Carol Gouthro - Segmented Molds

Carol Gouthro - Q&A

<div class="iframe-wrapper"><iframe src="https://iframe.mediadelivery.net/embed/1865/6afa5250-a28e-44a5-802d-8e22e2f4bbb7?autoplay=false" frameborder="0" allowfullscreen="true"></iframe></div>Hi, my name is Carol Gouthro, and in this workshop I will be showing you how I use segmented moulds to handbuild and assemble one of my botanically inspired, flowering gourd forms using pleated slabs.Materials List<ul><li>Plaster Segment Mold</li><li>Metal Rib</li><li>Rubber Rib</li><li>Knife</li><li>Scoring Tool</li><li>Needle tool</li><li>Wooden tools</li></ul>After this workshop you could be making amazing work like this:<img src="https://f.ezycourse.net/4541/cmaz7hkx300tqw08z5o91e7xg.jpg" alt="image" style="width: 295px; height: auto; cursor: pointer;" draggable="true"><img src="https://f.ezycourse.net/4541/cmaz7hkxo00tu289nhnepcgnz.jpg" alt="image" style="width: 297px; height: auto; cursor: pointer;" draggable="true"><img src="https://f.ezycourse.net/4541/cmaz7hkzl00sq269n1gnc2qs9.jpg" alt="image" style="width: 299px; height: auto; cursor: pointer;" draggable="true"><img src="https://f.ezycourse.net/4541/cmaz7hkz800ssse8za2sf43v9.jpg" alt="image" style="width: 300px; height: auto; cursor: pointer;" draggable="true"><img src="https://f.ezycourse.net/4541/cmaz7hkz100ryz78z6m7fh8fm.jpg" alt="image" style="width: 302px; height: auto; cursor: pointer;" draggable="true"><img src="https://f.ezycourse.net/4541/cmaz7hkzq00sa4u9nbg4ebkdd.jpg" alt="image" style="width: 303px; height: auto; cursor: pointer;" draggable="true"><img src="https://f.ezycourse.net/4541/cmaz7hkxe00tcv68zc72xd73x.jpg" alt="image" style="width: 305px; height: auto; cursor: pointer;" draggable="true"><img src="https://f.ezycourse.net/4541/cmaz7hkzm00uv3k9ne68ofznk.jpg" alt="image" style="width: 306px; height: auto; cursor: pointer;" draggable="true"><img src="https://f.ezycourse.net/4541/cmaz7hkzd00td809n4qj67028.jpg" alt="image" style="width: 308px; height: auto; cursor: pointer;" draggable="true"><img src="https://f.ezycourse.net/4541/cmaz7hkzg00u87o9nb9zubhz9.jpg" alt="image" style="width: 310px; height: auto; cursor: pointer;" draggable="true"><img src="https://f.ezycourse.net/4541/cmaz7hkwy00t2or8zhcub87ie.jpg" alt="image" style="width: 312px; height: auto; cursor: pointer;" draggable="true"><img src="https://f.ezycourse.net/4541/cmaz7hkzc00szx38z0a7gev47.jpg" alt="image" style="width: 314px; height: auto; cursor: pointer;" draggable="true"><img src="https://f.ezycourse.net/4541/cmaz7hkx200sqw68z7ck0dg52.jpg" alt="image" style="width: 316px; height: auto; cursor: pointer;" draggable="true"><img src="https://f.ezycourse.net/4541/cmaz7hkxk00th6a9nhpgt11ps.jpg" alt="image" style="width: 317px; height: auto; cursor: pointer;" draggable="true"><img src="https://f.ezycourse.net/4541/cmaz7hkum00tg9n9ngxec4871.jpg" alt="image" style="width: 317px; height: auto; cursor: pointer;" draggable="true"><img src="https://f.ezycourse.net/4541/cmaz7hl3t00tfsk8z8bwe2ory.jpg" alt="image" style="width: 316px; height: auto; cursor: pointer;" draggable="true"><img src="https://f.ezycourse.net/4541/cmaz7hkuy00t99z9nh5jv4msm.jpg" alt="image" style="width: 317px; height: auto; cursor: pointer;" draggable="true"><img src="https://f.ezycourse.net/4541/cmaz7hl1000u38s9ndg2ch9l6.jpg" alt="image" style="width: 318px; height: auto; cursor: pointer;" draggable="true"><img src="https://f.ezycourse.net/4541/cmaz7hksn00sftk8zc77l6ylp.jpg" alt="image" style="width: 319px; height: auto; cursor: pointer;" draggable="true"><img src="https://f.ezycourse.net/4541/cmaz7hkx800u18s9n6rh6hsto.jpg" alt="image" style="width: 319px; height: auto; cursor: pointer;" draggable="true"><img src="https://f.ezycourse.net/4541/cmaz7hkqv00to3e9nay3c4py2.jpg" alt="image" style="width: 319px; height: auto; cursor: pointer;" draggable="true">I have a strong interest in natural forms, and minutiae. I am drawn to color, ornament, embellishment, pattern, and texture. When I start working on a new sculptural piece, I am often responding to something that I have seen that captivates me. It might be something very small, something in my garden, a seed, or flower petal, or it might be something I have seen in my tool drawer like the elegant line of a plastic French curve, or I might be stimulated by one of the many clay bits and pieces of detritus that build up on my studio shelves.