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Sometimes I will just re-work the surface, adding encaustic or flock or resin layers on top of glaze.

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At the end of the day the most concrete way I know a piece is done is when it is sold and out of my hands to alter more. Until then, nothing is safe. This varies greatly from work to work and series to series. Some works are very personal and abstract and for these my hope is that the viewer can relate through drawing on their own emotional experiences. My more recent work is more intuitive, yet also more representational and my intention is to give the viewer enough signifiers to start to build a narrative but to require them to draw their own conclusions connecting the dots.

Most of all I want viewers to have a guttural, emotional response to the work rather than an intellectual or analytical one. Does your work have any connection to our current environmental crisis, either as a means of confrontation or escape? Some of the most sublime experiences of my life have involved interactions with landscape and nature. While I am frequently asked if my works are responding to environmental issues, and I do care deeply about these concerns, those ideas are not prominent in my thought process when developing work.

My use of natural forms and terrains is an attempt to capture some of that feeling, a sense of awe and wonder. My intent is to then offer an alternate experience, an escape from reality where things can appear more brilliant and magical. You often collaborate with others, including works created in response to conversations with scientist Beverly Emerson of the Salk Institute or large scale installations with your husband, who is also an artist.

How have these collaborations shifted your perspective or way of working? I usually hate it throughout the process but the end result and the lasting effects are exceptionally fulfilling. My work with Beverly Emerson in particular was very challenging both in its conception as well as in the physicality of creating my largest works to date. It is very hard for me to try to marry my own interests and vision with external ideas and this challenge forces me to broaden the type of work I am making and really hone in on what is fundamentally important to me about both my process and the ideas I am trying to communicate.

Without fail, after each collaboration I swear I will never do it again, a conviction that slowly erodes in the following months and years as I see how those ideas have introduced new, exciting directions into my work.

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How has your experience as an educator guided or impacted your own artistic development? Becoming an educator has felt like the most natural thing in the world to me. My father is a Professor at Wharton in Philly so I grew up spending a lot of time on the campus at UPenn and even began assisting in his classes when I was How would you describe your approach to organizing and installing exhibitions?

I have been curating since and it has become a big part of my career. While not always the case, I often begin with a pool of artists that I am intrigued by and then begin to draw out common threads, trying to identify both the commonalities and differences in why I am drawn to their work and through that I develop themes and flesh out exhibitions, researching to find additional artists that will complement and add to the original grouping. I try to take into consideration the venue and audience but even more so, I have recently become very concerned with making sure the exhibitions I organize are reflective of current social issues and instigate dialogue through artists and art works that challenge traditional perspectives or approaches.

I came back several times to see that living room, it felt like a time capsule from the 70s and those works together gave me the chills and thrills. Can you share some non-visual works of art—from literature, music, or film—that are important to you?


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Both literature and music are very important to me. There have been many literary journeys that have challenged and moved me that have ended up being very formative experiences. As an adolescent Charles Bukowski really helped me embrace an outsider status and approach the world with a fuck all attitude. To this day I still fuel my time in the studio with podcasts and audio books that keep me entertained while spending days upon days carving repetitive details.

While the news is so dark and stressful nowadays, I find humor to be a welcome respite and something that keeps me energized and motivated in the studio. Music has also been a huge influence in my life. I was heavily into punk and industrial music as I came of age and became absorbed in that community and lifestyle. Bands like Husker Du, Joy Division, Stiff Little Fingers and Skinny Puppy were the soundtrack of my life and the DIY approach of punk culture was a wonderful start to my interest in combining low and high brow materials together in unconventional way and approaching art making in a way that was simultaneously aggressive and vulnerable.

Above all, this influence allowed me to be unapologetic in my passion and vision and to embrace life for all of its crudeness alongside its beauty. Do you own artwork or maintain any other collections? My husband and I are avid collectors and quite proud of the depth and breadth of our collection.

The diversity of the work we collect is vast though the majority of it has been made by friends and colleagues we have met in our community or through work and travel. And I thank my lucky stars every day for that. What inspired the rose petals for the Drag Race finale lip sync? The song inspired the rose petals. I had 24 hours with all of the song choices that it could be. I get to perform in a slightly different way.

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Will: Has the has the tour changed? A wild experiment. And with this show, I really wanted the challenge of getting things polished and really, technically correct.


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With Smoke and Mirrors, the projections, which are a huge element, kind of move without me. But I also give myself room to interpret it differently. I think that being able to approach things with different characters night to night is an essential part of having fun with drag. Will: My final question here, and this is one that I really do like to ask people who have traveled a lot, had some experience, and really become comfortable in their own flesh as a member of the LGBTQ community.

