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Sunday, May 31, 2009

Visiting Paradise

    When my sister-in-law and I got off our Amtrak train in Spokane we stayed a couple nights in a perfectly respectable Travelodge.  The next night we had a rustic-at-best cabin at an RV camp in Cougar, Washington.  But the next night we stayed in Paradise.

    We signed in at Paradise Inn at Mount Rainier National Park a few hours after it opened for the season.  On May 15th the snow around the inn was piled high, in many places obscuring windows. It was sixty-five degrees, and there was a lake of melted water by the doors. At 5,400 feet above sea level it looked like January, but felt like a balmy spring day.  


    According to Great Lodges of the West, by Christine Barnes, the architectural firm for the inn was Heath and Gove of Tacoma, and for the annex (where we stayed) it was Harlan Thomas. The inn opened July 1, 1917, built for $100,000, and became a National Historic Landmark in 1987.



    My sister-in-law, dwarfed by the huge piles of snow at the hotel



    Our room in the 1920 annex had a small private bath, and was pretty basic.



    The view out the small windows was stunning. Although our window did not show Mt. Rainier, it did show the Tatoosh Range.  At night we saw a fox running across the snow in the moonlight.


    A handful of well-equipped climbers start off for a day at Mt. Rainier.  Right after I took this picture I met a park ranger named Sarah Pigeon, a name that made me smile since I am a fan of ranger Anna Pigeon in Nevada Barr's national park themed murder mysteries.  I wonder if she has written one set here.

    I've stayed at historic lodges before in places like Mt. Hood, Crater Lake, and the Grand Canyon.  This one, like the others, depends on its setting and rustic architecture for its appeal. The rooms aren't new or spacious; there is no telephone or television, but who wants to spend time in a room when natural splendor waits steps away?  The inn features cedar shingles and rock masonry that makes the building fit into its environment beautifully.  The great hall has a two and a half story ceiling, a features two massive stone fireplaces.  There is a huge cedar table that is supposed to weigh over a thousand pounds, six-foot throne chairs, a rustic grandfather clock and piano that was once played by Harry Truman. A man played piano that afternoon, taking requests for show tunes from guests lounging in the hall.  Light streams in through dormer windows high above a mezzanine where tea is served in the afternoon and coffee in the morning.  The second story balcony with its hickory tables and chairs is a good place to read, write a post card, or sip wine.  Large suspended light fixtures from the 1930s with drum shades hand painted with native wild flowers softly illuminate the room. There is also a large comfortable dining room, staffed by young men and women who were just learning their tables and how to operate the new computer system.  The food was delicious. 

    I wish we could have seen the inn in summer when the wildflowers are in bloom, but I thought the snow covered mountains were stunning.  Plus this early in the season the area isn't as crowded as it can be when the weather is warmer.  We couldn't hike at this altitude without snowshoes, but we drove down the mountain, stopping for more views along the way, and hiked near the National Park Inn at Longmire.  There was no snow there, and we stretched our legs on a couple muddy fern-lined trails.  

    Click on the link below to see more about Mt. Rainier National Park.

Post Title

Visiting Paradise


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http://www.photossexybodypainting.ml/2009/05/visiting-paradise.html


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Saturday, May 30, 2009

Bringing the Past and Present Together

    I had never heard of the Palouse region of Washington until a few months ago when I began planning for this trip, but here is where my maternal great grandfather, Edward Lemuel Adams,  and his family came from, and where descendants of that pioneer family live today. The Palouse is a large area of rolling hills in eastern Washington state, green in spring, golden in summer, dedicated to agriculture - primarily wheat. It's possible that the term comes from a French word, pelouse, "land with short thick grass", or "lawn."  It might be related to a Native American term.  Appaloosa horses first came from this region.

    I knew the family had a farm in Fairfield, Washington, from the comments and notes my grandmother, Bernice Adams Tess, left behind.  Though her father and mother were divorced when she was small, and he was killed when she was eleven, she corresponded with her cousins, and spoke of the family he whole life.  I wanted to see the farm, walk the cemetery and meet the cousins living in the area now.


