ʻAha Hana Lima 2019

GATHERING OF THE CRAFTS  IS AN ANNUAL SERIES OF INTENSIVE 3-DAY HANDS-ON WORKSHOPS AND LECTURES EXPLORING VARIOUS MEDIA: CLAY, METAL, WOOD, FIBER OR GLASS AND USUALLY CONDUCTED BY ARTIST CRAFTSMEN FROM OUTSIDE HAWAII.



Beth Cavener

THE RETURN OF BETH CAVENER

A THREE DAY INTERACTIVE DEMONSTRATION ... FEATURING HER LARGER THAN LIFE FIGURES

Four years ago many of you were treated to an Aha Hana Lima workshop featuring Beth Cavener. Hawai’i Craftsmen is excited to announce the return of Beth Cavener. In a slight departure from our usual Aha Hana Lima format, Beth will treat Hawai’i artists, collectors, and fans to her wildly popular 3-day interactive demonstration of the process and methodology she uses to create her larger than life ceramic sculptures. Using 600 lbs of clay and 25 feet of half inch pipe Beth will, working with the audience, construct one of her larger than life figures. Beth will also go over in detail from start to finish how she created some of her actual past works, including a 6 foot tall double figure piece constructed over the course of five months. Audience members will have the opportunity to try out some of her techniques as she guides members through a hands on exercise in her methods for sculpting an eye.

Beth’s sculptures focus on human psychology, stripped of context and rationalization, and articulated through animal and human forms. On the surface, these figures are simply feral and domestic individuals suspended in a moment of tension. Beneath the surface, they embody the consequences of human fear, apathy, aggression, and misunderstanding.

Here are the topics she will cover over the three days.

Developing an Idea within a Conceptual Framework

Beth will share about where her ideas come from and how she integrates them into a body of work. She will touch upon how the emotional, psychological and intellectual content of the work is translated into subject matter, gesture, scale, and installation. The demonstration will begin as she works on a small oil clay study while discussing with the workshop participants the subject matter and how she makes every decision on line and form as she is thinking through to the final sculpture; remembering the end at the beginning. Throughout this period of working small, Beth will be speaking about her experiences as a professional artist, using stories and anecdotes to convey how all these elements are woven into the work she is creating. Next the students will help her problem solve on how the final study will be engineered out of 600 pounds of water-based clay. How will we hold up the mass of material while still allowing for articulation and fluidity of the form?

Building and Testing the Armature

The next step is problem-solving the actual building of the armature that will hold the clay in place, using ½” steel pipe and fittings; the students will be participating in this process. Being the most important step in sculpting, the armature is tested and revised as needed based on how it will function under the weight of the clay. Students are asked to think through the ramifications of weight vs. freedom of gesture and how the armature is placed in order to give the final sculpture the desired presence when it is finished. Consideration for the engineering problems of cutting and refitting sections during the hollowing process is also discussed and planned for.

Roughing in the Gesture and Scale

Following Beth's lead the class will work together roughing in the first 200-300 pounds of clay. The initial part of building will concentrated on the physical strength of the clay form on the armature and the gesture of the entire body into the movement of the spine. Towards the end of the session we will be concentrating on the exact movement of the ribcage in relation to the spine, hips and shoulders. Demonstration elements discussed during throughout Saturday include: making structural vs. muscle shapes, using additive vs. subtractive methods of building, drawing on the surface of the clay, cardboard ears, tails, dowel armatures for articulated legs and arms. Students are encouraged to ask questions during this phase, keeping up a lively dialogue- particularly addressing the themes and stories from the artist lecture.

Artist Process Talk

Armatures, maquettes and A Rush of Blood to the Head- Part One. These process talks are the meat of the whole demonstration! This is an interactive slide lecture beginning with Beth guiding the students through multiple pieces she has made in the past, showing the studies and armatures for each. The main attraction is the Rush of Blood to the Head Lecture, where she shows every single step of making one of her 9-month long projects from beginning to end. In Part One, Beth shows how this 6 ft tall, double figure piece was engineered, sculpted and hollowed out over a 5-month period.

A Rush of Blood to the Head- Part Two. This second part of the process talks is even more intensive than the first! Beth begins this talk with the piece coming out of the kiln, having been fired in sections, and shows in detail, how the piece was adjusted, reassembled and finished over the following 3.5 months.

Sculpting and Refining the Piece

Through out the day the class will continue sculpting on the wet clay piece. Demonstration elements include: articulating movement and tension/release through the building up and fading of anatomical elements, use of gestural mark-making to highlight the content of the work, details of the face and extremities as final elements that evoke emotional responses from the viewer.

