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  • This is why you have unique perception of reality, emotions & awareness – Veronica Winters Painting


    This is why you have unique perception of reality, emotions & awareness


    In this episode I share my thoughts and experiences outlining our unique perception of reality and how to expand on our awareness, understanding and love.

    Watch on YouTube: https://youtu.be/z7bFUwyNXRY

    https://www.youtube.com/watch?v=z7bFUwyNXRY

    Subscribe & rate this podcast on Spotify and Apple | Show your support for the podcast: here | Host: Veronica Winters, MFA | veronicasart.com



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  • “It’s Meant To Empower You” | Shannon Hogarty

    “It’s Meant To Empower You” | Shannon Hogarty


    Shannon Hogarty | Episode 1045

    Shannon Hogarty, a New York native, is a ceramic artist living and working in Austin, Texas. Shannon’s work combines traditional techniques with contemporary designs, featuring unique surface decoration and vibrant glaze combinations. Shannon is especially passionate about atmospheric firing techniques, with a particular focus on wood firings.
Shannon contributes to the to the Austin arts community through her roles as an educator, studio assistant, and artist in residence.

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    Would you consider yourself a studio pottery?

    Sure, yeah. Why not. Yes. (laughter)

    Do you see a difference between a studio pottery and a production potter?

    Yeah, I just hear people talk bad about production potters. I mean a lot of people have a  lot of things to say about production potters and studio potters. I don’t really know. I am a potter for sure and I am on the journey of being a full time artist. Pottery is the only thing going on now. So if that makes me a studio potter, sure.

    I know throwing can be hard on your back. How do you keep yourself healthy to keep the sport going?

    Yeah, I have a lot of sad injuries from a bad car wreck I was in, to my back and my wrist. So I do stretch every day and I also really love Pilates. Potters out there, try Pilates. It’s like slowly strength building and low impact. Just a lot of stretches though, for sure.

    Do you have any studio hacks that help you?

    Yes! So right in line with having back injuries, I use a mirror. I feel like most of us should when we are throwing on the wheel. Don’t be ashamed about it. Look at yourself and what you are doing in the mirror. I put a mirror in front of my wheel. It helps so much with leaning over to the side and trying to see the side angle of your work. So that’s the first one that came to mind.

    What is a favorite business tip that you would pass on to someone who is asking, How do I make a living at this? 

    I would say, Y’all should look at your website presence. I am a website designer, that was my career before pottery and I sort of made it my mission to get everyone off of Etsy and put the power back into your hands of having your own website where you are uploading your own products to and maintaining that yourself. And you can take that and get off Instagram entirely by having your own mailing list and just putting the power back in your own hands and actually maintaining your own web presence I’d say would be my business advice.

    Do you feel that as an artist that being organized is important?

    I think so. I think it’s like a balancing act but there does need to be a little bit of structure to the chaos that is being a creative person. And just finding that balance and that balance can look like a lot of different things. Like maintaining a little bit of a calendar or making time for yourself or having someone in your life that balances your energy out. I can be a little too type A sometimes. I have in a past life. I was in business school and was kind of academic growing up and very organized so I like to have someone who is getting me to be a little more chaotic. And some people are chaotic and need that organization and that balance. It is only meant to empower you.

    Books

    The Creative Act by Rick Rubin 

    The Alchemist by Paulo Coelho

    Contact

    shannonceramics.com

    Instagram: @shannon_ceramics





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  • What you don’t know about Ancient Delphi, God Apollo, Oracle, Myths, History, Architecture & Art – Veronica Winters Painting

    What you don’t know about Ancient Delphi, God Apollo, Oracle, Myths, History, Architecture & Art – Veronica Winters Painting


    What you don’t know about Ancient Delphi, God Apollo, Oracle, Myths, History, Architecture & Art


    You can take a deep dive into ancient Greek history by virtually visiting Delphi, the cult center with its gods, oracles, art, architecture, and myths.