    In a book Early History of Fairfield, edited by Glen Cameron Adams, teacher, printer and historian, there is a wonderful story related by a cousin I met that day, Gerald Holt.  Holt loves to tell family stories.  He contributed this anecdote about the Adams/Holt farm established by Civil War veteran Herman Heinrich Adams and his wife, Annie Lucretia Moore in the 1880s. Gerry Holt's grandfather, Arn,  built the barn; his mother Hermanie Adams Holt features importantly in the story.

    The family lived at the foot of Mica Peak in a one-room cabin with a 40-foot tent while Grandpa Holt built the large sawmill for Jim and Emanuel Hansen.  After completing the sawmill he brought his family back to Fairfield, where they stayed with Herman and Annie Adams.  In December 1909, fire destroyed the ranch house.  All the neighbors came as they saw the smoke clouds rising.  Uncle Bert Adams had his rising horse in a pasture behind his house in town and never did catch it to get to the fire.  Everything was burned except a picture of the old buildings which Hermine Adams Holt threw out the door.  The picture with its broken glass still hangs in her home.

    Hermanie is gone, but Gerald has the watercolor painting, a little water stained, but a fine representation by an itinerant painter from 1890 of the old ranch.  I was thrilled when Angie brought the picture to our luncheon get-together at Cutters Cafe, in Fairfield.



    After the fire the ranch house was rebuilt in brick, and today is slowly being rebuilt by Evans Holt.  The barn still stands intact, pictured here surrounded by green grass.  We went into the house, which is bare of windows, and inhabited by pigeons, and looked out over the fields toward Fairfield.  I tried to imagine Annie's lilacs blooming, the barn filled with horses, and the old steam thresher that might have been a reason my great grandpa left home.  According to Gerald, Len wanted to run the steam thresher, but his older brother Will wouldn't let him.  Len was so angry that they fought, and Len burned a haystack and left to eventually become a railroad engineer.


    I knew my great grandfather was buried at Fairview Cemetery, Rockford, Washington, not far from Fairfield.  It's a pretty place on a hill, looking out over the town and the surrounding countryside. Many of the Adams cousins, Gerry Holt and granddaughter Angie, Deral Adams, and Garry Adams, and Dona Adams Kochheiser were all there that cold and windy day to walk the cemetery, talk about who was who, and take photos.  Grandpa Adams is buried next to his grandmother's second husband, Lemuel Peele Moore (1812-1884), but no stone marks Adams' grave.  The superintendent of the cemetery took down what I knew: Edward Lemuel Adams, born July 22, 1872, died May 24, 1914.  Then the cousins discussed how to best mark his resting place.  My Grandma Tess would be so pleased.



Post Title

Bringing the Past and Present Together


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Friday, May 29, 2009

The Glory of Nature, and School Prayer


    Ruby Beach, on the Washington coast


    Western trillium


    Mount St. Helens


    Marymere Falls, Olympic National Park


    Lake Crescent, Olympic National Park

    It gives me pleasure to consider the beauty I've seen when traveling once the trip is over. This journey had many pleasures, in meeting people, in learning about personal and general history, in the chance to roam outside and see nature in its many forms, from rolling wheat lands, to desert, to swollen rivers and placid lakes, to snow-covered mountains. I've been going through my photos, picking which ones to keep and which ones to discard. These are a few I liked. It has been a while since I posted a poem, so I chose this Diane Ackerman poem, which expresses nicely a prayer in response to nature's beauty.

    School Prayer
    Diane Ackerman

    In the name of daybreak
    and the eyelids of morning
    and the wayfaring noon
    and the night when it departs,

    I swear I will not dishonor
    my soul with hatred,
    but offer myself humbly
    as a guardian of nature,
    as a healer of misery,
    as a messenger of wonder,
    as an architect of peace.

    In the name of the sun and its mirrors
    And the day that embraces it
    and the cloud veils drawn over it
    and the uttermost night
    and the male and the female
    and the plants bursting with seed
    and the crowning seasons
    of the firefly and the apple,

    I will honor all life
    --wherever and in whatever form
    it may dwell-- on Earth my home,
    and in the mansions of the stars.