Hands-on Eye Demonstration

All the students wishing to participate, are given an orange-sized lump of clay, a popsicle stick and a skewer, and Beth takes everyone through the process she uses for creating an eye. This is a great way for Beth to talk about the difference between sculptural and anatomical form, and how she combines the two, painting with light and shadow to create an expressive element of the body.

Disassembling and Hollowing Out the Piece and Prepare for Firing

The Sculpting and refining of the piece must be finished at this stage and the students are guided through the meticulous process of choosing how the piece will be cut into sections for hollowing. Discussion and demonstration, when possible, will include kiln loading and firing, grinding, gluing, problem solving firing flaws, surface finishes, and installation.

Wrap up Q & A and Discussions

This time can be used to reflect on any part of the demonstration activities and discussions. The last 30 minutes of the evening is set aside for all hands on deck studio clean up.

MEMBERS ARE ENCOURAGED TO ENROLL FOR THESE WORKSHOPS DUE TO LIMITED CLASS SIZE.

Actual times and dates of events will vary from venue to venue depending on scheduling. Some venues will run three whole days and some venues will run two half days and two whole days depending on availability.

ARTIST STATEMENT

The sculptures I create focus on human psychology, stripped of context and rationalization, and articulated through animal and human forms. On the surface, these figures are simply feral and domestic individuals suspended in a moment of tension. Beneath the surface, they embody the consequences of human fear, apathy, aggression, and misunderstanding. I rely on animal body language in my work as a metaphor for these underlying patterns, transforming the animal subjects into human psychological portraits.

I want to pry at those uncomfortable, awkward edges between animal and human. Entangled in their own internal and external struggles, the figures express frustration for the human tendency towards cruelty and lack of understanding. Something conscious and knowing is captured in their gestures and expressions.

An invitation and a rebuke.


ARTIST BIO

Beth Cavener was born in Pasadena California, her father a molecular biologist and her mother a sculptor and art teacher. She went to Haverford College, attended Cecil Academy of Art in Florence, Italy and graduated with a BA in sculpture. After working in Nashville Tennessee and at the Charles H. Cecil studios in Florence, Italy she was accepted and received her MFA from Ohio State University. Cavener has completed residencies at the Archie Bray Foundation, the Clay Studio, Jingdezhen, China,  La Meridiana, Italy, the Shigaraki Ceramic Cultural Park, Japan to name a few. Her work is held in many public and private collections including the Honolulu Museum of Art, the Arizona State University Art Museum (Tempe), the Chazen Museum of Art (Madison, Wisconsin), the Museum of Fine Arts, Houston, the Northwest Museum of Arts and Culture (Spokane, Washington), the Racine Art Museum (Racine, Wisconsin), the Smithsonian American Art Museum (Washington DC), and the Tennessee State Museum (Nashville). She is currently represented by the Jason Jacques Gallery in Manhattan.


Oahu Workshop

JANUARY 11 -14 , 2019 UNIVERSITY OF HAWAII AT MANOA
ART DEPARTMENT, CERAMICS
2535 McCARTHY MALL 

HONOLULU, HAWAI’I 96822

Friday, Jan 11th, 5pm-9pm
Saturday, Jan 12th, 9am-5pm
Sunday, Jan 
13th,  9am-5pm 
Monday, Jan 14th,  5pm-9pm

Maximum enrollment 30

EARLY BIRD REGISTRATION Nov 29th - Dec 21st
REGISTRATION DEC 21st - JAN 7th

Tuition

Member Rates
Early Bird $195, Regular $265, Student (W/ID) $120

Non-Member Rates
Early Bird $280, Regular $350, Student (W/ID) $205

Media Contact
mmitsuda@punahou.edu

REGISTER

Registration Closes January 7th

Oahu Public Presentation & Reception

JANUARY 10th, 2019 6PM - 8PM
UNIVERSITY
OF HAWAII AT MANOA
ART DEPARTMENT
2535 McCARTHY MALL 
HONOLULU, HAWAI’I 96822

Please join us for a Presentation, Q&A and Reception. Free to the Public.

Please help us prepare and accommodate all attendees at this venue by registering below.

