…..the ceramics of antonia savage………

“What we make reflects our conscious, or more usually, our unconscious nature.  How we respond to the world and our experiences informs our intellect and feeds our psyche.  As human beings we are all deeply connected, and yet neither words nor forms can express the true nature of this oneness. As creative beings we try to carry this spirit forward; our work is an echo of that oneness, limited of course, not the thing itself, but important in the current world climate. 

The natural world is a source of considerable inspiration to me.  As I walk through the folds or ridges of hills, I have the sense that I am moving over a vast sculpture. I explore the gradient, surface and textures of that sculpture.  I pick up a rock, a seed, some bark.  I do not ask myself why I am drawn to that particular form.  The small object I have chosen may sit in the studio for months, or years, before I return to it.  Then, there is a more conscious observation about the quality of the form and the way that light falls on it. It is the qualitative feeling that is my guide.  When I begin to make a new shape I do not usually know what the intention is.  I hope that the eventual form will emerge from a background of observations, both visual and sensual. I feel my way forward along these invisible threads as my guide.   Sometimes there is considerable struggle finding the form, but when it finally appears it seems as if it had been waiting to emerge: there is a kind of ‘rightness’ about it which, in retrospect, looks obvious.  

Perhaps we all explore a few chosen themes in our lives to. Sometimes it may look as if we had abandoned them. But, almost certainly, we will rework them in another way, or allude to them indirectly, from time to time. Eventually we will almost certainly return to them.  We may conceptualise these themes, because labels are the dominant language of our society, but concepts are not the essence of my work.  Concepts may stimulate the mind, bring humour and evoke curiosity, help to understand the motivation behind the work, but it is seldom the conceptual element of an artwork that intrigues or draws me to it. In any case, I wonder whether, as makers, we are in the best position to understand what motivates us and why we create certain forms and images? “


….the art of Charwei Tsai………

Charwei Tsai | Taiwan b. 1980 | <i>Mushroom mantra </i>2008 | Black ink on fresh mushrooms | Dimensions variable | Image courtesy: The artist

Charwei Tsai is known for her contemplative installations, which explore concepts of personal transformation and compassion. Born in Taiwan, Tsai grew up reciting the Buddhist prajnaparamita or Heart Sutra as a way of dispelling fears and calming her mind. She studied industrial design at the Rhode Island School of Design and later moved to New York, where she worked for artist Cai Guo-Qiang. Tsai became interested in the creative process as a way in which she could explore ideas of the transcendence of the self. Although Tsai does not consider herself religious, she returned to the central learning of the Heart Sutra – which relates to the transience of the individual and the universe – and found resonances between it and her developing understanding of art and its transformative nature. Tsai’s engagement with the prajnaparamita has also become a performative one, involving her painstaking inscription of this revered Buddhist text onto organic materials, such as tofu, mushrooms and flowers.


….meditative painting……Pracha Yindee……

Pracha is one of Thailand’s most recognized meditative painters. First he meditates to find harmony and inner peace, to reflect on his feelings and the impermanence of all thing. And then, he stands up and infuses his papers with fluid brushstrokes of a rare intensity. He has a unique ability to create continuous and deep movements of colours, always changing, evolving into new shapes.



Calligraphy, just like any other form of at, reflects the artists state of mind: what is written on a sheet of paper, cloth, or piece of wood shows the personality of the works creator. It is said, “Your writing reflects your personality.” This is why the Japanese name for calligraphy is sho do, which most directly translates as “way of writing” – in the same way that flower arranging is known as ka do ( way with flowers) and the tea ceremony is sa do (way with tea). What makws calligraphy very special is that it is an art of the moment; you can create a stroke only once and, in wanting to capture the moment, calligraphy requires special concentration. Strokes are works of art in themselves, you can never correct a mistake once it has been made. Although calligraphers through the ages have sought inspiration from the ancients, calligraphy never involves merely copying the works of old masters. For everyone who practices calligraphy, each stroke and each character us a reflection of his or her own spirit.

from The Simple Art of Japanese Calligraphy, Yoko Takenumi + Kakko  Tsuruka

…I see that I have not included more traditional looking forms of calligraphy among the following, but this was the selection that spoke to me tonight…….


“One” in kanji.   http://dialog.paulettepascarella.com



Takako Biber

…… i cant resist these big brushes………..