©Tony Ferguson, 2004, 2005

China Blog June 2007

for The 2nd International Nanfeng Kiln Invitational

Wood fire Conference

and 500 year celebration of the Kiln

Friday, Saturday June, 1,2

Well, I made it.  Got hung up because my luggage with all my clothes, tools and snack food was lost.  Hopefully it will come tonight.  I am getting tired of wearing the same clothes today.  Christy and a young man for the government picked me up, stopped so I could get some water and snack food, and then took me to the hotel.

China is pretty cool so far.  The people are very nice.  Other than the bathroom not having a shower curtain, the shower head broken, no soap, the air conditioners not working,--they since fixed all that and now have moved me to another room where I have internet access.  Which now again, no soap (thank fully I transported the soaps from the last room) and no shower curtain.  I do have a real toilet (very modern) so am not complaining.  They keep track of everything here. I put an ashtray in a drawer and they asked me where did the ash tray go?

China is way more modern than than I thought it would be.  I had some tofu and rice and the mushroom dish had pork in it so that was fun spitting that into a napkin carefully.  I think they understand what kind of vegetarian I am now so I hope whoever I am with can convince them of my seriousness.  Anyway, I am tired from all the flying, have a tickle in my throat--I think from the air quality.

I was taken out today by one of the Nanfeng kiln managers Wilson and his wife and daughter.  They were very nice.  Wenzhi and Yusan joined us for lunch.  Then they took me to look at the ancient kiln and where I would be working--impressive.  The firing crew was firing when I was there--they were walking right on top of the kiln with these hemp like looking sandals that would smoke.  The physical structure of what I saw of the kiln was impressive and solid with a lot of buttressing.  I will take pictures.  I guess now I will only be maybe 2 or 3 days at the school  because its impractical for me or them to pick me up which is fine with me actually.  So I will find out more in the next few days.  They emphasized me testing glazes and that we would be going to the chemical place to see about using local materials.  Everyone is very kind here and I appear to be of someone of importance to them so that is good and weird at the same time.  It is weird being so nicely fussed about.  Unaccustomed to it.  Perhaps my mother was right when she said you need to go somewhere else to be famous.  he he.  I think Wilson may think its kind of neat that I don't eat meat or drink so far--I shared with them the influence of Buddhism, Taoism on me a little bit and that I practice an East Indian yoga.  Hard to tell if they value it or not but, whatever, I do it for myself and that is all. Had a great conversation yesterday with Wilson about eastern and western ways and how we both see the two synthesizing and the great potential for both to teach each other (and they have) the stronger and more valuable aspects of their cultures. I think China will contribute much if Westerners look deeper into her origins.  I was just asked by Yusan to be in a show in Shanghais in the fall and I said sure.  Anyway, everyone is busy here-there is an air of busi-ness in China.  I like it.

Sunday, June 3

Hung out with Yushan last night and got to see some of his work.  Ate dinner with him.  A very cool guy.  Much humility.  I have encouraged him to apply to teach in America (has an MFA and mega credentials) as I believe he would have much to offer his students.  He wrote a book on contemporary installation, conceptual/architectural public art.  Very cool.  I will be working with some of the international artists in his book in the upcoming days.

Today I awoke early 5:00 a.m. to the sounds of the crickets.  It's time now for some editing of pictures almost 7:40 and I need to get ready.  My lost luggage with all my clothes is supposed to arrive today.  The children below in the play/garden area have not arrived so there is no sounds of children yet.  Yesterday when it was thundering there would be this after rumbling scared cry in unison.  Sounded natural. The thunder clapped close as did the rumbling.  So, I am off for now.  Going to Wenzhi's in Guangzhou.

Monday. June 4th 

I returned from teaching at Guangzhou Fine Arts Academy.  The students were all beginners and as I like to teach beginners it was a lot of fun.  Like all students, some catch on right away and others will need to practice--actually, everyone always needs practice.  Very nice students.  I demonstrated some different forms and like everyone in a group there is always one guy who wants you to make something challenging.  So, I made a closed bottle form and at the end blew in the end to inflate it.  It was like I was at a birthday party and just blew out the candles--the students responded with glee and applause.

I looked over the glaze chemicals and previously with Dorian, Gary and many of the high fire glaze ingredients figured out by Wenzhi and Su (her assistant) as per my list, it looks as we have a good starting point to begin testing the glazes I use and others Wenzhi would like to develop with my help.  I will be teaching them how to fire with reduction based on what I have learned and more recently Tom Coleman's way of firing which I have adapted from a heavy reduction firing cycle.  I was very shocked and impressed to discover that they fire these huge fiber kilns (the wall must be at least 12 inches thick) on 3 or 4 human size propane tanks since the college is on an island.  I am going to have to check out their Chinese burners and I can only think they must be very efficient. 

