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My Friend Flash

Paige Wright

I have made a new friend. We have been acquaintances for many years, but now I consider us close. We met in college but didn't really connect until a couple of years ago. Now we spend almost every day together, really enjoying life. They are a huge part of my art practice, and they help me express my creative voice. You could say I’m in love with them. 

Flash Tiles #1

The friend I’m telling you about is not a person. Rather, my friend is an action. The practice of making tattoo flash. Flash is divided into two camps: market and custom. Most people are familiar with market flash, which is generic, easy to replicate, and easy to finish in one sitting. Custom flash is specific to one artist’s style. For me, making flash is like creating little daydreams about getting tattoos. Tattoos also have a specific visual language that includes line work. My new relationship with flash has me regularly playing around with imagery, improving my line quality, and learning about different historic characters within the realm of tattooing. Focusing on line work has opened new conversations in my art practice. With my newfound communication I have made a home in a new community that connects with many of my interests as a ceramic artist.

Tattooing sings many notes parallel to the song of ceramics. Like ceramics, tattoo craftmanship exposes the fluency and experience of the maker. Drawing and putting in a great line is an example of fine craftsmanship. Pairing exceptional line work with the individual’s conceptual engagement of image elevates the craft, just as the potter’s concept of a mug elevates the form. For example, the skull is an image used repeatedly in the tattoo world. There are many types of skulls, but how it’s drawn and how it’s described in its line tells a lot about the artist. Much like a mug. The culmination of the parts necessary to function as a mug are:  a vessel, a handle, and utilitarian glaze – these stay consistent. It’s the consideration and mark of hand that bring the parts together in a unique way. The skull can be highly rendered or defined with a few simple, curvy lines, but if it's put in the skin poorly the act is for naught. This connection of concept and fabrication elevates both ceramics and tattooing to a higher order.

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Author Bio

Paige Wright

Paige Wright is an artist who primarily works in clay.  She received her Bachelors in Fine Arts with an emphasis in ceramics from The University of Montana in Missoula, Montana, in 2006. Wright has participated in several artists-in-residence programs including the Carbondale Clay Center's long-term residency program, Red Lodge Clay Center's yearlong residency program, Ohio University's study abroad program at The International Ceramics Studio in Kecskemét, Hungary, and Project Network at the International Ceramics Research Center: Guldagergaard in Denmark. She received her Masters in Fine Arts with emphasis in ceramics from Ohio University in Athens, Ohio, in 2012. Paige was brought back to her hometown of Portland, Oregon in 2013 to help start and run the vessel design and production house Mazama Wares. She has held positions teaching at Ohio University, Grand Valley State University, The Oregon College of Arts and Crafts, and Clark College in Vancouver, Washington. Known for her expressive faces and versatile building techniques. She conducts workshops, lectures and exhibits around the country. She is currently working as the Research and Development Associate at Pratt and Larson Tile Company.

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