Post Title

The Glory of Nature, and School Prayer


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Thursday, May 28, 2009

Postcards from Washington


    Mt. Saint Helens and Spirit Lake, Washington 



    Bonneville Dam, Columbia River



    Cans of salmon, Washington state



    Aerial view of Spokane, Washington



    Lower falls at Spokane, Washington

    I returned from my two week train/driving trip to Washington state on Sunday, and I'm just beginning to catch up on laundry, mail, cleaning and my rest.  I still haven't downloaded the zillion pictures I took from my digital camera.  I'm behind in my reading, my gardening, my art.  I had hoped to do sketching on the trip, but we seemed never to sit still for very long, except on the train from Columbus, WI to Spokane, WA.  I tried drawing a little in a Seattle park at the end of the vacation, but the magic of seeing someone doodling in a notebook just made me several friends in the park where I was working.  Looks like I'll be working from memory and photos once again.

    The short version of the trip was that my sister-in-law invited me to join her on vacation, and agreed to let me track down some distant cousins and quiz them on family history.  In addition she agreed to let me experience the less touristy part of Washington east of the Cascade Mountain range.  We took the train to Spokane, had a cousin tour us around that city.  We rented a car and drove to Fairfield, where my maternal great-grandparents raised their family, and where many cousins are buried and some still live today.  We headed south toward the Tri-Cities area, where Grandma lived on a wheat ranch, and where the Hanford Nuclear Reservation stands.  We drove up the Columbia River gorge, and up to both Mt. Saint Helens and Mount Rainier.  Then we drove around the Olympic Peninsula, spending three days at lodges in the rain forest and along the Pacific Ocean.  We ended up in Seattle, where we boarded the train for the two day ride back home.  

    It was wonderful - and exhausting.  We met good people, ate good food, and had a good time. We saw antelope, bison, moose, elk and mountain goats from the train, and lots of other fauna and flora closer up.  

    I hope to write more specifically in the upcoming days, but this will serve as a beginning.

Post Title

Postcards from Washington


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Wednesday, May 27, 2009

Andy Brayman


    I will keep this short, but I have to say that Andy Brayman is someone I am honored to know. He is extremely smart and creative, and every time I talk with him, I am astounded by his ideas. This article from American Craft Magazine is fantastic, and If you don't know Andy's work, then you should check him out. Written by Lily Kane, images by Brady Fontenot.




    Making the Most of the Margins

    Andy Brayman’s Kansas City “factory” is a launching pad for his 21st–century version of studio pottery.

    Andy Brayman’s Matter Factory, in what he triumphantly refers to as the “hinterlands of Kansas City,” is a laboratory, launching pad, and, yes, factory for his distinctly 21st-century version of studio pottery. It is, in many ways, a perfect illustration of how craft’s venerated faculty and its freshman class can happily co-exist in consistent symbiotic evolution. With the imminent closing of his secondary and more commercial business, Easy Ceramic Decals, Brayman’s Matter Factory is on the brink of reinvention and renaissance.

    After teaching stints in New York and at Bennington College in Vermont, Brayman settled in Kansas City, Kansas, and in 2005 set up his businesses in a former farmer’s market from the 1930s that sits, as his website notes, “at the confluence of the Missouri River and the Kaw River.” Brayman, who almost obsessively harvests inspiration from his surroundings, invested part of his honorarium from speaking on the “New Artists/New Work” panel at the American Craft Council’s 2006 “Shaping the Future of Craft” conference in the purchase of a 1956 Alumacraft boat for better exploring these neighboring rivers.

    From this huge space, a square footage definition of Midwest breathing room, Brayman founded the Matter Factory and Easy Ceramic Decals. “I wanted to start the decal business to be the democratic will-print-anything-for-anybody model, totally commercial,” he explains, “And the Matter Factory would be more curated, less commercial.” The decal business took off and became what Brayman refers to as “the sugar daddy” for the Matter Factory. “Even if I’d had a ton of money to begin with, I wouldn’t have known what to do with it. I learned a lot by printing everything—from cool projects for artists to memorial plaques for dogs who’ve died.” Thanks to this democratic array of jobs, Brayman was able to build up a collection of equipment that will allow him to produce his own work at a high technically professional level.

