Ceramics Marcelle Glock Podcast TTT Season 4 Wood Fired Ceramic Tradition

Season 4 Episode 10: Marcelle Glock on The Wood Fired Ceramic Tradition Part 2

Welcome to Tea Toast & Trivia.

Thank you for listening in.

Marcelle Glock, Ceramist

I am your host Rebecca Budd, and I am looking forward to sharing this moment with you

Today, I am heading back to Mudge Island, located within the scenic Gulf Islands, between Vancouver Island and Gabriola Island.   Marcelle Glock, ceramist, and I are continuing the discussion on the wood fired ceramic tradition.

You will recall that Marcelle’s pottery and sculptures sit in private collections around the world. Her artwork encompasses stoneware, raku, and local wild terra-cotta.  Marcelle forms clay into extraordinary artworks – from functional to sculptural, wearable and oracle.  She imbues each piece with a primal reverence toward the natural world. 

I invite you to put the kettle on and add to this exciting conversation on Tea Toast & Trivia.

Join us on Part two of Marcelle’s artistic journey.

And a special thank you, Marcelle, for sharing your insights, your journey, and your connection to nature through the medium of clay.  Your continued awareness, respect and reverence for your art and the medium in which you work inspires me.  I know that you have encouraged listeners to recognize artistic endeavour is a calling and a responsibility

Listeners, I invite you to meet up with Marcelle on her website, Mad Mudslinger on Instagram  and YouTube

Until next time we meet, dear friends, keep safe and be well.

Marcelle Glock, Ceramist

Marcelle Glock, Ceramist on The Wood Fired Ceramic Tradition Part 2 Tea. Toast. & Trivia.

By Rebecca Budd

Blogger, Visual Storyteller, Podcaster, Traveler and Life-long Learner

34 replies on “Season 4 Episode 10: Marcelle Glock on The Wood Fired Ceramic Tradition Part 2”

I enjoyed listening to the second part of this podcast. You always ask such great questions. I loved that Marcelle said, “They call her Bud but she´s the entire flower.” I´m so glad the two of you connected.

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Marcelle is truly remarkable, Darlene – a wonderful kindred spirit. Her thoughts on staying focused on the creative process, that art is a calling that requires determination and dedication. I laughed when she spoke about having a uniform – an apron with splatters of mud. She is right – we all have uniforms that are suited to are chosen career. I don’t miss my high heel shoes!!! LOL

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I enjoyed this continuation of your conversation with Marcelle. I found her discussion of the history of ekphrastic art fascinating. I know ekphrastic art in its current iteration, but I didn’t know how it started. Marcelle also broadened the definition of it for me. An ekphrastic sculpture from a podcast!! I also appreciated her discussion of the cycle of human artifacts and the fact that she leaves messages on the bottom of her work for future archaeologists to find!

The standout quote of the podcast is, of course, “We call her Budd, but she’s a full-blown flower”!

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As soon as Marcelle spoke about ekphrastic art, I thought of you immediately, Liz. I did not know anything about ekphrastic art until I met you. I still go back to your post published January 16, 2019 entitled Another Poetry First: “Remembering Etaples”

I knew that you would enjoy this conversation. Marcelle’s insights has given me a new perspective into the artistic journey.

Thank you for listening in, Liz and for your comments. Very much appreciated.

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Writing messages for the future in the ceramic is just brilliant! Reminded me of a strange feeling of connection across time: in 2010 I visited in Chan Chan (a city of adobe in Peru), and I was impressed to see this “pixelated birds” carved in the walls thousands of years ago. The edges were not square because of weaving threads, and certainly there were not pixels back then… so why were those birds geometrically carved in such an organic material? I couldn’t get my mind off it. (you can see some pics here if you’re curious:

I’m also curious about “acrostic automatism” (not sure if I got the spelling right). I’m familiar with surreal automatism, in the way my hand moves “by itself” if I let it flow across a canvas when painting. But I haven’t heard about the reinterpretation of another piece of art with that method. Is that what “acrostic” means?