A 20 foot carton is about $3500 to ship back to US--mental noting it incase Broc, Lenny, Richard and myself want to ship any of the work beyond our 20 and 50% to the US.  I just handed off the editing work I did for their catalogue and will be doing the final proofing.  Where Wenzhi lives is like Manhattan.  A very modern bustling city.  It's interesting how old China can still be found in and among the cracks of this transforming civilization.  A female artist (Alfred Student I recall) arrives tonight and then tomorrow Broc comes.  Going to be interesting with all these artists together I think. Tomorrow I will go back to GFAA, demo, start glaze tests to be fired latter that day and then Wenzhi is going to bring me back to the hotel in Foshan until I don't know when.  They single fire everything here so this should be interesting returning back to single firing.  I can't help but think my bud Ernest http://www.ernestmiller.com could do very well here.  Next week the conference begins. We have a lot of work to get done this week with respect to glazing and testing.  I talked with Wenzhi and Yushan and I might be representing Wenzhi and Yushan on http://www.aquariusartgallery.com I think their contemporary sculpture and conceptual art may find interest in the US or Europe.  They can ship from China to anywhere in the world. 

Tuesday, June 5th 

Demonstrated at the college again today--trimmed and made new work.  Made glazes and tests with Su, Wenzhi's assistant.  Going to help Wenzhi fire American way.  Worked with too wet porcelain and too stiff stoneware.  I used that as an opportunity to talk about clay needing to me somewhere in between depending on what you are doing.  The students as usual were ever receptive--new group this time with Quinney translating again.  Returned to Foshan and met Julie from California and a Norwegian tile artist Christina Peel.  Both very nice.  Toured the kiln area again.  Saw Wenzhi's workshop where her lead worker was making the blank tiles for her LSC commission.  126 of them 2 feet by about 20 inches--mind blowing.  She doesn't seem to do anything small.  If I could get large commissions I could come to China and create them I was told or make any kind of work for that matter paying the workers more.  Met a traditional Chinese artist who had his studio near kiln and also met a very good Chinese artist who will be participating in the conference.  He does some very literal expressive figurative work.  I liked his work.  We met Mr. Wong the manager of the Nengfung kiln and just returned from eating dinner with him, the 2 new artists, Wenzhi, Yushan, and a Mrs. Wong.  They really know how to eat in China.  They have learned that if they touch something vegetarian with their chop sticks (such as those that recently touched meat or chicken, etc) I won't go near it.  They think its funny and I find it funny that they think its funny.  Anyway, eating is a little tricky here but not too bad for a vegan.  Mr. Wong asked me why I was vegetarian.  I explained about the meditation I practiced and Wenzhi translated.  He asked if it was Indian or Chinese and I said Indian.  He said he thought my way was better.  He said Yushan eat al kinds of meat and still small and Tony big.  I said many gold medalists around the world for many years have discovered vegetarianism as the optimum diet for the body.  I also told him that I come from a hard working family and that we do many things ourselves.  Literally 12 courses later and numerous toasts (you could catch your food in the aquarium room next door with nets before you ate it) we were done.  I ate celery, small rice burritos, mushrooms, and other food and what I would call Chinese baklava.  Christina was funny because she would look at me like you don't know what your missing and I would return the look with a smile thinking, yes I do and its ok with me.  Julie also enjoyed herself but her jet lag left her in a state of the zone I think.  I suspect she will feel great today.  They are very hospitable.  Tired out.  Wish I had massage.  I was asked if I missed my family.  I said of course.  If I think about them too much I get upset.  Anna was right however, time is flying by here in China.  Broc and Lenny and Vic coming tomorrow.  Night.

Wednesday June 6th

Went with Christina and Julie to the kiln site again, walked around, set up studios.  Discovered the wheels sadly do not have as much power, have one speed, no bats like we are accustomed too as well as other things.  I think that it is good sometimes to move out of what is comfortable for you and be challenged.  This will be challenging.  The girls expressed the same thing. 

I ate lunch with Christina and Julie in our hotel restaurant on the first floor--for a long time and enjoyed some premium green teas.  Some gentlemen sent over some tea as well.  Very delicious--left a smooth sweet taste on your tongue with a nice after taste.  During lunch I was asked to give the opening speech at the Kiln on Saturday.  I need to write it today so they can translate it tomorrow.  Oh boy!  What am I going to say for 10 minutes?  This will be interesting.  I was just sent the table/list of the following artists attending the conference:

This should prove to be an eventful conference.