    Brayman doesn’t eschew commercial leanings, but he does eschew stagnancy. His main goal is to keep himself nimble creatively. “Easy Ceramic Decals is going strong so I’m shutting it down. I just changed the message on the machine today. I feel like I got away with something, but it stopped feeling creative so I became less interested in doing it.”

    In his own craft, Brayman describes his predominant working model as that of a studio potter. “My background is different than a designer’s. I start as a potter. So, I start with serial production and in a way I still go by the model I learned in school: you create a body of work, there’s a critique, then you create a new body of work.”

    He also has unerring comic timing and a wry ironic incantation regarding the ever-present debates about the theory and politics of craft. Asked if the error message that greets anyone following the “theory” link on his Matter Factory website is an intentionally comic statement about his interest in theory, Brayman laughs, “No, but that’s a great idea.”

    After an education in ceramics that includes a B.F.A. from the University of Kansas and an M.F.A. from Alfred University—a sort of Ivy League for pottery—Brayman casually peppers conversations with references spanning centuries of ceramic history to contemporary craft-design hybrids like Droog. In a Ceramics Monthly essay he recently published, “The New Factory,” his future-favored appeal—“As a field, we are particularly good at time travel, but really only in one direction. . . . We can, and should, start to look forward—further and more often than we do”—was carefully backed up by an erudite summary of the prevailing perception of the potter and his studio and the possibilities presented by the 21st century.

    In establishing his own studio, Brayman confesses that he developed a “spiel” about making functional pottery. “I don’t want to say I’m devoted to it because I’m not afraid to do other work, but it is important. And I find the constraints tolerable, even inspiring.”

    His ultimate stand on functionality is a marriage of common sense and prankster plotting—“I like working with functional objects because people aren’t expecting much from a dinner plate. You can sneak something in. But if you screw with it too much it won’t be used. It’s more interesting to me that these pieces get used.”

    He is careful to point out his disinterest in over-romanticizing the idea that an object’s beauty emerges from everyday use, believing that beauty is something the maker brings to the piece. “The functional work I make fits into two broad categories. In the first, the concept behind it is beauty. It has to work, of course, and you experience the beauty through function. In the second, I still want it to be beautiful but there’s an additional concept that drives it, like humor or underlying statements that are more specific than its being about pattern, for instance.”

    Two of Brayman’s best-known pieces have emerged from this second category. His Gold-Lined Cup with Concealed Decoration, for instance, has to be used to “work.” These porcelain cups bear text concealed beneath a 23k gold glaze. Described by Brayman as “kind of like a lottery ticket,” the piece toys with the fate fine china often meets in a dishwasher where the hot water causes the luster to fade. In this case, you have to use and abuse the piece for the gold to wear away and reveal the text. For functional pieces of this ilk that rely on user interaction, Brayman allows, “it can get confusing wondering when the piece is done.”

    With Change Dish—probably his biggest production run to date of a single idea, with 30 or 40 produced so far—Brayman inverts the vessel concept, using the objects you would place in it as the exterior architecture. In this case the mold is made using the coins found lying around his studio. In the eight-inch-diameter version, the piece sells for $45.71, the same amount used to create the mold.

    Although these two pieces have been successes by all accounts, Brayman is aware of the fine line between making a statement or joke with a piece and having it retain its value as a functional object. “I don’t want to make cups with text about Darfur. Not that Darfur’s not important, but once you put that text on an object it overshadows the function. It becomes a statement, a piece of art.”

    With more time on his hands to devote to the Matter Factory, Brayman is excited about developing new ideas and expanding his collaborations. He worked with Ayumi Horie on a series exhibited at New York’s Greenwich House Pottery in May 2009. He is also collaborating with Walter Ostrom, “a champion of decoration with expansive knowledge of this history.” They will be crossing national borders to produce a set of plates, with Brayman executing the first stage at the Matter Factory in Kansas City and then sending them to Nova Scotia to be decorated by Ostrom.

