley at the foot of the Berkshire Mountains. My space is surrounded
by gardens, chicken coops, and bee hives.
It’s small with big windows. The tightness forces me to be
efficient with everything I do, and I’m not allowed to have anything but a bare
I work at home, and I was extraordinarily fortunate to find
a beautiful little airplane bungalow to rent with the space for the TWO studios
I really need. The “dirty” studio, where I work in wet clay and glaze, is my
13×11-foot spare bedroom on the first floor, and the “clean” studio, where I
draw, keep yarn, crochet, knit, and sew, is the upstairs 12×7-foot loft area.
Nearly as important are the “portable studios” of my sketchbook, digital
camera, and laptop. I gratefully am able to fire work in the kilns at Washburn
University (less than a mile and a half away), where I teach.
My studio is the main perk associated with my position as
visiting artist in the ceramics program at the University of Louisville. The
setting is urban and industrial, with the constant rumble of planes landing and
trains passing by. I have a large private space (10 × 27 feet) that opens into
the main ceramics studio classroom.
If you’re like me, and enjoy visiting other artists in there studios, you will love today’s post. It comes from new series of articles in Ceramics Monthly,
which can basically be thought of as studio visits in print. And you can think of today’s excerpt as virtual studio visits to potter Jeff Campana’s and ceramic sculptor Patsy Cox’s studios.
My favorite aspect of the studio is that it is in the middle of the city hustle. It has good lighting with a view of my succulent collection, the inspiration for much of my work. However, the studio plays only a small part in my creative process. Because the majority of my current work is installation-based, it relies on the process of installing the work in a specific space. In other words, I see my work as being created in a studio without walls.