June 7 Thursday

Had a massage last night.  Was told that it was a take your clothes off kind of place.  Took my clothes off and hopped onto the table face down.  After turning around to see that I was naked face down on her table, the girl ran out, I heard some talking and then laughing, some more talking and then even more laughing (they were passing on the information that there was a naked American on the table.  I am sure my face turned red.  I quickly put some shorts on and then resumed position.  I guess the fact that it was a not the kind of therapeutic massage I am accustomed too got lost in translation by Wenzhi's student. 

Finished Speech.  Could I be a diplomat?  Borat says, "NOT."  I think Wenzhi is coming over today to see Broc, Lenny and Victor her son.  They came in last night.  I welcomed them and hung out with Broc a bit.  We walked around a bit in the rain last night.  He's ready to rock and roll.  Lenny has been here before so she is going to show us what she has discovered.  Going to bank today to change some money.  Going to the bank was, let's say, an ordeal.  Many papers to sign, re-sign, argggh.

Just returned from lunch--eating is always interesting.  Getting my friends here to test the food before I eat to see if there is anything I can't eat is becoming normalized.  Seems to be working out fine and I think the Chinese understand me.  We saw the more inner workings of the Chinese factory.  Amazing.  Throwing away my puritan pottery training and will be working with molds of larger scale than anything I've ever seen or worked with.  Broc and Lenny and I and others are excited.  The factory workers are so nice.  Everyone here is polite.

Just met with Wenzhi and Yushan and looked at my first glaze tests.  They turned out pretty well but lacked the color and contrast they could have with the right firing schedule--Wenzhi is going directly now to a meeting with Mr. Wong and 30 Chinese government people to look at these glazes and some she has brought back from the US I think.  I didn't realize how important their glaze "initiative" was?  Maybe its not so important?  This should be interesting to see how this develops.  Some of the glazes I use are Coleman's I and told him if a deal is made he should get a cut.  He said nah.  Well see about that.  Tom has given so much to so many people.  I think its important to show respect to those people who help you along the way of your path.  Will be going back for to do more teaching to Guangzhou tonight, proofing the English, and more glaze tests.  Everything is single fired.

The Factory at Nengfun Kiln

These are all push-molded from slabs.

June 8th, Friday

Taught today at the University two classes--lectured and demonstrated in one and trimmed and lectured in another.  The Chinese students are very nice and respectful.  Everyone is listening and other than questions, no one talks.  It's great to have such good students.  They wanted to see me do something challenging.  I said I was doing something challenging--trying to throw wet Chinese porcelain and stoneware that wasn't so plastic.  I talked about practicing--regardless of the material becomes applied knowledge.  Book smart is ok but applied knowledge through a process is better because you really understand as you develop mastery.  There is no substitute for experience.  I talked to Wenzhi about the need to pug the clay for the students to make sure students have the best possible materials and equipment so they can be successful.  She agreed.  Inspected glaze tests again, talked to Wenzhi about how to instruct her assistants in firing the gas kiln based on the Coleman/Geil schedule I've adapted.  They do about a 10 hour single firing schedule here.  My modification should bring it up to 12 to 14 I suspect.  See what happens.  I will be testing the glazes made with Chinese glaze chemicals in the wood kiln at Nengfun kiln as well. 

Back spasimed twice during our talk while I was sitting on a stool.  Wenzhi almost brought me to the hospital.  It wasn't good and I am going to find a good massage therapist here.  Could it be the heat?  Lenny thinks so.  It could also be unfamiliar beds (staying in hotel, staying at Wenzhi's) as well.  We are still acclimating, feeling China, and getting ideas for what we want to do.  I plan to make 20 designs (they call it domestic ware) and then move into sculpture.  Who knows, maybe even some collaborative work with someone which I have never tried.  The artists are so friendly.  It is like a group of friends who have returned to work together.  There is a real natural affinity between some of us.  I am looking forward to what we all may learn and share together.  Everyone's work is so different.

I am really seeing the possibilities of designing work and having a factory mass produce it.  Did I just say that?  I think my back said it.  So much for puritan pottery.  Certainly I will continue to make one of a kind work--that won't change but creating a line of work to be mass marketed each year could be very lucrative I think.  Marketing that work to Target, Daytons etc. and having the production ability of a factory to satisfy demand has me very curious about the whole thing in addition to the government marketing the line of work I design for China--should they want to create a contract.  My knowledge of glaze alteration, application and firing and my design and forming skills may serve me well yet in a whole different way than I ever imagined in China.  Or, I could be taken advantage of I suspect.  Of course, the only way to know is to go for it and trust folks.  I believe the Chinese people to be hardworking, kind, and polite--I think there is a strong vein of ethics as well but I see in the infrastructure in their rise to become modern (I was out shopping tonight for a nice shirt for tomorrow's opening reception-my favorite clothes are the traditional which it appears no one wears anymore) the great potential to fall into the pitfalls that surround the materialism of our culture--I suspect that any culture can not be insulated forever from the influence of other cultures.  There value for education surpasses the U.S.   There is no doubt on this.  I wonder if their roots in Confucianism, Taoism, and Zen Buddhism may keep them more focused on what is important and meaningful in life?  Only time will tell.  Met Vilma Villaverde, Bastienne Kramer,  Eddie Lui, Poul Johannes Jensen, Phyllis Kudder Sullivan, and some other artists whose names I can not remember.