    Another intriguing upcoming project involves what Brayman calls a “tornado machine.” He is taking brick and cinder block fragments from the town of Greensburg, Kansas, destroyed in 2007 by a tornado, and putting them in a simple centrifuge machine that turns things to dust “using only spinning air in a metal cone.” He is using the dust made from these construction fragments into glazes for pieces that will ultimately go back to Greensburg.

    Brayman will also continue to work with his friend Allegheny Meadows to help bring Meadows’s Artstream trailer to craft events to sell pottery made by Brayman, Meadows, Horie, Christa Assad (profiled in American Craft, October/November 2008) and others. This project, a vintage Airstream trailer converted into a peripatetic pop-up shop, is part commune, part rock-star tour bus—at the 2007 National Council on Education for the Ceramic Arts (nceca) conference in Louisville, the trailer was mobbed and the potters manning the door had to do double duty as bouncers, letting people in one or two at a time when someone exited.

    After explaining that he decided to drive to meet the Artstream at the 2009 NCECA conference in Phoenix so that he could take advantage of the wealth of skate parks in the Southwest, Brayman, a longtime skater, considers the parallels between the sport and learning pottery. Assessing the urban landscape for benches, rails, curbs and pipes to land tricks on teaches you to look at the innate form of objects differently. Skating and craft are also both learned through repetition. “You have to suffer,” Brayman laughs. “You have to learn, practice and try to find a way to keep having fun.

    Although he is leaving himself open to experiment and explore new projects as he turns solely to working from the Matter Factory, Brayman has a specific idea in mind for the bigger picture of how he wants his company to run. “I don’t want to be a small production company where I design a line each year for the icff and have the pieces made in-house. I’m interested in figuring out my own model.” Making the most of the margins he relishes, Brayman has no designs on becoming trendy. “I like that craft and function are sort of outside the ‘upper echelon.’ There’s a lot of freedom in that.” Focused on his more creative Matter Factory, that freedom should prove fruitful for Brayman’s studio craft.


    Original Article: American Craft Magazine

Post Title

Andy Brayman


Post URL

http://www.photossexybodypainting.ml/2009/05/andy-brayman_27.html


Visit photos posing sexy body painting for Daily Updated Wedding Dresses Collection

Andy Brayman


    I will keep this short, but I have to say that Andy Brayman is someone I am honored to know. He is extremely smart and creative, and every time I talk with him, I am astounded by his ideas. This article from American Craft Magazine is fantastic, and If you don't know Andy's work, then you should check him out. Written by Lily Kane, images by Brady Fontenot.




    Making the Most of the Margins

    Andy Brayman’s Kansas City “factory” is a launching pad for his 21st–century version of studio pottery.

    Andy Brayman’s Matter Factory, in what he triumphantly refers to as the “hinterlands of Kansas City,” is a laboratory, launching pad, and, yes, factory for his distinctly 21st-century version of studio pottery. It is, in many ways, a perfect illustration of how craft’s venerated faculty and its freshman class can happily co-exist in consistent symbiotic evolution. With the imminent closing of his secondary and more commercial business, Easy Ceramic Decals, Brayman’s Matter Factory is on the brink of reinvention and renaissance.

    After teaching stints in New York and at Bennington College in Vermont, Brayman settled in Kansas City, Kansas, and in 2005 set up his businesses in a former farmer’s market from the 1930s that sits, as his website notes, “at the confluence of the Missouri River and the Kaw River.” Brayman, who almost obsessively harvests inspiration from his surroundings, invested part of his honorarium from speaking on the “New Artists/New Work” panel at the American Craft Council’s 2006 “Shaping the Future of Craft” conference in the purchase of a 1956 Alumacraft boat for better exploring these neighboring rivers.

    From this huge space, a square footage definition of Midwest breathing room, Brayman founded the Matter Factory and Easy Ceramic Decals. “I wanted to start the decal business to be the democratic will-print-anything-for-anybody model, totally commercial,” he explains, “And the Matter Factory would be more curated, less commercial.” The decal business took off and became what Brayman refers to as “the sugar daddy” for the Matter Factory. “Even if I’d had a ton of money to begin with, I wouldn’t have known what to do with it. I learned a lot by printing everything—from cool projects for artists to memorial plaques for dogs who’ve died.” Thanks to this democratic array of jobs, Brayman was able to build up a collection of equipment that will allow him to produce his own work at a high technically professional level.