    To see art, articles, and references for this episode, visit: https://veronicasart.com/cult-center-of-delphi-its-history-oracles-greek-myths-architecture-and-art/

    Video on YouTube: https://youtu.be/qogqH1kKzHM

    https://www.youtube.com/watch?v=qogqH1kKzHM

    Subscribe & rate this podcast on Spotify and Apple | Show your support for the podcast: here | Host: Veronica Winters, MFA | veronicasart.com



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  • I Used to Do What You Do

    I Used to Do What You Do


    The following is excerpted from Nancy R. Hiller’s “Making Things Work: Tales from A Cabinetmaker’s Life.”  Hiller’s funny and occasionally delightfully crass stories tell of her years as a professional cabinetmaker who relished both the highs and the lows of the job.


    “How much time do you spend in the shop, and how much in writing?” asked a friend of a friend who’d waved me over to sit with him at a holiday party. He’d noticed my bio in the list of contributors to an area magazine and knew I’d written a couple of books.

    “I pretty much write in my spare time,” I said. “Mainly on weekends, if work in the shop doesn’t require my presence there. The books in effect pay nothing. The magazines at least pay something, but it’s not enough to cover my overhead and operating expenses, let alone live on.”

    When I really cranked out articles for the local magazine where this acquaintance had seen my bio, I could make about $15 an hour. But this calculus relates to net income, not the gross revenue required to maintain a business – and certainly not my cabinetmaking business. It doesn’t matter whether I’m writing, sleeping, or working billable hours; a host of fixed and related expenses still have to be paid.

    “Oh, please,” he said dismissively. “What kind of overhead and operating expenses do you have? You work from home and have no employees.”

    I was taken aback. Why did he think he knew anything about my business? We scarcely knew each other. Did he think I was posturing as a professional while secretly just “crafting” in my garage?

    “You know,” he added, rolling his eyes. “I used to do what you do.” He’d mentioned once that he had worked briefly as a carpenter during what he called his hippie youth; as part of this personal exploration he’d tried his hand at cabinetmaking before concluding that, while he loved the work itself, doing it for a living involved more tedium and less creative freedom than he could bear. Some years later he got a job as assistant art director at a major magazine and worked his way up to a well-paid position, from which he had recently retired. He pushed his chair back from the table and walked away without giving me a chance to respond.“

    “Tosser,” I said under my breath as he sought out someone else to use as sounding board for his oversized ego. Then again, I realized, I had no idea how I would have responded had he stayed. If he really was that ignorant of the costs involved in operating a microenterprise – aboveboard, mind you, not under the table – a meaningful, non-defensive response would take some time for me to articulate, not to mention a willingness on his part to listen.

    I grabbed his unused napkin and pulled a pen out of my bag. The numbers were fresh in my head; I’d spent the previous weekend going through the year’s accounts to get a jump on tax preparation.

    “Overhead and operating expenses, 2014,” I wrote at the top of the napkin. That pompous jerk was not going to get away so easily. Between bites of salad Ilisted the categories I could remember, adding a few explanatory notes:

    • “Business insurance (coverage of shop building and contents, liability, goods in transit, etc.)
    • Equipment rental (e.g., trailers for delivering large jobs)
    • Health insurance. (Many people whose health insurance premiums are subsidized by their employer have NO CLUE what it costs. Mine is $506 a month for so-called “wellness coverage,” i.e. I have to pay for almost everything out of pocket, and with a $6,000 deductible. My husband and I are both self-employed, so we each pay through the nose.)
    • Permits (e.g., for parking in our highly regulated city)
    • Accountant’s fees
    • Mileage

    At this point I realized I had lapsed into completely irrational behavior. He would never read such a list, not to mention the parenthetical notes, which were likely to grow in length now that I was getting warmed up. But perhaps the sheer number of items listed would at least impress on him that I run a business with real-world operating expenses. So I continued writing.

