All Discussions Tagged 'project' - crafthaus2024-03-29T11:29:27Zhttps://crafthaus.ning.com/group/inandoutofclay/forum/topic/listForTag?tag=project&feed=yes&xn_auth=noInterview with Conner Burns of the Natchez Projecttag:crafthaus.ning.com,2012-02-28:2104389:Topic:3328472012-02-28T14:17:10.341Zelizabeth cohenhttps://crafthaus.ning.com/profile/elizabethcohen
<div><span style="color: #000000;">Recently, I interviewed Conner Burns, of Natchez, Mississippi. Conner</span><br></br> <span style="color: #000000;">is a studio potter who hosts a unique annual gathering of three other</span><br></br> <span style="color: #000000;">invited potters, called the Natchez Project. Read on to learn about</span><br></br> <span style="color: #000000;">Conner’s innovative approach to collaboration, learning and sharing:…</span><br></br> <br></br></div>
<div><span style="color: #000000;">Recently, I interviewed Conner Burns, of Natchez, Mississippi. Conner</span><br/> <span style="color: #000000;">is a studio potter who hosts a unique annual gathering of three other</span><br/> <span style="color: #000000;">invited potters, called the Natchez Project. Read on to learn about</span><br/> <span style="color: #000000;">Conner’s innovative approach to collaboration, learning and sharing:</span><br/> <br/> <strong><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1058190660?profile=original"><img width="250" class="align-right" src="http://storage.ning.com/topology/rest/1.0/file/get/1058190660?profile=RESIZE_320x320" width="250"/></a>Q: What is the Natchez Project?</strong></div>
<div><br/> A: Each year I award three ceramic artists Fellowships to participate<br/> in the Natchez Project. The Fellowship covers the cost of the<br/> project: studio, supplies, lodging. The Natchez Project brings these<br/> artists together in one space for a week, without distractions. There<br/> is no agenda, no requirement. The goal is to allow artists time and<br/> space to create, and an opportunity to interact with other experienced<br/> artists during the creation process.<br/> <br/> The artists spend a week creating artwork. Each year the artists are<br/> different, the manner in which they interact varies; often resulting<br/> in a ‘personality’ or ‘concept’ for the project.</div>
<div style="text-align: right;"><span class="font-size-1"><br/></span></div>
<div style="text-align: right;"><span class="font-size-1">Ceramic artwork by Steve Hasslock.</span></div>
<div style="text-align: right;"><span class="font-size-1">(Image courtesy of Conner Burns)</span></div>
<div><br/> For example, in one year the artists chose to work on experimental<br/> forms and also chose to have a critique at the end of each day. The<br/> artists decided that since each of us work alone in our studios and<br/> often have commitments, this was an opportunity to explore without<br/> specific commitments and to also obtain input from other artists<br/> daily. The next year was more fluid as artists worked on new work as<br/> well as on refining ideas that they recently started exploring.<br/> <br/> An exhibit is held at the end of the week. The gallery is set with<br/> the completed work of the artists that they brought with them for the<br/> exhibit. The public is invited to attend and see the completed work,<br/> converse with the artists and visit the studio to explore the work<br/> that is in process, which is a bonus for the public and artists<br/> alike. Most artwork seen in galleries and publications are not only<br/> completed, but are the successful creations at the end of a long<br/> period of development of a particular idea or concept. To be able to<br/> see transitional, new or developing artwork and to discuss it with the<br/> artists is not only rare but also exciting to both artists and<br/> patrons.<br/> <br/> <strong>Q: What enticed you to try this?</strong><br/> <br/> A: In that past I participated in art festivals and also ran a<br/> teaching studio. I noticed that the interactions with artists was a<br/> positive part of the art festivals, but also noticed that the<br/> conversations were abbreviated in that sales environment. I began<br/> considering other options for artist interactions. I began to discuss<br/> my ideas with artists; and noticed that the interest level was<br/> overwhelmingly positive. One particular individual, Cynthia Lee, then<br/> the director of the Odyssey Center of Ceramic Art, was encouraging and<br/> also shared with me a similar concept that the Odyssey explored in the<br/> past. These conversations confirmed my interest. I was then awarded<br/> a fellowship to spend two weeks at the Mary Anderson Center in a time<br/> of solitary creation. The benefits I received from that time of<br/> undistracted creation pushed me closer to my concept of the Natchez<br/> Project. The Natchez Project was born.<br/> <br/> <strong>Q: What are some obstacles or difficulties with the planning of this event?</strong></div>