Thank you as always, for your inspiring conversations 🙂

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I had to look up the spelling, Graciela: Ekphrastic

My first introduction to the word was through Liz Gauffreau who shared an ekphrastic poem on her blog back in 2019. I did some more research into this poetry form and found this definition from Poetry Foundation: “Ekphrastic poetry is a vivid description of a scene or, more commonly, a work of art. Through the imaginative act of narrating and reflecting on the “action” of a painting or sculpture, the poet may amplify and expand its meaning. A notable example is “Ode on a Grecian Urn,” in which the poet John Keats speculates on the identity of the lovers who appear to dance and play music, simultaneously frozen in time and in perpetual motion.”

Marcelle expanded on Elizabeth’s thought and now I am very interested in finding out more about one artwork, leading to another. You brought the idea of combining art forms as well: – music, meditation and art coming together

Thank you for the link to Chan Chan – an abandoned brick city. This is the first time that I heard about this pre-Incan culture. You have sent me on a wonderful exploration. Many thanks!!! Sending hugs and more hugs your way.

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Oh, my hearing needs training! Thank you. “Ekphrastic”, what a wonderful word to investigate and fall down the rabbit hole. Now I feel compelled to share a fragment of Sylvie and Bruno by Lewis Carroll. It is long, so you can skip it for another day, but I’ve been meaning to mention this book since I listened to “reading the classics” episode of TTT, and this specific part rings an ekphrastic bell, hehe:

“Did you ever make real life into a drama?” said the Earl. “Now just try. I’ve often amused myself that way. Consider this platform as our stage. Good entrances and exits on both sides, you see. Capital background scene: real engine moving up and down. All this bustle, and people passing to and fro, must have been most carefully rehearsed! How naturally they do it! With never a glance at the audience! And every grouping is quite fresh, you see. No repetition!”

It really was admirable, as soon as I began to enter into it from this point of view. Even a porter passing, with a barrow piled with luggage, seemed so realistic that one was tempted to applaud. He was followed by an angry mother, with hot red face, dragging along two screaming children, and calling, to some one behind, “John! Come on!” Enter John, very meek, very silent, and loaded with parcels. And he was followed, in his turn, by a frightened little nursemaid, carrying a fat baby, also screaming. All the children screamed.

“Capital byplay!” said the old man aside. “Did you notice the nursemaid’s look of terror? It was simply perfect!”

“You have struck quite a new vein,” I said. “To most of us Life and its pleasures seem like a mine that is nearly worked out.”

“Worked out!” exclaimed the Earl. “For any one with true dramatic instincts, it is only the Overture that is ended! The real treat has yet to begin. You go to a theatre, and pay your ten shillings for a stall, and what do you get for your money? Perhaps it’s a dialogue between a couple of farmers—unnatural in their overdone caricature of farmers’ dress—more unnatural in their constrained attitudes and gestures—most unnatural in their attempts at ease and geniality in their talk. Go instead and take a seat in a third-class railway-carriage, and you’ll get the same dialogue done to the life! Front-seats—no orchestra to block the view—and nothing to pay!”

“Which reminds me,” said Eric. “There is nothing to pay on receiving a telegram! Shall we enquire for one?” And he and Lady Muriel strolled off in the direction of the Telegraph-Office.

“I wonder if Shakespeare had that thought in his mind,” I said, “when he wrote ‘All the world’s a stage’?”

The old man sighed. “And so it is, “he said, “look at it as you will. Life is indeed a drama; a drama with but few encores—and no bouquets!” he added dreamily. “We spend one half of it in regretting the things we did in the other half!”

“And the secret of enjoying it,” he continued, resuming his cheerful tone, “is intensity!”

“But not in the modern aesthetic sense, I presume? Like the young lady, in Punch, who begins a conversation with ‘Are you intense?’”

“By no means!” replied the Earl. “What I mean is intensity of thought—a concentrated attention. We lose half the pleasure we might have in Life, by not really attending. Take any instance you like: it doesn’t matter how trivial the pleasure may be—the principle is the same. Suppose A and B are reading the same second-rate circulating-library novel. A never troubles himself to master the relationships of the characters, on which perhaps all the interest of the story depends: he ‘skips’ over all the descriptions of scenery, and every passage that looks rather dull: he doesn’t half attend to the passages he does read: he goes on reading merely from want of resolution to find another occupation—for hours after he ought to have put the book aside: and reaches the ‘FINIS’ in a state of utter weariness and depression! B puts his whole soul into the thing—on the principle that ‘whatever is worth doing is worth doing well’: he masters the genealogies: he calls up pictures before his ‘mind’s eye’ as he reads about the scenery: best of all, he resolutely shuts the book at the end of some chapter, while his interest is yet at its keenest, and turns to other subjects; so that, when next he allows himself an hour at it, it is like a hungry man sitting down to dinner: and, when the book is finished, he returns to the work of his daily life like ‘a giant refreshed’!”