    Brayman doesn’t eschew commercial leanings, but he does eschew stagnancy. His main goal is to keep himself nimble creatively. “Easy Ceramic Decals is going strong so I’m shutting it down. I just changed the message on the machine today. I feel like I got away with something, but it stopped feeling creative so I became less interested in doing it.”

    In his own craft, Brayman describes his predominant working model as that of a studio potter. “My background is different than a designer’s. I start as a potter. So, I start with serial production and in a way I still go by the model I learned in school: you create a body of work, there’s a critique, then you create a new body of work.”

    He also has unerring comic timing and a wry ironic incantation regarding the ever-present debates about the theory and politics of craft. Asked if the error message that greets anyone following the “theory” link on his Matter Factory website is an intentionally comic statement about his interest in theory, Brayman laughs, “No, but that’s a great idea.”

    After an education in ceramics that includes a B.F.A. from the University of Kansas and an M.F.A. from Alfred University—a sort of Ivy League for pottery—Brayman casually peppers conversations with references spanning centuries of ceramic history to contemporary craft-design hybrids like Droog. In a Ceramics Monthly essay he recently published, “The New Factory,” his future-favored appeal—“As a field, we are particularly good at time travel, but really only in one direction. . . . We can, and should, start to look forward—further and more often than we do”—was carefully backed up by an erudite summary of the prevailing perception of the potter and his studio and the possibilities presented by the 21st century.

    In establishing his own studio, Brayman confesses that he developed a “spiel” about making functional pottery. “I don’t want to say I’m devoted to it because I’m not afraid to do other work, but it is important. And I find the constraints tolerable, even inspiring.”

    His ultimate stand on functionality is a marriage of common sense and prankster plotting—“I like working with functional objects because people aren’t expecting much from a dinner plate. You can sneak something in. But if you screw with it too much it won’t be used. It’s more interesting to me that these pieces get used.”

    He is careful to point out his disinterest in over-romanticizing the idea that an object’s beauty emerges from everyday use, believing that beauty is something the maker brings to the piece. “The functional work I make fits into two broad categories. In the first, the concept behind it is beauty. It has to work, of course, and you experience the beauty through function. In the second, I still want it to be beautiful but there’s an additional concept that drives it, like humor or underlying statements that are more specific than its being about pattern, for instance.”

    Two of Brayman’s best-known pieces have emerged from this second category. His Gold-Lined Cup with Concealed Decoration, for instance, has to be used to “work.” These porcelain cups bear text concealed beneath a 23k gold glaze. Described by Brayman as “kind of like a lottery ticket,” the piece toys with the fate fine china often meets in a dishwasher where the hot water causes the luster to fade. In this case, you have to use and abuse the piece for the gold to wear away and reveal the text. For functional pieces of this ilk that rely on user interaction, Brayman allows, “it can get confusing wondering when the piece is done.”

    With Change Dish—probably his biggest production run to date of a single idea, with 30 or 40 produced so far—Brayman inverts the vessel concept, using the objects you would place in it as the exterior architecture. In this case the mold is made using the coins found lying around his studio. In the eight-inch-diameter version, the piece sells for $45.71, the same amount used to create the mold.

    Although these two pieces have been successes by all accounts, Brayman is aware of the fine line between making a statement or joke with a piece and having it retain its value as a functional object. “I don’t want to make cups with text about Darfur. Not that Darfur’s not important, but once you put that text on an object it overshadows the function. It becomes a statement, a piece of art.”

    With more time on his hands to devote to the Matter Factory, Brayman is excited about developing new ideas and expanding his collaborations. He worked with Ayumi Horie on a series exhibited at New York’s Greenwich House Pottery in May 2009. He is also collaborating with Walter Ostrom, “a champion of decoration with expansive knowledge of this history.” They will be crossing national borders to produce a set of plates, with Brayman executing the first stage at the Matter Factory in Kansas City and then sending them to Nova Scotia to be decorated by Ostrom.