    • Packing & shipping
    • Website-related expenses
    • Office supplies & printing
    • Subscriptions to trade publications
    • Disposal of non-recyclable, non-compostable shop & jobsite waste
    • Phone & internet at shop
    • Dues to professional organizations
    • Shop utilities (electricity & water; the insurance industry now pretty much refuses to cover woodworking shops that are heated by means of a woodstove, and there is no way I’m going to run a business like this one without insurance)
    • Repair & maintenance of equipment; replacement blades, cutters, etc.
    • Bank charges (e.g., the cost of checks) for business account
    • Business travel expenses; I do sometimes teach, speak, & deliver furniture out of state. (These are not vacations, like those publishing-world boondoggles you brag about at cocktail parties.They are bona fide working trips.)
    • Business tangible property tax
    • Professional photography for the portfolio, when I can afford it
    • Taxes related to payroll: state unemployment tax, Medicare & Social Security matching taxes, etc. Years ago, my accountant advised me to organize my business as a Subchapter-S corporation instead of continuing as a self-employed proprietor.”

    My hand was cramping, so I put down the pen and took a sip of cabernet. The cheese board at this bash was always a vision of abundance. I added a wedge of crumbly aged cheddar and some crackers to my plate – along with the wine, a perfect combination. By this time I had completely covered the napkin on both sides, but I sensed that I was far from finished. Grabbing a couple more napkins from the buffet, I got back to work.

    “All of the above (and more) must be covered before I pay myself a penny. And this is not including investment in new tools, machinery, etc., which amounts to thousands of dollars. In 2014 the above expenses came to just over $20,000. I don’t know…maybe that’s chump change to you. Not to me.”

    “And yes, my shop is behind my house. But I no longer live in the house. I had to move out during the recession, which absolutely gutted my business. During the worst year, my gross sales (i.e.,including materials) were $17,000. I slashed the overhead and everything else to the bone. I relied on my credit card to pay lots of bills, a debt that took the following two years to pay off. I’m incredibly lucky that my boyfriend at the time – now my husband – invited me to move in with him; at least that way I no longer had to pay for all my living expenses on one decimated income.”

    “That year from hell, I obviously could not even pay myself minimum wageafter covering the overheads. You’re probably wondering why I didn’t just go out and get a couple of jobs – you know, bagging groceries, cleaning toilets at the office supply store. (BTW, there were none of those jobs available. Because recession.) Believe me, I thought about it. One friend, a nationally recognized furniture artisan, confided that he was seriously contemplating a job flipping burgers because he wasn’t getting orders. Another put his business in a holding pattern and relied on his wife to support him (he was lucky she could). But I calculated that doing spec pieces and writing would be a worthwhile investment in future business opportunities, even if I had to rely on my credit card to make that investment. Thank God my bet paid off.”

    “I have been renting my house out to cover the mortgage & property taxes. You probably think this means I have Even. More. Income. But no. Renting the house increased the monthly payment because I no longer qualified for the homestead tax exemption. Also, insurance rates for a rented property are quite a bit higher than for one that’s owner-occupied. So the income from rent just barely covers the monthly payment. But at least I still have my shop, for which I am profoundly grateful.”

    “Don’t get me wrong. I could, in fact, make more money if I only worked in the shop seven days a week and didn’t do the writing. But going back and forth between these kinds of work is critical to my sanity.”

    “All of which is to say that yes, I do have overheads and operating expenses.”

    I folded the napkins in half, put them in my pocket, and made my way through the crowded room over to the dessert table. I was balancing a slice of chocolate hazelnut torte on a cake knife when I spotted him spooning tiramisu seductively into the mouth of a woman who looked young enough to be his daughter. I stood there holding the torte on the knife while she closed her lips around the spoon and shut her eyes with an expression of orgasmic delight. Once she had recovered I walked over and tapped him on the shoulder. “Rafi,”I said, pulling the napkins out of my pocket, “I have something for you.” I unfolded them and laid them on the table in front of him.

    “OK,” he said distractedly as he scooped up another spoonful for his friend, who seemed to be incapable of feeding herself even though she was old enough to drink wine. “Thanks.”

    I happened to pass their table on my way out a half-hour later. The napkins were just where I’d placed them, but crumpled now, the ink smudged into a dark blue blur. Seeing me roll my eyes, a man at the next table said, “I don’t know what was written on those napkins, but it sure must have been funny. The guy sitting there was reading it to his daughter – or was she his girlfriend? – and at one point she laughed so hard she spat out a mouthful of pudding. Geez, what a sticky mess.”



