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Left to right: Seana Higgins, pop-up card detail; Betsy Williams, wild clay tests; Alex Paat, bead tapestry; Andrew Snyder, Hamada-style wheels.

Crises and Creativity

Marion Angelica

“The world has been turned upside down.” The inversion has created pain, instability, and fear. I wondered whether it might also foster creativity and innovation. To find my answer, I issued a call to our field. Twenty-one artists responded. 

For the vast majority of ceramic artists interviewed, their plans and expectations for 2020 instantly disappeared as the Coronavirus Disease 2019 pandemic struck the US and our communities locked down. Shows, workshops, classes, sales, art fairs, and more were cancelled. Artists, often dependent on these activities for their livelihood, faced a blank slate, questioning the futures of their careers and incomes. Additionally, the killing of George Floyd and the resultant protests raised fear, shame, and a reckoning that has greatly influenced ceramic artists, as it has many others in our country. Several artists, especially those affected by the social reckoning inspired by the killing of Floyd, had artistic paralysis set in for several months. For example, Ben Eberle noted that COVID and its collateral economic hardships raised questions for him as a privileged white male. “Is what we do as artists appropriate?” “Does the world need another white, male potter?” Fortunately, through different means, each has returned to their work, often with changed perspectives they generously shared with me creating a picture of both hardship and innovation that uniquely captures the moment we are all living through.

Income

It will come as no surprise to readers that many artists immediately saw their day-to-day and projected incomes evaporate. Many, whose face-to-face sales and workshop/teaching activities were cancelled, rapidly turned to the virtual world: Instagram, new websites, Etsy, and participation in on-line galleries. Competition for sales among artists and other makers proliferated. People who had plans to go online someday, were compelled to move goals from the back burner, quickly firing up a digital presence. Others, who were already online, mentioned that the loss of commitments for shows and sales enabled them to enrich their websites, taking time for projects that had been waiting due to other immediate demands on their time.  

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Author Bio

Marion Angelica

Marion Angelica is a studio artist and teacher at Northern Clay Center in Minneapolis, Minnesota. She began her ceramics career in her twenties, then took a hiatus to raise a family, and to work in academia and nonprofit consulting. She returned to the studio full-time eight years ago. In that time she ran a program for the Minnesota Women Artists organization, which brought women artists together to share their experiences. She received a Jerome Foundation Emerging Artist award, multiple Minnesota State Arts Board Artist Initiative grants, and The Mt. Holyoke Fellowship award from her alma mater in South Hadley, Massachusetts. With the support of these awards she has studied the high desert in New Mexico, working in the Santa Fe Clay studios; explored a variety of porcelain clay bodies; and most recently, with an award in 2017, she participated in a residency at the Pottery Workshop in Jingdezhen, China. She has been a contributing writer to Studio Potter, Ceramics Monthly, Pottery Making Illustrated, and the American Craft Council blog. Her work has been represented in galleries and exhibitions across the country, including Pewabic Pottery in Detroit, Lillstreet Gallery in Chicago, and Contemporary Craft in Pittsburgh, Pennsylvania. To read a wonderful narrative of her creative journey in clay visit her bio on her website.
 

marionangelica.com

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