    Another intriguing upcoming project involves what Brayman calls a “tornado machine.” He is taking brick and cinder block fragments from the town of Greensburg, Kansas, destroyed in 2007 by a tornado, and putting them in a simple centrifuge machine that turns things to dust “using only spinning air in a metal cone.” He is using the dust made from these construction fragments into glazes for pieces that will ultimately go back to Greensburg.

    Brayman will also continue to work with his friend Allegheny Meadows to help bring Meadows’s Artstream trailer to craft events to sell pottery made by Brayman, Meadows, Horie, Christa Assad (profiled in American Craft, October/November 2008) and others. This project, a vintage Airstream trailer converted into a peripatetic pop-up shop, is part commune, part rock-star tour bus—at the 2007 National Council on Education for the Ceramic Arts (nceca) conference in Louisville, the trailer was mobbed and the potters manning the door had to do double duty as bouncers, letting people in one or two at a time when someone exited.

    After explaining that he decided to drive to meet the Artstream at the 2009 NCECA conference in Phoenix so that he could take advantage of the wealth of skate parks in the Southwest, Brayman, a longtime skater, considers the parallels between the sport and learning pottery. Assessing the urban landscape for benches, rails, curbs and pipes to land tricks on teaches you to look at the innate form of objects differently. Skating and craft are also both learned through repetition. “You have to suffer,” Brayman laughs. “You have to learn, practice and try to find a way to keep having fun.

    Although he is leaving himself open to experiment and explore new projects as he turns solely to working from the Matter Factory, Brayman has a specific idea in mind for the bigger picture of how he wants his company to run. “I don’t want to be a small production company where I design a line each year for the icff and have the pieces made in-house. I’m interested in figuring out my own model.” Making the most of the margins he relishes, Brayman has no designs on becoming trendy. “I like that craft and function are sort of outside the ‘upper echelon.’ There’s a lot of freedom in that.” Focused on his more creative Matter Factory, that freedom should prove fruitful for Brayman’s studio craft.


    Original Article: American Craft Magazine

Post Title

Andy Brayman


Post URL

http://www.photossexybodypainting.ml/2009/05/andy-brayman.html


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Bathroom Porn


    I do get sick of seeing all of the obscene bathroom renovations out there. I will fully admit it is nothing but jealousy, I want a luxurious bathroom. The reason I really want one is for the bathtub. I want one of these obnoxiously large whirlpool tubs, one that I can fit in. I love the water, I am swimmer and when I was younger (and smaller) I was all about the bath. Even to this day, I kind of dislike showers, because they are not as nice as the bath. I kind of think of myself as the Captain in Hitch-Hiker's Guide to the Galaxy who never wanted to leave the bath. I forget which book, I think Life, The Universe, and Everything.
    These tubs are the most obscene of the obscene, And I will gripe about the issues of form as a reflection of function. But I love the mosaic work, so I will look past it. Made by Sicis a company specializing in amazing mosaics.

    Via: Freshome

Post Title

Bathroom Porn


Post URL

http://www.photossexybodypainting.ml/2009/05/bathroom-porn_27.html


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Bathroom Porn


    I do get sick of seeing all of the obscene bathroom renovations out there. I will fully admit it is nothing but jealousy, I want a luxurious bathroom. The reason I really want one is for the bathtub. I want one of these obnoxiously large whirlpool tubs, one that I can fit in. I love the water, I am swimmer and when I was younger (and smaller) I was all about the bath. Even to this day, I kind of dislike showers, because they are not as nice as the bath. I kind of think of myself as the Captain in Hitch-Hiker's Guide to the Galaxy who never wanted to leave the bath. I forget which book, I think Life, The Universe, and Everything.
    These tubs are the most obscene of the obscene, And I will gripe about the issues of form as a reflection of function. But I love the mosaic work, so I will look past it. Made by Sicis a company specializing in amazing mosaics.