RSVP

Media Contact
mmitsuda@punahou.edu

Hawai'i Island Workshop

JANUARY 18-20, 2019 9AM - 5PM

VOLCANO ARTS CENTER
19-4074 OLD VOLCANO ROAD
VOLCANO, HI 96785

Friday, Jan 18th, 9am-5pm
Saturday, Jan 19th, 9am-5pm
Sunday, Jan 20th, 9am-5pm

Maximum enrollment 30

EARLY BIRD REGISTRATION Nov 29th - Dec 21st
REGISTRATION DEC 21st - JAN 7th

Tuition

Member Rates
Early Bird $195, Regular $265, Student (W/ID) $120

Non-Member Rates
Early Bird $280, Regular $350, Student (W/ID) $205

Media Contact
mmitsuda@punahou.edu

REGISTER

Registration Closes January 7th

Hawai'i Island Public Presentation & Reception

JANUARY 18, 2019 6PM - 8PM

VOLCANO ARTS CENTER
19-4074 OLD VOLCANO ROAD
VOLCANO, HI 96785

Please join us for a Presentation, Q&A and Reception. Free to the Public.

Please help us prepare and accommodate all attendees at this venue by registering below.

RSVP

Media Contact
mmitsuda@punahou.edu

Maui Workshop

JANUARY 25 - 27, 2019 9AM - 5PM

UNIVERSITY OF HAWAII MAUI COLLEGE
HEONA
310 W KAAHUMANU AVE

KAHULUI, HI 96732

Friday,  Jan 25th, 9am-5pm
Saturday, Jan 26th, 9am-5pm
Sunday, Jan 27th, 9am-5pm

Maximum enrollment 30

EARLY BIRD REGISTRATION Nov 29th - Dec 21st
REGISTRATION DEC 21st - JAN 7th

Facilities Fee

Member Rates
Early Bird $195, Regular $265, Student (W/ID) $120

Non-Member Rates
Early Bird $280, Regular $350, Student (W/ID) $205

Media Contact
mmitsuda@punahou.edu

REGISTER

Registration Closes January 7th


Maui Public Presentation & Reception

JANUARY 24TH, 6PM - 8PM

UNIVERSITY OF HAWAII MAUI COLLEGE
HEONA
310 W KAAHUMANU AVE
KAHULUI, HI 96732

Please join us for a Presentation, Q&A and Reception. Free to the Public.

Please help us prepare and accommodate all attendees at this venue by registering below.

RSVP

Media Contact
mmitsuda@punahou.edu

Tuition & Facilities Use Information

EARLY BIRD REGISTRATION
NOV 29TH - Dec 21ST

REGISTRATION
DEC 21ST - JAN 7TH

TUITION FEES (PER WORK SHOP) OAHU & HAWAI‘I ISLAND

Member Rates
Early Bird $195, Regular $265, Student (W/ID) $120

Non-Member Rates
Early Bird $280, Regular $350, Student (W/ID) $205

FACILITIES FEE (PER WORK SHOP) MAUI

Member Rates
Early Bird $195, Regular $265, Student (W/ID) $120

Non-Member Rates
Early Bird $280, Regular $350, Student (W/ID) $205

LAB FEES ARE INCLUDED IN TUITION AND  FACILITIES FEES AND ARE NOT EXPECTED TO INCREASE, HOWEVER STUDENTS WILL BE NOTIFIED OF REQUIRED TOOLS AND/OR MATERIALS AND SHOULD BE PREPARED TO SUPPORT EXTRA FEES AS EXPENSES WARRANT 

Student Scholarships


A LIMITED NUMBER OF STUDENT SCHOLARSHIPS ARE AVAILABLE.

Deadline for application: Friday, December 21st, 2018
Notification of selection: Friday, December 28th, 2018

Applicant must be a full-time undergraduate or graduate student and a current Hawai'i Craftsmen member. Please download the Stella O.H. Lee Scholarship Application Form for more details.

DOWNLOAD FORM


HAWAII CRAFTSMEN IS SUPPORTED BY THE HAWAI’I STATE FOUNDATION ON CULTURE AND THE ARTS,  THE HAWAII COMMUNITY FOUNDATION, THE ATHERTON FAMILY FOUNDATION, THE COOKE FOUNDATION, THE MCINERNY FOUNDATION, THE NATIONAL ENDOWMENT FOR THE ARTS, THE LAILA TWIGG-SMITH ART FUND, SEVERAL PRIVATE FAMILY FOUNDATIONS AND OUR MEMBERSHAWAI‘I CRAFTSMEN 1110 NUUANU AVE, HONOLULU, HI 96817info@hawaiicraftsmen.org • 808-521-3282

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