June 9th, Saturday

The Speech:

Tony Ferguson (USA)  Opening Speech for Ancient NangFeng Kiln Conference

"While in America at Lenny Rukavina's house where Wenzhi was staying during her teaching at Lake Superior College this Spring, I was able to see images of the work of the artists who were confirming their participation in this conference. I was amazed to discover the many accomplished artists and the diversity of the content and forms of the work—many of which whose work I only know from books and exhibitions. Like many of you I suspect, I felt very honored to be included with such a group of accomplished artists—40 artists from 14 different countries from around the world--and now we are finally here, together, to begin our work.

I was asked to give a speech today about what I have learned about China. Well, I have learned that Fosan is the birth place of Won Fei Hong also known as Bruce Lee and the birth place also of Chinese Gong Fu known to the rest of the world as Kung Fu. Also, that Foshan is responsible for 60% of China's ceramics and contributes to 20% of the worlds ceramic production.

When I came to the kiln I also learned that Wenzhi does not do anything small. When I first saw her murals I was blown away with amazement at the scale and level of skill of her artistry and the Nengfun kiln team. I began to see the possibilities with the Renaissance model that is in place here. I also learned of her large sculptures—too numerous to count and was also impressed with the work ethic and productivity all around the kiln. I believe this work ethic and level of productivity would be found anywhere in China.

When I came to China, I did not know what to expect. I wondered if perhaps I might see the Gong Fu warriors of my childhood days—the Shaw brother's movies exported to America, long haired pony tailed Gong Fu Masters and semi bald monks battling it out over the love of a woman or an insult. Well, I still have not seen any Gong Fu fighters (except on TV) and I suspect this is a good thing because my Gong Fu is probably not as good as their Gong Fu.

What I have observed about China is a culture that is and becoming more modern--I think every minute. There is a surge of energy that is productive and prolithic, the fast pace of any major city in the world can also be found in China. China seems to retain its traditional values and yet is more open than ever to be explored and understood by the cultures of the rest of the world. It seems that China is a culture that simultaneously modifies and yet retains its tradition much like the Native American culture from my country. Another thing I learned is that China has given us the invention of porcelain, many glazes, stains, firing technology as developed through the early dragon kilns passed onto Korea and taken to Japan. And of course there are the amazing ceramic accomplishments from China: the Terra Cotta Warriors, the Ming Tombs, numerous contemporary public works and many other artworks made from clay.

Clay is a material that man can take and make something from nothing. It is our ideas, our feelings and emotions that shape clay into its form where man uses nature, transforms nature and struggles with nature. It is a looking glass of self and one's culture. As clay is transformed it also transforms its maker. We all know and understand its inherent value of transformation and development, its alchemy that is a physical and literal metaphor for the potential for man to transform himself into something better than what he knows himself to be.

I am reminded of the origin of tea culture of the Southern Zen Buddhists of China and their influence on what became teas-ism in Japan, no doubt hallmarked tea ceremony as a metaphor for the cleansing and restoration of the soul--the tea house was in fact the body/mind/spirit and tea was the elixir, the mana, the element of restoration from a world of strife and conflict. Our world is still in much conflict. I said to Wenzhi that our government would never sponsor such an event as this because they do not value artists in the same way and their ability to think with both sides of their brain and heart. Please, let us thank the Chinese government for their long tradition of valuing the arts because such an event as this among all the conflict in the world is a statement about the value of bringing people together, about unification and expression of multiple cultures, an open-ness to a sharing of perspectives, and the optimism of the possibilities of what we might share and learn from each other.

Let us thank Wenzhi Zhang for her tireless efforts, Mr. Wong and his vision for the perpetuation and value of Chinese and world ceramics, and the Chinese government for valuing the creativity of artists from around the world and facilitating an event where a cultural, creative synthesis can take place.

And although many of us do not know each other, many of us will become good friends and hopefully work again together in the future sharing our commitment to a material, a process, and the renewal of our spirits and timelessness that comes with working hard and creatively, communicating something beyond ourselves and yet within ourselves--connecting us all.

It is with great adoration that I welcome you all to the 500 birthday of Nengfun kiln and the 2^nd annual International Woodfire Conference. Let there be good fortune for you all. Work hard, eat and drink well. Enjoy! We are in China!"