    Via: Freshome

Post Title

Bathroom Porn


Post URL

http://www.photossexybodypainting.ml/2009/05/bathroom-porn.html


Visit photos posing sexy body painting for Daily Updated Wedding Dresses Collection

Pull the Plug




    From the Site.
    -
    Plug Mug
    with anti-Theft device.
    Sometimes it starts as an innocent mistake, or shall we say a case of mistaken identity...You go to make your morning coffee and your beloved mug is not where it should be. The following week you go to the kitchen and your mug is lying abandoned in the sink with green tea stains all over it and you don't even drink green tea! Before you know it, your mug has been around the office more times then the mail cart (and Christine) and has become home to more varieties of beverage stains and lipstick marks than is proper for a decent mug. That's a problem, the question is though, how do you fix it? Duck tape the mug to your arm? Super glue the mug to your desk? Quit work and start campaigning for awareness relating to mug theft and misuse? These are all worthy ideas, but we think we can safely assume that you don't have that kind of time on your hands (nor want mugs stuck to your hands!) Enter the Plug Mug. It's a mug with a hole in it which renders it completely useless to mug thieves. Just keep the plug safely stowed away from harm (on your key ring or in a vault) and you will find that no one is interested in stealing your mug anymore!

    From: Perpetual Kid.

Post Title

Pull the Plug


Post URL

http://www.photossexybodypainting.ml/2009/05/pull-plug_27.html


Visit photos posing sexy body painting for Daily Updated Wedding Dresses Collection

Pull the Plug




    From the Site.
    -
    Plug Mug
    with anti-Theft device.
    Sometimes it starts as an innocent mistake, or shall we say a case of mistaken identity...You go to make your morning coffee and your beloved mug is not where it should be. The following week you go to the kitchen and your mug is lying abandoned in the sink with green tea stains all over it and you don't even drink green tea! Before you know it, your mug has been around the office more times then the mail cart (and Christine) and has become home to more varieties of beverage stains and lipstick marks than is proper for a decent mug. That's a problem, the question is though, how do you fix it? Duck tape the mug to your arm? Super glue the mug to your desk? Quit work and start campaigning for awareness relating to mug theft and misuse? These are all worthy ideas, but we think we can safely assume that you don't have that kind of time on your hands (nor want mugs stuck to your hands!) Enter the Plug Mug. It's a mug with a hole in it which renders it completely useless to mug thieves. Just keep the plug safely stowed away from harm (on your key ring or in a vault) and you will find that no one is interested in stealing your mug anymore!

    From: Perpetual Kid.

Post Title

Pull the Plug


Post URL

http://www.photossexybodypainting.ml/2009/05/pull-plug.html


Visit photos posing sexy body painting for Daily Updated Wedding Dresses Collection

The Birds


    Hi All,
    Just a few quick posts. Tomorrow is going to be busy and I'm here at home all by myself. Mrs. Rose has had to return to work for the evening, so I am sitting here with the dogs and I thought I would post some quick links.

    Does any one speak Portugese? Unfortunately I cannot. Alas, art transcends all, so we can enjoy this installation without words. The only think I can make of this is that it is in Lisbon Portugal and was made by Ermida Belem.


    None the less this is a beautiful installation of ceramic swallows. It really make me think of this video that Andy Shaw (twice in 1 day!) shared with me of Starling on the Otmoor outside of Oxford.

    Via: S-nonblog

Post Title

The Birds


Post URL

http://www.photossexybodypainting.ml/2009/05/birds_27.html


Visit photos posing sexy body painting for Daily Updated Wedding Dresses Collection

The Birds


    Hi All,
    Just a few quick posts. Tomorrow is going to be busy and I'm here at home all by myself. Mrs. Rose has had to return to work for the evening, so I am sitting here with the dogs and I thought I would post some quick links.

    Does any one speak Portugese? Unfortunately I cannot. Alas, art transcends all, so we can enjoy this installation without words. The only think I can make of this is that it is in Lisbon Portugal and was made by Ermida Belem.


    None the less this is a beautiful installation of ceramic swallows. It really make me think of this video that Andy Shaw (twice in 1 day!) shared with me of Starling on the Otmoor outside of Oxford.

    Via: S-nonblog

Post Title

The Birds


Post URL

http://www.photossexybodypainting.ml/2009/05/birds.html


Visit photos posing sexy body painting for Daily Updated Wedding Dresses Collection

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