What would you today at age 32, want to tell your grade school, your high school-aged self, if you could? And I tried very hard to change myself, to fit — and even still being comfortable as a gay person — I really had to fight to negotiate my queerness. And drag for me is the triumph of really being at peace with that side of myself. I actually recently went back to my high school.

We did the we did kind of a kickoff party for the for the Smoke and Mirrors tour by going to my hometown university. And I visited my high school on that trip and in honor they made a Sasha Velour Day where all the queer students got to come in looks of whatever it is they wanted to. There were rainbows everywhere and my guidance counselor, who helped me get into college in New York, papered the hallways with printouts of my face in drag. And I cannot tell you how surreal and emotional that experience was. Save my name, email, and website in this browser for the next time I comment.

I got drunk on his words so many. Here's something sweet, and pretty:. Touch the Air Softly Now touch the air softly, step gently, one, two I'll love you 'til roses are robin's egg blue; I'll love you 'til gravel is eaten for bread, And lemons are orange, and lavender's red. Now touch the air softly, swing gently the broom. I'll love you 'til windows are all of a room; And the table is laid, And the table is bare, And the ceiling reposes on bottomless air. I'll love you 'til heaven rips the stars from his coat, And the moon rows away in a glass-bottomed boat; And Orion steps down like a river below, And earth is ablaze, and oceans aglow.

Profile: Drag Superstar Sasha Velour

So touch the air softly, and swing the broom high. We will dust the grey mountains, and sweep the blue sky: And I'll love you as long as the furrow the plough, As however is ever, and ever is now. William Jay Smith. Re: Here's something sweet, and pretty:. A bit of an antidote for my rather stark offering! This thread is making me feel weepy. Thank you for posting, everyone. Alden Nowlan said by some to be among Canada's finest poets, died in He lived here in Fredericton.

Here's one of his. Looking for Nancy Looking for Nancy everywhere, I've stopped girls in trenchcoats and blue dresses, said Nancy I've looked all over hell for you, Nancy I've been afraid that I'd die before I found you. But there's always been some mistake: a broken streetlight, too much rum or merely my wanting too much for it to be her.

The Journey. The Journey One day you finally knew what you had to do, and began, though the voices around you kept shouting their bad advice -- though the whole house began to tremble and you felt the old tug at your ankles. But you didn't stop. You knew what you had to do, though the wind pried with its stiff fingers at the very foundations, though their melancholy was terrible.

It was already late enough, and a wild night, and the road full of fallen branches and stones. But little by little, as you left their voices behind, the stars began to burn through the sheets of clouds, and there was a new voice which you slowly recognized as your own, that kept you company as you strode deeper and deeper into the world, determined to do the only thing you could do -- determined to save the only life you could save. Re: The Journey. It does, yes, and very nicely. Speaking of Canada's finest poets Can you imagine what it is like to live in a world where there is no-one now always no no-one and never some some- one to ask do you love me and be sure that the answer would always be yes?

LittleSuz 10 yrs ago. I have enjoyed reading this thread. From one of my favourite poets.

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Alone And Drinking Under The Moon Amongst the flowers I am alone with my pot of wine drinking by myself; then lifting my cup I asked the moon to drink with me, its reflection and mine in the wine cup, just the three of us; then I sigh for the moon cannot drink, and my shadow goes emptily along with me never saying a word; with no other friends here, I can but use these two for company; in the time of happiness, I too must be happy with all around me; I sit and sing and it is as if the moon accompanies me; then if I dance, it is my shadow that dances along with me; while still not drunk, I am glad to make the moon and my shadow into friends, but then when I have drunk too much, we all part; yet these are friends I can always count on these who have no emotion whatsoever; I hope that one day we three will meet again, deep in the Milky Way.

Li Po. Soothes the soul. Rucksack Riff: Jackie Kay. Rucksack Riff Jackie Kay Here I am, not so very far away On an ordinary day when ordinary people Are out and about in streets that are not my streets In the country that is not my country. I walk amongst them, the close arrangement of my features Perhaps makes them think of danger. My small rucksack packed with woollen socks, soft white briefs A present for my cousin, T-shirts, handkerchiefs Is maybe packed with bombs, arms, explosives. A conversation with a dear friend Is a plot, a terrorist exchange.

khutovtramronis.tk We are no longer friends, we are strangers Speaking in tongues, flames. Our country has bullet shaped petals, Our blossom explodes like bombs Our national dish is laced with arsenic. Here I am, not so very far away As I walk down the ordinary street on an ordinary day Just like this one, Just like today.