“But suppose the book were really rubbish—nothing to repay attention?”

“Well, suppose it,” said the Earl. “My theory meets that case, I assure you! A never finds out that it is rubbish, but maunders on to the end, trying to believe he’s enjoying himself. B quietly shuts the book, when he’s read a dozen pages, walks off to the Library, and changes it for a better! I have yet another theory for adding to the enjoyment of Life—that is, if I have not exhausted your patience? I’m afraid you find me a very garrulous old man.”

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Thank you for the introduction to Sylvie and Bruno, Graciela! This is the first time I heard it this novel by Lewis Carroll. Many thanks! I just found the book and have added it to my TBR stack of books! Sending hugs!

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This conversation is fascinating, Rebecca and Marcelle. I love what you talked about the interrelationships of different art forms. I made a whale nightlight from clay and wrote about it and posted it on my blog. Another blogger wanted to use the image to write a poem. That is what Marcelle talked about using the sculpture as an inspiration to write poetry. It was a good point that the sculpture is earth, mixed with water, and then fired. We could also add the other two elements – metal and wood when some large sculptures need the support of metal such as the neck and the limbs. And your kilt is a wood-burning kilt. Thank you for this insightful conversation, ladies.

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So many insights are tucked into this podcast. It really underscored how interwoven life and art actually are. The process of how one creates their artwork is always fascinating, whether it is a novel or a piece of pottery. Art in every form does celebrate life…and one form can certainly inspire another form. And it is so very true, that an artist needs time to themselves to create anything at all…I like that idea of donning the mud-spattered apron as a show that work is on-going and should not be interrupted. If we are to find that place where we ‘lose track of time’, we need to create safe havens for ourselves, a time set apart. Thank you for sharing this podcast…very inspirational!

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Many thanks for listening in, Linda and for your profound comments on the creative journey. I agree wholeheartedly that Art in every form celebrates life and that creativity must be nurtured. I appreciated Marcelle’s thoughts on a uniform and that an apron was the most appropriate for a ceramicist. Thank you for your support and encouragement of life-affirming conversations.

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I am delighted that you listened in, Teagan. I especially appreciated Marcelle’s thought on staying focused on your creativity – to be true to your calling. Sending hugs back with speedy wings!

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Hi REbecca, what a wonderful interview with Marcelle. I think all her ideas and approach to creativity apply to all creatives including writers and poets. I love her idea about creating a pot from a poem, I create fondant art from stories. Thank you for this interview, it is really enjoyable and I like They call her Budd but she’s a full blown flower. I don’t think I’ll forget that so you might be seeing that phrase around social media.

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When I heard that phrase about Budd into a flower, I couldn’t help but laugh out loud. I had never heard of that thought before. I have been thinking a great deal about Ekphrastic poetry, art etc. ever since Elizabeth Gauffreau and Colleen Chesebro introduced the idea to me. And now with Marcelle’s definition and explanation, I have broaden my exploration. Your fondant art from stories is truly amazing, Robbie!

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Very interesting to hear Marcelle describe how she works! Plenty of terrific advice there for not only expert artists like her but for people who do other things. Focus, solitude, and minimal distractions are certainly crucial while creating. A great Part 2, Rebecca!

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I agree wholeheartedly, Dave – plenty of terrific advice for all of us. Solitude and reflection – even silence is not as easy as it seems. Our minds are ever active and ready to respond without much thought. When I view Misty’s adventures, have you noticed that Misty makes deliberate pauses, listens and considers his next move, and then moves forward. We have become a friend of speed. I am learning, even at my lofty age, that speed is not that speedy. Many thanks for listening in and for your encouragement of these amazing conversations.

