The audio file for this article was produced by the Ceramic Arts Network staff and not read by the author.
Ceramics Monthly: What is the most valuable advice you’ve received as an artist?
Ashton Keen: That’s a great question. It’s hard to come up with just one piece of advice that I’ve found the most valuable. Among the most important advice I’ve been given was to try everything and fail as often
as possible. “You learn more from failure than from success. Fail often!”
“Read Corita Kent’s studio rules.” My favorite is rule 6: “Nothing is a mistake. There is no win and no fail. There’s only make.”
“Consider everything. Don’t treat any part of the piece like it’s unimportant. Every part of the vessel you make is the most important part of the piece.” This shifted the way I make pots.
CM: How do you approach incorporating experimentation into your studio practice?
AK: Luckily, I’m currently in graduate school at Utah State University. We get critiqued about every three weeks, so when ideas are already present in the work, they get pushed even further during critique. I’m surrounded
by a wonderful group of makers who care deeply about their own work, as well as mine. Through constant evaluation and experimentation, the work naturally comes along. I also enjoy finding historical pieces that interest me, learning about the ways
they function, and borrowing proportions I find interesting.
CM: Have your interests in working with clay evolved? What do you plan to explore next?
AK: Coming up on my thesis exhibition I’m exploring as many forms as possible. In my studio practice, I often look to history—I’m drawn to ceramic forms with elongated proportions and full volume. I’m interested
in pushing these proportions in spouts and handles and am excited to explore more pouring forms.
Before last year, I had never worked with wood or metal. Because I currently have access to a woodshop, I’ve been able to teach myself how to make tables, chairs, and utensils. I’m extremely excited to find ways to incorporate woodworking
and cold-forged, nonferrous metals into my work. I think all of these elements are a natural match for pottery since most pots are made for use with tables and silverware.
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The audio file for this article was produced by the Ceramic Arts Network staff and not read by the author.
Ceramics Monthly: What is the most valuable advice you’ve received as an artist?
Ashton Keen: That’s a great question. It’s hard to come up with just one piece of advice that I’ve found the most valuable. Among the most important advice I’ve been given was to try everything and fail as often as possible. “You learn more from failure than from success. Fail often!”
“Read Corita Kent’s studio rules.” My favorite is rule 6: “Nothing is a mistake. There is no win and no fail. There’s only make.”
“Consider everything. Don’t treat any part of the piece like it’s unimportant. Every part of the vessel you make is the most important part of the piece.” This shifted the way I make pots.
CM: How do you approach incorporating experimentation into your studio practice?
AK: Luckily, I’m currently in graduate school at Utah State University. We get critiqued about every three weeks, so when ideas are already present in the work, they get pushed even further during critique. I’m surrounded by a wonderful group of makers who care deeply about their own work, as well as mine. Through constant evaluation and experimentation, the work naturally comes along. I also enjoy finding historical pieces that interest me, learning about the ways they function, and borrowing proportions I find interesting.
CM: Have your interests in working with clay evolved? What do you plan to explore next?
AK: Coming up on my thesis exhibition I’m exploring as many forms as possible. In my studio practice, I often look to history—I’m drawn to ceramic forms with elongated proportions and full volume. I’m interested in pushing these proportions in spouts and handles and am excited to explore more pouring forms.
Before last year, I had never worked with wood or metal. Because I currently have access to a woodshop, I’ve been able to teach myself how to make tables, chairs, and utensils. I’m extremely excited to find ways to incorporate woodworking and cold-forged, nonferrous metals into my work. I think all of these elements are a natural match for pottery since most pots are made for use with tables and silverware.
Learn more on Instagram @ashton_keen7.
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