COLLECTING TEXTURES: A VISIT WITH TIM AND MARILYN MAST

tion of the works is clearly thought through:
no stray boots, no T.V. remote. The conversation
is between you and this vigorous work.
The removal of information in the presentation
The of inherent the works depth is clearly of the thought glazed through: surface on no
many stray of boots, the works no T.V. brings remote. layers The of conversation
light is between refraction you that and highlight this vigorous fissures, work. im-
speckle
and
purities and tonal variation. Mineral spikes
bubble The inherent from two depth 36 inch of the high glazed ceramic surface forms on
many of the works brings layers of speckle and
by Graham Marks (constructed by Beth Blahut)
in the living room; a soaked textile piece
light refraction that highlight fissures, impurities
and tonal variation. Mineral spikes bubble
made from of two clumps 36 inch of high dried ceramic bread forms dough by wrapped Graham
in Marks textile (constructed with strings by falling Beth Blahut) from the in orbs the living sits
in room; front a of soaked a mirrored textile corner, piece made the of work clumps looks of
as dried though bread it has dough been wrapped dredged in textile from with a swamp; strings
behind falling the from couch the orbs is an sits inflated front ceramic of a mirrored form
by corner, Betty Woodman the work looks that is as the though shape it of has a Saint been
Bernard’s dredged rescue from a swamp; canteen; behind the tightness the couch of is the an
drum inflated form ceramic is interrupted form by Betty by layered Woodman drips that that is
the shape of a Saint Bernard’s rescue canteen;
become blobs of glossy grass green and rust
the tightness of the drum form is interrupted by
with an exposed grid of raw porcelain peeking
layered drips that become blobs of glossy grass
through.
green and
A Kevin
rust with
Beasley
an exposed
acrylic
grid
disc
of
is
raw
stuffed
porcelain
street peeking soot and through. then A drowned Kevin Beasley in plastic, acrylic a
with
sort disc of is vessel stuffed as with jailer street instead soot and of then cradle, drowned yet
in in conversation plastic, a sort with of vessel historical as vessel/cylinder
jailer instead of
forms. cradle, Though yet in conversation we have become with historical immune vessel/cylinder
hysterical forms. digital Though chaos we that have is on become the morn-
im-
to
the
ing mune news to and the hysterical commercials, digital moving chaos that between is on
smooth the morning sober news surfaces and commercials, to injurious spikes, moving tween
between
wood
smooth
potter
sober
browns
surfaces
and
to injurious
hysterical
spikes,
pink
between wood potter browns and hysterical pink
puff at the Mast’s home makes texture and
puff at the Mast’s home makes texture and
variety
variety
exhilarating
exhilarating
again.
again.
It
It
evokes
evokes
incidents
incidents
and and snippets snippets of of experience, the the ity ity of of making, and and thought becomes physical-
tangible.
vealing. This collection says things that the
Masts may or may not wish for us to understand,
there is a viscera, a daring, a fertility
16
Like to the making forms art, with being drips taken of hot by art color is revealing. amid moss
This tones collection that, after says listening things that to the Tim Masts speak, may reveal
may a not yearning wish for for us the to understand, making of there art, for is a the
or
viscera, experience a daring, of a touching. fertility the The forms collecting with drips urge
of seems hot color simultaneously amid moss tones that, invoke, after satisfy, listening yet
to frustrate Tim speak, this reveal compulsion. a yearning In for other making words, of revealing
it as desire in the strongest sense.
art, for the experience of touching. The collecting
urge seems simultaneously to invoke, satisfy,
yet frustrate this compulsion. In other words, revealing
For Marilyn, it as desire the collecting in the strongest process sense. presents For
Marilyn, an initial the intuitive collecting response process followed presents by an an initialytical
intuitive weighing response of art followed acquisition by an against analytical other
ana-
weighing possibilities. of art acquisition This evaluative against process other possibilities.
sense This if you evaluative know Marilyn’s process makes patient sense and if dis-
makes
you cerning know nature, Marilyn’s but patient the couple and can discerning also be naturegerously
but the spontaneous. couple can They also be see dangerously it, they like it,
dan-
spontaneous. they acquire They it. But see this it, is they after like much it, they general acquire
it. But this is after much general study in
study in the field as is evident in their library
the field as is evident in their library and Marilyn
and Marilyn who, now in retirement, can read
who, now in retirement, can read seven books
in
seven
a week
books
and
in
still
a week
make
and
it to
still
three
make
or four
it to
art
three
events. or four Though art events. their Though library is their deep, library Tim shared is deep,
with Tim me shared the three with seminal me the texts three that solidified seminal his texts
passion that solidified for the world his passion of ceramics: for the American world Pottersramics:
The American Work of Twenty Potters: Modern The Work Masters, of Twenty by
of ce-
Garth Modern Clark; Masters, A Century by of Garth Ceramics Clark; in the A United Century
States of Ceramics 1878-1978, in the by United Garth Clark States1878-1978,
and Margie
Hughto; by Garth and Clark Objects: and Margie USA: Works Hughto; by and Artist- Objects:
USA:
Craftsmen in
Works
Ceramic,
by
Enamel,
Artist-Craftsmen
Glass, Metal,
in Ceramic,
Enamel, Glass, Metal, Plastic, Mosaic,
Plastic, Mosaic, Wood, and Fiber, by Lee Nordness.
Flipping through the plates of these books,
one
Wood,
sees
and
corresponding
Fiber, by Lee
pieces
Nordness.
and style markers
through on the the wall, plates floor and of these side table. books, The one collec-
sees
Flipping
tion corresponding is studied but pieces fresh, having and style obvious markers spur of on
the moment wall, floor game and changing side table. acquisitions. The collection In addition
studied to these but fresh, key texts having were obvious later pivotal spur works of the
is
they moment saw game and felt changing compelled acquisitions. to acquire, In and addition
allow to these time key to catch texts up were to the later work pivotal through works
then
contemplation, they saw and looking, felt compelled and further to acquire, research. and
then allow time to catch up to the work through
contemplation, looking, and further research.
Kevin Beasley, Beaseley, In Case “In Case Your Your Parts..., Parts...”, 6x11x11, 6x11x11, 2010; dirt, 2010; tar, dirt, t
sticks and cast acrylic.