the BEACON Newspaper, Indiana beacon1-19 - Page 4

Page 4A THE BEACON January 2019 Individuality and Artistic Expression Bind a Community Continued from page 1A such depth of sadness that I have to put it in the work.” She continues, “Painting is not relaxing, it’s a struggle. It’s as exciting as can be, it’s one of the best things that can be, but it is when you dig into it, when you’re thoughtful and go further - you’ve put in all the frustration and time to work, to reach and push through all the stuff, and then you can get to the zone.” Mr. Kaiser, the owner of a metal studio, says, “I’m a creative because I’ve got to - I don’t have a choice. It is a disease, it really, really is. I have to create, and my girl- friend or other people would be like, ‘Can’t you just leave it alone?’ Nope, can’t - got to make it mine. I can do this, I can do that. What I do might not be their taste; that’s fine, it’s subjective, but I have to create - I don’t have a choice. So that’s what I get out of it, that’s the other end of the spectrum, that’s what makes me happy. To win the lottery and all I had to do was create stuff - oh please let me live a thousand years!” Through classes and at workshops, in their studios and at shows, these women and men share their expertise and inspire others, but few are comfortable with promot- ing themselves and marketing their art. Bruce Canfield, the owner of a pottery shop, has over thirty years of experience as a clay artist. He says, “The artistic process can be very ex- pensive. When you are buying your equipment to produce it, your labor making it - for what Local artists’ work can be enjoyed at galleries in Olden- burg, Aurora, and a Dillsboro gallery pictured here. Anthropologic evidence suggests that looms were being used to make clothing 27,000 years ago. An artist’s inspiration might come from a collection of paint chips, a tin box of pastels - or a rainbow of yarn. we sell things, it’s just pennies on the dollar; literally pen- nies on the dollar. One of my carved bowls may take me fif- teen, sixteen hours to make, so if I get paid a dollar an hour, there you go. People don’t realize that it’s the equipment that you have to have, the time that you put into it, the time it’s taken to develop your tal- ent, the time to market it, sell it, so on and so forth.” He continues, “And that’s what I’m not interested in Photos by Susan Ray doing. I don’t want to take the fun out of making the piece. The marketing is just really unappealing to me. I’ll do the glazing and the firing, but it’s hard to pack it up, set prices and apply for shows and get your portfolio ready. It’s not an easy life if you’re earning your living as an artist. “Shows are hard to do - it’s like carrying boulders around, being stoneware, so I usually Like generations of potters before him, Bruce Canfield creates ergonomic pieces that can be used every day. (Photo Courtesy of Bruce Canfield) have to have help, and it’s hard to impose upon people to help you set up and tear it down. Shows are incredibly exhaust- ing, and I guess if you’ve made a lot of money it’s worth it, but if you haven’t done very well because of weather or something like that, you’ve done all this work and it’s kind of disappointing - but that Chaz Kaiser works with copper, bronze and steel to create nature inspired fountains, repoussé, ham- mered tabletops, and these cattails. comes with it.” Barb Gallagher is a fiber artist, educator, and owner of a weaving shop. She travels to shows and teaches classes on weaving throughout the Mid- west. As a member of the Continued on page 5A THE BEACON - Bringing our Community and Businesses Together.