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You’re welcome, Rebecca, and thank you for mentioning Misty! 🙂 He, like other cats, can be rather “Zen” at times. 🙂

“…speed is not that speedy” — brilliant! If something is done fast but not done “right”…

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Thank you Happy Mad Slinger and Rebecca for this delightful, informative and educational conversation. I have enjoyed my several readings and have been encouraged by hearing that these many art objects have found there ways into many places in our world. It was good to hear of her approach to different ways to design and develop art objects, larger or smaller whether by use of the wheel, sticks, other objects or by hands alone. Marcelle’s four elements, “earth, water, air, fire” make the process easier to understand! A good way to explain the process! ! It is no surprise that she finds that music is a means of inspiration. It brings to mind the process of designing object with thoughts taken from the beauty of music. I had a delightful experience working with clay when I was quite young when taking lessons, I have several pieces of that experience on my shelf to enjoy many years later–part of my treasures! !

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I knew that you would enjoy this conversation, Frances. Marcelle has a marvelous way of explaining the ancient art of working with clay – earth, water, air, fire. There is a mystic quality in those words. I especially appreciated that Marcelle is sending messages into the future via her pottery. Do you remember the clay that came from the ground in Northern Manitoba. It was used by several artist in our town to make pottery? I still have a plate that I made from that clay when I was about 15 years old. It has made many travels since that time. Many thanks for listening in and for your comments, which are very much appreciated.

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I really enjoyed this, Rebecca. I was mostly lost in the conversation but I scratched out some notes.

I love the name Mad Mudslinger.

I never thought about only hearing about a work of art from someone who had seen it. I had to look up ‘ekphrastic.’ I love Marcelle’s explanation and the way she joins it with automatism. I think it’s important for people to understand that we don’t have to conform to accepted definitions. Things become a way of working or a genre, because someone started doing it.

Protecting solitude is so important, especially in a creative endeavor.

I love Marcelle’s quote about you, Rebecca and I totally agree.

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Thank you so much for listening in and adding depth and breadth to our conversation, Dan. I agree wholeheartedly that we must recognize that conformity may feel safe, but it is going into the unknown where creativity begins to take flight. Frank Zappa said it better than I could: “Without deviation from the norm, progress is not possible.” Don and I had so much fun meeting up with Marcelle! Like you I was mostly lost in the conversion. Many thanks for your heartwarming comments on the “Bud quote” by Marcelle, and for your support and encouragement of life-affirming conversations.

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Hi Rebecca and Marcelle. Although I am a writer, I appreciate most other art forms, especially hand made pieces of pottery, sculpture, painting and music. I came across the word Ekphrastic just recently, but was ignorant of its meaning, so thank you for the explanation ! I am a friend of Marcelles mother, Darlene Foster, who must be enormously proud of her talented daughter. All most interesting. Credit to you both! xx

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I am delighted that you joined our conversation Joy! Many thanks to Darlene for introducing Marcelle to me. I am looking forward to having the two of them on a podcast together in the coming year. They are a dynamic duo!! I appreciate your comments, Joy and look forward to our ongoing dialogue!

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I am delighted that you joined Marcelle and me on Mudge Island. The artist journey is not for the faint of heart – time and effort go into every piece. I agree – Marcelle is full of positive energy that comes through her artwork. Thank you for being an artist, Tiffany!! Looking forward to connecting.

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Oh, Marcelle, ecphrastic automatism is so very familiar! 😉 Ecphrastic also means expression or expressing [makes sense right?! ;-)]. I had been looking forward to the second part of your discussion and enjoyed it very much. I’m an admirer of your art and your lifestyle. Thank you Rebecca for this. Hugs to both!

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Marcelle, you are amazing! I too do my art to music. Music drives me.
LOVE your saying about Rebecca! Rebecca is truly a full bloom.
Your ceramic art looks fabulous. I am in awe and admiration.
Thank you Rebecca, and Marcelle!
Big art hugs, and craft boat loads of love!

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I am delighted that you listened in, Resa. Marcelle has a marvelous understanding of our place within our world. We may look to the skies for inspiration, but we belong to the earth, to the soil, clay and sand upon which we walk. Many thanks for your visit and for your comments!! Hugs and more hugs!

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