Well, I didn't get to give the speech because it rained--and as hot as it is here, that was fine with me.  I was wearing pants and a traditional shirt and was soaking it with sweat.  Did I mention how hot and humid it is here?  The air quality is pretty bad as well.  The tickle in my throat is pretty much gone so I think I have adjusted.  The opening reception was pretty "How to do"--Chinese dragon dancers, drummers, girls in long red dresses, the kiln area decked out, government officials, Broc shot champagne everywhere and domino effected pyramid champagne glasses to the ground.  It was pretty funny.  Broc is pretty funny.  One of the things I like about Broc is he's comfortable in his own skin and enjoys himself.  I was interviewed too much by CCTV and the newspaper and expressed they should talk to other artists.

Nino Caruso, me, Mr. Wong, Eddie Lui, Vilma Villaverde

Boy are we getting the VIP treatment here.  They are really taking care of us well.  Just returned from spa where we had a sauna (men and woman were separated) and then sat in a water jet pool (Poul and I were kind of grouped up) where there were two different heads spraying water--felt good on the back.  Then we ate in robes and little spa outfits and then me and Nino Caruso had a foot massage in together (separate side by side lounge chairs).  Nino is Italian and it was fun to share some time with him.  He asked me about where I was from, my family, if I was teaching, etc.  I said on and off for the last 7 years.  It's been hard getting any kind of regular fulltime job teaching with only a Masters.  He has a Masters but was grandfathered in before there was an even an MFA I think. Major credentials this guy.  I think Nino is 79 or 80.  Nice man.  His work is awesome.  The foot massage was a mixture between assault--actually, it was like someone performed Shiatsu Kung Fu on my feet.  Painful and full of laughter--I couldn't stop laughing at times because it tickled too.  And then I had 20 minutes on my back and neck trouble areas before we had to take the charter bus back.  I think better.  I see my broken English is coming through in this blog--simplified for Chinese.  Teng Qua Qua means very good.  Knee How means Hello.  Ho Hoo also means very good.  Shay Shay means thank you  Wilson and Mr. Wong and the Kiln office girls really took care of us.

Poul, the Viking (from Norway--and big dude) said they put talc on him and it was incredible.  The clay was too wet for pretty much everyone today.  Wilson found me the only wheel with variable speed--I think I will be sharing it.  We set up studios and kind of started working--most were setting up the clay to dry.  It was hell trying to get anything to work today with the state of the clay--I was throwing Chinese porcelain.  I don't think there is anyway I can make the quality of work here--but I can certainly try and also perhaps do something different.  I will be testing glazes in the Dragon kiln tomorrow--they fire this kiln insanely often.  They are very interested in learning how we fire.  This could be interesting.

Toast toast toast toast toast toast toast!

They said I was like Buddha today as they ate this fine quizzine after the opening of the ceremony.  Did they mean fat Buddha or happy Buddha?  I said, "like Monk."  "You eat Monk food."  I am still a cheap date.  I will take pictures of the food I eat.  Mushrooms that freak me out because, well, you'll see.  Don't get me wrong, the food is great here.  I did find an Indian restaurant that was just awesome.  Fish, duck, Eel, scallops, and who knows what else.

Sunday, June 10

Just finished washing my clothes in the bath tub.  Man what a day.  I missed breakfast as I was pretty worn out from yesterday.  Had a kashi bar and went to the kiln.  Really struggled with the porcelain today and trimming confirmed that the porcelain was freshly made, short, and teared when I trimmed it.  The Chop guy came in and I ordered some pre-designs to look at.  Going to have one made in Chinese for the family.  The factories master potter as I would call him spent most of his day today watching me throw work.  Hmm.  I wish I knew his name.  He was helpful when I made a 30+ inch platter on a 100 pound plaster bat by controlling the speed--they found one for me (I think it was his) that works better than one speed.  The wheel wasn't powerful enough to turn it very well so working has really been a struggle.  Broc is doing some very good work--he is moving beyond Volkous/Reitz influence.  It is sometimes hard to move beyond your influence's shadow.  I still feel a bit under Tom's but I may be creeping away like Broc. 

