Last summer’s woodfiring had a lot of experiments. In January 2020 at STARworks in North Carolina I had spent three weeks making small clay body batches based on wild North Carolina clays in different combinations. As I made pots with each mix I not only numbered them so I could trace back to my notes, but I made them different scales and shapes so that they were easily identifiable. In this year of staying home I am working with one clay body, using a few different materials for surface prints.<\/p>\n\n\n\n
In the spring the New York Times asked 75 artists, “Did you make anything that mattered?” “Who and what comforted you?” “Which moments will you remember?” “Which ideas would you like to forget?” “What would a do-over look like?” “What\u2019s still on your to-do list as ‘normal’ comes into focus?” <\/p>\n\n\n\n
If they asked me I would say I don’t know yet if what I made this year mattered, but I am grateful for the habit of the studio. I have thought of yellow<\/em> as my color of protection. I bought a pot of yellow pansies at the grocery store. I loved having them on the porch and gained strength as I glimpsed them out of the corner of my eye. Now as they fade in the heat I am studying the Calendula each day as I make my way to the studio, gaining strength and commitment from the power of the yellow blossoms.<\/p>\n\n\n\n Sean Scully (artist)![\"\"](\"https:\/\/www.catherinewhite.com\/roughideas\/wp-content\/uploads\/2021\/06\/12-summer-summit-21-1024x595.jpg\")
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“Lately, I have fallen in love with yellow. At the moment, I seem to be using it in every painting. I\u2019m not sure I understand why, though maybe it offers a kind of protection against the cold, or against the sorrows of Covid. One of my new paintings is called \u201cYellow Yellow.\u201d Another is called \u201cWall Orange\u201d and has blurs of yellow and orange seeping into each other. Yellow is complicated.”<\/p>\n\n\n\n