John Ward

It is not surprising that the green, blue and ochre glazes
have properties similar to some of the surface colours and
textures of rocks and pebbles where I am living. Being near
the sea has probably had an effect on the banded decoration
I use, either reflecting the movement of water and waves or
the dips and folds of the strata revealed in cliff faces

John Ward



brutal decay

There are those who still think the bravura brutalist design of St Peter's Seminary in Cardross, 25 miles from Glasgow, to be an eyesore. There are those who say it was blighted by technical problems from the day it opened 45 years ago. Then there are those who believe that this is one of the greatest modern buildings in Europe. Whatever your opinion, St Peter's was deemed important enough to be placed on the World Monument Fund list of the "World's 100 Most Endangered Sites" in 2008.

Now, Scottish arts group NVA, funded by Creative Scotland and a number of UK trusts and foundations, has been given two years to raise £10m to enable the partial renovation of the great concrete structure. The aim is to transform the graffiti-plastered ruin and the surrounding Kilmahew woodland strewn with litter into an arts-led public space...

Since the early 1990s there have been several attempts to find new uses for St Peter's, but the NVA proposal garnered praise internationally when it was unveiled at the 2010 Venice architecture biennale. But NVA has just two years to raise funds and to spirit the project into life. It wants people – and not just locals and artists – to join in the discussion and, hopefully, help raise funds. St Peter's is a site of international importance, but if NVA fails, the lands and ruins will return to the Archdiocese; and, then – without purpose and funding – they can only fall into further decay.

from The Guardian, 12 May 2011
St. Peter's in Cardross, by architects Gillespie, Kidd & Coia


Eva Lundsager

Is it a feminine quality, this propensity to stain things?
To wash out, wash over?



two slighty related ideas, if you happen to be an artist and art critic, at the same time


How could I have been an art critic in New York for 23 years and never attended an auction before? Easy. I was used to loving things that didn't belong to me and talking about them to people they didn't belong to, either. That the things might get shuffled around for money, somewhere out there, was a given, but the fact of their existence was all that really mattered. Nobody said that art was the common intellectual and spiritual property of humanity, because nobody had to. To have a smart and deep take on art -- the drama of it and the fun -- was once to be somebody in the art world, whether or not you had a dime. When I came to art, I wanted to become that kind of person, rich in that way.

Peter Schjeldahl
An Auction at Christie's from The Seven Days Art Columns
4 January 1989


Ginny Marsh

A friend of the program.
I feel like a kid in a candy store in her studio --
racks and racks of smooth, unfired gorgeous things.
And then when they're done --
sent through the kiln and shiny with milky or muddy glazes --
they are just an ache-y kind of perfect.



channeling Georgia

Feeling small. Aching to do big things.
Hankering to flee and make things simple.
Like she did.

I'm Revolting's style icon Pinterest board,
which is mine too, without the work of doing it.)