Seeing all the artist's do their work has really been inspiring and I am seeing techniques with clay I hadn't known of.  I brought fiber to share (thanks Lenny for picking it up for me).   Geetha De Silva's work (an elephant form sculpture) is really really cool.  I told her l liked elephants too and wrote a poem about them.  What a noob (me).  Anyway, very cool buddist and Indian/Sri Lankan influence in her work.  I has wish she had had more pictures of her past work because what I saw was pretty amazing--somewhat classical Indian style female dancer/worshipper forms and flowers entrancing an elephant.  Vilma Villaverde's gymnast leg torso incorporating a porcelain central form is coming along quite nicely.  She understands my Spanglish so that is fun.  Victor, Lenny's son, speaks fluently and he interviewed her today I think in Spanish.  Nino is building a sculptural form, Sarah her solid I think they are teapot forms--going to pick her brain on those, Julie, I have to go see what she is doing (this girl is really into spaces and I am looking forward to seeing her work.  Christina is building a corner wall into the kiln with converging planes.  The maquet looks cool so I think her wall will be of a really exciting scale.  Bastienne Kramer has a really nice butt/torso form coming a long of good scale.  The skill level here at making work is the highest.  Phyllis Kudder Sullivan who was doing some really neat double wall coiled weaving work.  Adding more later

Before washing, I returned from going out with Wilson and a government guy, Poul Johannes Jensen, Nino Caruso, Peter Callas, Broc Allen.  I should have had a recorder for our conversation.  It could have been an article that would have helped many artists in general in their negotiations and China in their developments with future artists and designers.  The wealth of experience of Nino and Poul is incredible--both of which have designed numerous (and I mean numerous) works of art for a variety of markets and cultures in just about every area in clay--this was invaluable to our conversation because they had years of experience to share with all of us and our attempt to communicate to Wilson that artists as designers need to know what market they are designing for, need to research the space, be paid, develop a partnership, etc.  This conversation opened with me asking Wilson if there was a problem (keep in mind 2 days working).  Apparently, as Wenzhi communicated to me, they were not happy that the artists were not making work that the factory could reproduce and sell.  That was revealing.  This really had our curiosity as to the intentions of the Government and the purpose of this conference.  Wilson confirmed this basically.  As to the areas of: sculpture, environmental space/public art, decorative, domestic ware (pottery) etc--the areas some of us picked (although it sounds as if many were not sent this information--merely an invite) they were upset that we were not making work that they perceived as something the factory could copy for the market.  Hmm.  This really got things going.  I think his words were "imitate, copy" and an "inspired" added.

Poul was dean for 5 years, managed the entire production process of 350 works in a porcelain factory in Norway (man would I like to have a long conversation with him about their processes).  The government man whose Chinese name escapes me was very interested in Poul's experience with marketing the work as this seems to be a very important factor for them. 

This led to us expressing that if you want us to design the best work (and for what they want exactly is still up for defining) we can, we need proper facilities to do it properly--the right equipment, wheels that do not just have one speed, pugmills, extruder, ram presses, etc--that they need to update their equipment based on what they plan to do--as it seems they are trying to figure that out.  Poul expressed when you give Nino a little table to design on...I think it was a great conversation and dialogue about how artists are also designers, engineers, glaze chemists, kiln builders, kiln firers, etc--we do many or all of the entire process.  We are our own businesses and that if you use an artist's idea they need to be treated with respect and compensated.  This came about after Wilson talked about why they had us come to China:  to make work that would allow the local artists to be inspired, imitate and copy.  This confirmed some concerns of mine and others and further generated looks between ourselves and more conversation.  I told Wilson that we certainly don't need to show the Chinese how to make pots or how to make glazes--but what was lacking was an overall sense of contemporary originality (by the way I saw some really cool sculpted figure work from an artist who had a studio nearby--who made molds of them).  He told us how each son of the artists learns his fathers techniques (many of which are kept only in the family) and is instantly famous because of the family name and the imitation of the traditional work--and he make's his father's work.  Wilson said he said now that  young people want to be famous but they don't know how--I'm not sure what he meant here or in what context.  Someone said that everything although technically sound and beautiful, it is pretty much in every store and lacked any new sense of originality.  He agreed I think.  Someone said that imitation of our work is not the way to go and if they did the artist needs to be paid. Peter raised some great points about the need for China to send its young people around the world to experience culture, to learn from other artists, and then to take back that knowledge to share with its own people--that this would produce original dynamic work.  I said the artists in a free and open society--(yes there are plenty of imitators in our own culture) produces original highly creative artwork--and certainly some not so. 

Knots in the back.  Wiped out.  More on this later, changes and additions.

Monday, June 11

Worked today.  Porcelain tearing, a real struggle.  Made teapots, lids, spouts, gave a couple of tools to Eddie Liu.  What a great guy.  I would go to Hong Kong just to hang out with him.  Seeing great work being made from the other artists.  The music being played--well, old American super light jazz basically, Nat King Cole--not would I would listen to normally and that's ok--it got a bit musac-ish.  I said I think I am going to have to ballroom dance to this music--Phyllis popped up and put her arms up and said "ok."  So, I obliged and Phyllis and I had a little waltz lesson.  Highlight of my day.  Phyllis has a really good energy about her.  Great New York accent.  I think she's Italian.  As a potter mainly, I am finding myself drawn to the different ways in which she and others are working.  I hope to explore these new and different ways of working with clay when I get home.  I looked over my chop designs with the chop maker--pretty cool. I will be getting them tomorrow and will begin to incorporate them into the work.  Brocs looked awesome with his work.  He sure is tearing it up.  So much energy. He put two molded forms together from the factory, put a Rim on the top and surfaced the forms.  Looks awesome.   I am hoping to do this after I get the functional ware finished.  Time is running out for wet work because it is so humid here work is taking a long time to dry.