<div><br/> A: For most individuals the largest difficulty would be space. Four<br/> artists in one studio for a week can produce a great quantity of work.<br/> If the space is crowded, that will short circuit the process.<br/> Thankfully, I have a studio that provides a nice work area for each<br/> artist, accommodating all of his or her resources as well.<br/> <br/> <strong>Q: Do you have equipment for all of the processes?</strong></div>
<div><br/> A: I have enough wheels, slab rollers, extruders, mixing facilities,<br/> worktables and shelving for all to work without crowding each other.<br/> <br/> <strong>Q: What is the lodging like?</strong><br/> <br/> A: Being together for a week means different things to different<br/> people. Having a space that allows gathering when desired and private<br/> space when needed is important. A location near the studio is also<br/> helpful. Different individuals have different routines and needs, so<br/> being able to get back to your room with ease makes it comfortable for<br/> the participants.<br/> <br/> <strong>Q: How do you promote the Natchez Project?</strong></div>
<div><br/> A: While there is not a need to promote the project, since it is a<br/> closed event, promoting the opening event is important. I am not great<br/> at the social media process, as I would prefer being the studio, but I<br/> do send out invitations and post images throughout the week.<br/> <br/> <strong>Q: What change have you made as the event has gone forward?</strong></div>
<div><br/> A: I have not made substantial changes. It seems to be the correct<br/> system and so I have stayed with it.<br/> <br/> <strong>Q: Do you think this model is replicable?</strong></div>
<div><br/> A: Yes. It is not difficult, but it does take some planning and<br/> organization, which will take time away from something else. If you<br/> invite individuals to participate in an event, I believe you should<br/> also be sure that it is well organized and a great experience for the<br/> invited artists.<br/> <br/> <strong>Q: What do you get out of the Natchez Project?</strong></div>
<div><br/> A: Many things. I enjoy getting to know the artists better. Some who<br/> I invite I know well, while others I barely know. I enjoy seeing the<br/> artists excited about the time to work, and hearing them getting more<br/> excited about the pursuing their new ideas.<br/> <br/> <strong>Q: What do the participants get out of the Natchez Project?</strong><br/> <br/> A. New work, as well as connections with artists who they may not<br/> know. Instead of the short and interrupted conversations that artists<br/> often exchange at a ‘sales’ event, the conversation is not rushed or<br/> artificially disrupted. Conversations often stop, pause and are<br/> revisited at various times during the week. Artists have also told me<br/> they value the opportunity to see a process another artists uses and<br/> the progress made on an idea the artist has long desired to explore.<br/> Truly, it varies with each artist and I believe continues to develop<br/> over time. Past fellowship artists tell me that they continue considering<br/> concepts or techniques long after the project is over. At other times<br/> it is a relationship formed. Most artists in the project are not<br/> ‘close friends’. They might be acquaintances, familiar with the other<br/> artist’s work or completely unfamiliar with each other. Regardless of<br/> the level of relationship at the beginning of the project, there is a<br/> depth of relationship at the end of the project. This ‘more familiar’<br/> level of knowledge often encourages those artists to communicate about<br/> various events, ideas, and concepts long after the actual event is<br/> over.<br/> <br/> <br/> <br/> <strong>Q: What does the community get out of it?</strong></div>
<div><br/> A: They get the opportunity to see exceptional artwork up close,<br/> rather than in publications. They also get the opportunity to interact<br/> with the artist. As an added bonus they get to visit the studio and<br/> see the artwork that has been in process all week. The event not only<br/> expands the artists’ perception of possibilities, but that of<br/> individuals in the community.<br/> <br/> <strong>Tom Coleman – 2013</strong><br/> <strong>Elaine Coleman – 2013</strong><br/> <strong>Meira Mathison – 2013</strong><br/> <strong>Michael Sherrill - 2013</strong><br/> <strong>Lynn Smiser Bowers - 2012</strong><br/> <strong>Steve Hasslock – 2012</strong><br/> <strong>Billy Ray Mangham - 2012</strong><br/> <strong>Cynthia Lee – 2011</strong><br/> <strong>Mike Jabbur – 2011</strong><br/> <strong>Cory McCrory - 2011</strong><br/> <strong>Scott Bennett – 2010</strong><br/> <strong>Mark Chatterley – 2010</strong><br/> <strong>Steven Hill – 2010</strong><br/> <strong>Cathy Broski – 2009</strong><br/> <br/> For more information, click on <a href="http://www.connerburns.org/">www.connerburns.org</a></div>