&nbsp; As I start working I do not have an intent or interest in reproducing or replicating anything that I see but only in abstracting and translating these stimuli and feelings into a tangible object.I often begin working on a new piece by making very rudimentary sketches. These are usually simple line drawings with lots of notes about surface and form. I think about form and surface at the same time. Texture is often a component in my work and I need to plan on how I am going to incorporate this before I begin building. I use a lot of texture slabs to wrap skins of texture onto volumetric forms and this has to be planned out ahead of time. Next I make small studies or bits and pieces of details I might want to incorporate into my piece to see if I think they will work.Once I have thought through some of the details I begin with the basic form. I work primarily with slabs and I often use either a plaster press mold or wooden drop mold to begin building my form and from that point on I work intuitively letting one thing lead to the next, adding details and/or eliminating them as I go. I sometimes end up making something very different than I had planned. I leave it open so it can evolve as I go.Color and pattern for me are like food. I must have them to thrive and therefore they are very important in my work. &nbsp;They are also the most difficult part of my work. I am very deliberate in my approach to using them. Color is emotional for me and is another vehicle for expression. &nbsp;I often have to fire my pieces several times to get the color results I am happy with.&nbsp; &nbsp;Color can pulsate on a curved textured form, or draw the eye into an interior space. Pattern can accentuate an undulating form and create movement in a static form.I am trying to balance strength, energy and tension in my recent pieces and express my need to communicate and create.When you buy this workshop, you get:<ul><li>Watch my Live Online Workshop<ul><li>The workshop is around&nbsp;1 hour 10 minutes&nbsp;long.</li></ul></li><li>Bonus Q&amp;A<ul><li>Watch my bonus&nbsp;Live Q&amp;A&nbsp;where I answered questions about my process face-to-face</li></ul></li><li>Lifetime Access to the Replays<ul><li>The workshop and the Q&amp;A are recorded, and you will have lifetime access to it. You can watch it online, or download it to your device to watch offline at any time</li></ul></li></ul>About Carol GouthroCarol Gouthro, a graduate of the School of Art, University of Manitoba, Canada, is a Seattle based ceramic artist and educator who has been maintaining a studio practice and exhibiting for over 40 years. Carol has an extensive exhibition record of solo, invitational, and juried exhibitions, including the recent 2 year installation of her work in the forum of &nbsp;the Bellevue Arts Museum. &nbsp;Other recent shows include Profusion at Eutectic Gallery, Portland, Oregon,2018, The Subversive Flower, NCECA&nbsp; 2018, Pittsbrugh, Pa, &nbsp;Biomophics, at &nbsp;Studio Amoca, Pasadena,Ca, The Evocative Garden NCECA National &nbsp;2017 Portland, curated by Gail Brown, &nbsp;and Function, Form &amp; Fantasy, Ceramics from the Dr. Robert and Deanna Harris Burger Collection at the Flint Institute of Art, May-Aug 2016. &nbsp;Her ceramic works have been published in many books and periodicals including the March 2016 issue of Ceramics Monthly with a feature article on her work by Matthew Kangas , Carol Gouthro at Gallery IMA and the March 2018 issue with a feature article by Heidi McKenzie, &nbsp;Ebullience and Gusto with Carol Gouthro. Her works are included in many public and private collections including the Racine Art Museum, Flint Institute of Art, Kamm Foundation Collection, and Kolvo/Sullivan Ceramic Collection Carol teaches workshops internationally, teaching at La Meridiana International Ceramic School &nbsp;Italy ,May 2019 and at the Gaya Ceramic Art Center in Bali Indonesia in August 2019. In the Seattle area she has been a ceramics instructor at the Seward Park Clay Studio and the Kirkland Arts Center for over 25 years.Website: <a target="_blank" href="http://www.carolgouthro.com">www.carolgouthro.com</a>

Carol Gouthro - Handbuilding a Segmented, Pleated, Sculptural Form

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