Had acupuncture today.  Wilson was kind enough to take Nino, Peter, and myself to the Chinese doctor.  Nino and I with our bone spurs on our heals (the doctor said don't walk so long) and Peter with his sciatica, it was a fun filled event.  Walking through the corridor of the Chinese hospital I was sniffing--what's that...is that, pot?  Nino looks back in his Italian accent, "Yes-sa."  I laughed. Peter is like "yea."  Wilson turns his head and said "its for pain."  If Broc was there he would have said "Can you say contact buzz?"  Anyway, the doctor was very nice and spoke English.  He said they get many many people with my injuries (neck from car accident) and cure them.  My food hurt more leaving then it did when I went there so I will think on this.  Nino starts sleeping I think--I fell a sleep for a little bit with the needles in my neck, back, along my spine, butt thumping with electricity. Nino is such a nice man and his work is so impressive.  I would love to go to Italy and work with him.  There feels like something of part of my heritage in him.  Yes-sa, I am feeling humorous tonight in the light of realizing the objectives of why we were brought here, the environment of control, the lack of consistency in communication with the artists, the energy expelled in talking with people to try to express our feelings and gain understanding of the government's intentions.  I think I am burnt out on the subject and done talking about it.  Feel like clamming up.  At this point I am going to make my 20 designs and work in sculpture I think.

Had a chance at an outside table last night by the hotel where artists drank and I drank tea (even among artists I feel different as I suppose we all do in our own ways)--to get to know Dell a little bit who came later.  He told us the story of porcelanna from when Marco Polo first saw porcelain and gave it its name.  It means pig vagina and that is where it gets it name because of what Marco Polo saw when he came to China.  Learned something new.  He was pretty funny about the notion that he is a conceptual artist who makes other people's work (not exact I think more about the idea) and it would be superb if the Chinese would copy him--which fits into his reason of doing conceptual art.  I like this guy.  I heard Julie is going to be rolling down a hill in clay or something--performance clay art.  I am looking forward to seeing these new ways of thinking about and using clay.  I suggested we do round robin and all move from work to work and work on each other's work such as I have done with my students. That's another conference I guess.  Anyway, late.  signing off.

Tuesday, June 12

The mood I am in, well, is leaving me here right now to work on sharing information and document my experience here.  I'm getting tired of my shoulder hurting me.  Can the acupuncture doctor really help I wonder?  Apparently many of the artists didn't not get information so its easier to post it here than try to answer questions should they look it up.

Posting the stigmata sheet of camp rules/information given to us a few days ago: 

And my invite letter:     Here is the "Proceedings, Tenet, and Calendar" and other information sent to me/referred to in the invite.  Trying to find the original email "Proceedings" at the moment not the revised one after Broc and my efforts to make things fair for all artists linked above.

Donation to "Museum" My professional shot with my point and shoot on top of book inside a pillow on the bed.

Off to the studio or a kung fu fight.

Worked today.  I've had it with the porcelain.  I lost numerous pieces today and couldn't even put together my teapots--ripping, cracking, you can't push this clay in any direction without it splitting.  I will not be working with porcelain tomorrow.  I got my chops--2 large ones and 1 small one.  I think I will get a medium one.  I actually want to see the shop and maybe have some other stamp forms made maybe of my design.

In the studio a master Chinese artist who was visiting today told Broc "I don't understand your work but I see the art in it" and other really cool, meaningful statements.  I think Broc said about 30 minutes of discussion and translation.  Wish I had had a video camera.  It was pretty cool.

Poul and I walked back and talked about our enjoyment of meeting and working with all the artists and the factory working conditions.  He told me the stone lung that happened in the factories I think it was in Norway (and many other countries such as from the miners on the iron range where I live) and saw the same conditions for it to happen here where the workers are.  I said I saw the same thing and thought the same thing about making a friendly suggestion.  We will suggest some improvements to Wilson.