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  • Karen Turner: Why Do You Have To Be So Emotional?

    Karen Turner: Why Do You Have To Be So Emotional?


    I recently had the joy of chatting with Karen Turner about her latest series, “Why Do You Have To Be So Emotional?” This series – from which, as I’m writing this, just three pieces remain – delves deep into the societal regulation of women and gender minorities. Unlike her previous projects, though, this collection extends beyond exploring the physical form to encompass the policing of tone and emotion.

    By Sophie Heatley | 04 Jul 2024

    This isn’t to say Turner’s previous works don’t venture into the emotional realms of her subjects; it’s a challenge not to engage in introspective viewings of her portraits that physically swell with individuality and character (despite purposely “containing” them within smaller canvases to present how society “boxes” women in). Rather, these new works directly ask viewers to evaluate the judgments and biases they may hold when it comes to emotional expression. For example, Turner pointed out, “Nowadays when a man cries it’s often seen as a sign of bravery, when a woman cries, it’s seen as hysterical.” 

    Karen Turner: Why Do You Have To Be So Emotional?
    You’re Being Irrational by Karen Turner (oil on linen, 2024, 40 x 30 x 2 cm)

    Portraits have always been Turner’s focus, driven by her fascination with how we mould our appearances, and in this case, our emotional expressivity, to fit societal expectations. Turner is known for celebrating larger female forms in her vivacious oil paintings, and commentaries on its right to take up space in a world that tries to constrain it. 

    Despite the joyously outspoken nature of her pieces, Turner’s process is quietly refined and delicate, painting with only the smallest paintbrushes. This meticulous approach means her works often take months to complete. Turner sets Why Do You Have To Be So Emotional? apart from her earlier works, known for their slick white backgrounds and diligent detail, by using muted Miami pastels, sky blues, and candy-coloured hues. This choice is not merely experimental; the peachy palette serves as a contrasting backdrop to the dramatic expressions of her subjects, further illustrating the double standards placed on women regarding emotional expression.

    Karen Turner: Why Do You Have To Be So Emotional?
    Cheer Up by Karen Turner (oil on linen, 2024, 50 x 40 cm)

    Although coloured, the backgrounds remain clear. Turner explains, “I just love the look of flesh next to clean linen and the intensity of the face and body against the backdrop. I also like to show my subjects away from any background as a reminder of how we judge people without any context. I want people to consider how this makes them feel.”

    Despite the visceral anger and frustration emanating from works in the series, the pieces empower and uplift. Turner advocates for not just the exposure of women and larger bodies in the arts but the celebration—rather than the grotesque interpretations often seen in the works of artists like Lucien Freud and Jenny Saville. “I love their work! It’s just not the message I want to transmit.” Turner asserts, “I want my paintings to be about people saying, ‘I don’t care what society thinks; this is what my body looks like, and I’m not going to hide.’”

    Karen Turner: Why Do You Have To Be So Emotional?
    Too Intense by Karen Turner (oil on linen, 2024, 50 x 40 cm)

    Turner continues to invite viewers to not only question societal standards but also to celebrate individuality and authenticity. The series stands as a testament to her evolving artistry and commitment to challenging the presentation of women and their gloriously hysterical bodies in the arts and beyond. 



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  • Art With Mr. E: What are you creating?


    The kids seem to LOVE dino nuggies!  Don’t know what they are? They make chicken nuggets in the shape of dinosaurs.  Yes…it’s a thing!! ha ha  There are shirts, earrings, pushies, pillows…a whole dino nuggie industry!  I’ve wanted to make my own pushies/pillows, but it took awhile to find a fabric I thought would work(Dollar Tree…imagine that!?!).  I made a pattern to the size of the fabric, cut them out, sewed them together, and stuffed them. It went relatively quick, and I had a lot of fun doing it!  A friend saw my post on facebook, and asked if I could make her class (she teaches EE/Special Ed) one.  They like to hold something during share time.  I gladly gave her one of the dino nuggies!  Happy to know it will be loved & used in a school setting!  

    What are you creating?




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