Went out to the (catch your food) place I went to with Mr. Wong and others the 2nd day I was here.  Wilson looks out for us all really well.  Ate there and then went out to pub like place by the kiln.  Bastienne discussed with Wilson the idea of coming to China in the future to do commission work and it looks very promising that they may be able to provide good services in the creation of work--this offers I think many possibilities.  These are the kinds of things they want artists to know they can offer.  A lot of discussion about the future and I am optimistic of Wilson's leadership and ideas for innovation and art education.   I think Wilson understands very well what we think culturally about innovation, creativity, and other related things.   I wonder if the higher ups in the government that want to continue their way of thinking will be advantageous to the Nengfun kiln as Wilson tells me the kiln does not make any money?  I think they need to open their minds and also recognize how business is done with artists outside of China as this could provide for them the creative impetus they need to be competitive and creative.  I requested we meet with the government officials to share our thoughts on how to possibly help them with advice or even perhaps our services and that copying is not the way to go, but rather, to form partnerships with artists/designers, pay them fairly, and learn new ways of doing things, with good design, creativity, their experiences, etc.  I am feeling optimistic more now but as Wilson said, he and Mr. Wong are "yes" men and they do what the government tells them. So, we will see.  Hopefully our presence here can offer something positive to these folks.  I am glad to meeting such great people who are doing dynamic work.  If anything pushes me into sculptural and installation work this conference and the artists here will. I have to commend Wenzhi, she picked good people.

Wednesday, June 13

Took a walk through the park on my way to the studio this morning. 

And then through the gallery district.

And then through the doors to the Nengfun Kiln office and museum and showroom area.

And then entering the studio artists who rent the studios around the kiln area

And finally to the studio we are working in.  These are some of the invited artists at work.

Had it with the porcelain so I switched today to stoneware. 

Made a number of larger pieces with fair success.  Used my Chinese chops and they could read my name on my work.  Master thrower hung out again with me watching me work.  Nice man.  In fact, all the Chinese I have met are very kind and polite.  I finally took some pictures today and yesterday of some the work the other artists are doing (and I didn't get everyone).  It is rainy season here and it was raining cats and dogs.  I wonder how that would translate in Chinese.  Anyway, I had peppers and rice. The peppers were sweet and hot and like wood heats you twice.  I am told we have until Friday to make wet work and then drying.  I suspect we can make some smaller things.  I think I will start on teapots again tomorrow since the porcelain ones failed miserably.  Mrs. Wong really liked my handle tools as did others.  I told here I wanted to find someone to manufacture them here.  She said good idea.  I don't know.  Richard Gruchalla should be here today.

Thursday June 14

Just updated and now off to the sweatshop. 

Returned after dinner and tea--Richard "the Rockstar" Gruchalla was tearing it up in the studio today.  He and Tom Coleman are the best throwers I've ever seen--Ernest Miller could be added to that too.  Anyway, Richard made a lot of great work today--the Master thrower from the Kiln watch him today.  Working with the stoneware has been really nice.  Like night and day with the porcelain--I feel like I wasted a lot of time with the porcelain.  I made a variety of forms and experimented with some different clay-bodies--their shigaraki equivalent and a smooth light stoneware.  Richard mixed the small grog with the light stoneware and it throws like a dream.

Met with a tool designer who May Lee invited to the studio who designed and has a variety of tools made--he has a catalogue.  He is going to see if he can find the materials to make my tools.  May Lee and I exchanged tools--I gave her a push out tool and she gave me a tea pot hole maker--it was because she liked my handle tools so much she invited this tool designer.  Nice lady.  She has complimented my work so the American got skills.  She gave me her catalogue today and she has really experimented with a variety of firing processes.  She has experienced many cultures.  She has been helpful to me. 

Ordered some more chops--my Aquarius symbol for stamping clay, a Chinese saying that is way better translated from Chinese to English then English to Chinese (Eddie Lui said it and it was awesome) having to do with seeking truth and finding your way, and stamps for my wife and kids--their name in a expressive Chinese script.  The kids are little stamp a-holics so they should have fun with them.  The chop man does such an incredible job with this chops--I suggested he get online. I am going to work on some other symbols I think.  He was able to reverse them so they work in clay or a positive to stamp for 2D.

Friday, June 15

Trimmed the work and finishing touches today.  Cleaned my tools and things and brought them back to hotel.  Chop man brought me more chops--beautiful.  I think its time for a break.  Threatened 3 times, told my work was shit, and that I was a poor excuse for a human being among other things in my face.  Felt like I was on the playground.  Not worth responding too.  So, time to move away from that mojo. I think I will be washing clothes today.  I guess we are going to tour an industrial factory tomorrow with Wenzhi.  Cha cha cha.  Venture North team is complete.  Thanks Gale!  Geetha De Silva's work never ceases to amaze me.  She has such a wonderful energy about her and he work is such a natural expression of her culture and her feelings, emotions, ideas about the 2D work she is referencing for her 3d work.  For an 80 old man, Nino keeps working strong--all pi