Jacque McDonaldGraduate Studies

Course 865

3 credit hours

Spring 2015

Biography

Growing up in Missouri, Jacque McDonald learned that children and women were to be seen and not heard. Thus, she detached herself from adults and playmates, expressing her feelings through mud pies and drawings. However, a prodigy of artistically gifted parents, Jacque, at the age nine, was sent to a private art school to hone her skills and foster her self-expression through art. In adulthood, she traveled the world, keeping a sketchbook to draw the people she met, depicting them in life postures, in their reaction to life situations. Jacque entered the University of Miami School of Medicine, where as a surgical assistant, she rendered projections of facial anatomy, tracings x-rays, and performing moulages for the surgeons who operated on children with facial abnormalities. After spending thirty years in Florida, Jacque now is back in Missouri practicing her craft in her own studio. Today she candidly photographs young children in a friendly environment and documents their moods and behavior. Embracing her artistry and seeking to refine her skill, she creates their voice through her sculptures. Jacque completed her BFA after returning to Missouri and is now seeking her final degree of an MFA at Fort Hays State University, in Hays, Kansas.

Working Statement

I create art to give a voice to voiceless, emotion to the hardened, and memory to the forgotten. My work is touchable both physically and psychologically bringing to the public an awareness of real social issues for young children. My sculptures allow the sighted to see and the unsighted to feel the textures of clothes, creases and lines of the face, and the skin-like surface on my sculptures. Drawing out the emotions – laughter and cries – of both children and their parents, bring me in to the tones of their lives. This “toning” results in a conversation, a relationship between the artist and the viewer.

Starting with a chunk of clay each child is molded, carved and hollowed out. This gives me the time to skillfully create a child, depicting every emotion and expression of the face to the toes – yes, even the wiggling toes. After firing a piece to bisque state, the added color and textures become alive with emotion and posture. However, just as children change, and life is unpredictable, the clay reacts on its own in the kiln, and a new person evolves, rendering to me and my viewers a new experience. After all, it is clay.

Series #1

Emily 38” x 12”

Success of this first piece can be described as difficult but through the difficulties it has taught who this child is as a person. To capture the essence of this piece it was necessary to have it stand alone so the presence would be recognizable to its audience as an older child. This piece has met the criteria and also met the standard to which was a goal of the right height and weight

of a three year old. Materials utilized were

also new for this process which showed how to construct the piece with care and precision; however, plans even laid out correctly can go wrong. My satisfaction of this piece was not perfect but gave some lessons in ceramics to indicate a difference in materials, heat, and thickness after hollowing out; for me gradient sizing from the bottom up was not as predictable as even walls of the piece to connect correctly. Therefore, the piece was less than perfect once standing on its own. The piece does convey a strong, first born child at the age of three with leadership qualities. It is correct in body weight and height and does bring consciousness to the viewer at three the child shows roll playing within the system of family. Materials utilized were Soldate 60, house paint, primer, sealer, spray foam, metal rods, powder pastels, pure pigment, underglazes, decal underglazes and Bondo and Epoxy .Materials used for the most part adequate but not my choice for more work in the future. The idea of the first series child was to give the persona of

a child of Asian/American child with a stance of the oldest child, confident and precarious in nature. This was challenging, enlightening and interesting in the fact that new materials were used and new techniques. Utilizing the guidelines of the Cavener workshop, structurally and aesthetically essential in construction for this piece with armature for free standing structure. The beginning structure was basic at the height of forty-two inches, once fired the loss was about four inches overall in height and weight which would be the appropriate size of an average three year old child. According to calculation the ending scale was very positive in regard to giving a 10% decrease in size. The type of clay used was Soldate 60 and 100 lbs. of product. Finished weight was 35-40 lbs. Utilizing a grid, black pipe and dowel rods the construction was easier but a change as well. Sectioning the piece was planned with the armature being guides as well as the grid behind the stand gave the size indicators and movement a much smoother adjustment such as the head, arms and legs. What makes this piece special is that it is true to size and it is purposeful in conveying the respect of birth order beginning at a very young age. The child is a confident person early in years ready for future endeavors.

Series #2

Hannah 13” x 18” x 11”

Hannah is not about size as much as weight of the sculpture, although she began at the same size of a three year old of 38 inches. For this project as a second child or a middle child the piece was sought out as an observer and thoughtful child. As one walks around the piece she seems to be watching, success was evident at finish point.

This piece was hollowed at a consistent depth of less than ¼ inch and sat with balance and strength; it also fired evenly and fit back together easily. Seemingly less difficult than a full standing piece it was the thinning of walls in the torso. However, not much adjusting was necessary to balance the piece overall.

Color was changed from Pink to Red giving the child’s face a more dominate position, otherwise the pink and the skin tones were similar in color and washed out the figure. The color change also brought presence to the face which is needed to be observed with the subliminal movement of the eyes.

The piece can stand alone in a room or be in a grouping of children and give the same caption of an observant child. It was successful in that regard.

Decoration was less than perfect with the satin coat of poly acrylic and will be change in the future for a more realistic skin look and feel. Overall piece turned out to be good with little situations or problems. The products utilized were Soldate 60 clay, underglazes, house paint, primer, powder pastels, sealer and epoxy. What was special about the piece was lighter weight and movement of the eyes.

Beth Cavener Workshop

Going to a workshop such as the Beth Cavener workshop is a very enlightening experience, what was learned was how to build an armature and modify dowels to manipulate the structure being built. Also, taking a simple photo enlarging it to be used to graph out the armature as visual aid. Clay bodies and decoration of the sculpture with layers of paint to help smoothing out the piece for more uniformity. Structures of eyes for more realism giving depth of the piece. The following picture is an example of a block poster grid which will be utilized for a future sculpture. Some of the information did not have value to my structures once put into place after the workshop such as: the legs on the standing piece. The gradation of the legs giving most weight on the lower legs thickness resulted in a more shrinkage and giving the piece inadequate proportions. The rate of shrinkage was wrong for my work and overall out of balance in the anatomy. Firing two bodies of work at the same temperature in the same kiln expelled the only difference in the two were the legs and the thinning of the walls. One with overall thinness had little problems, the one with the gradient walls became a situation that led me to utilize materials such as bondo to make the legs fit the piece. Once standing the piece overall appearance seemed to be out of proportion. Since I utilized rods and

spray foam in the torso and legs weight was not necessary. Future also indicates to put sections together as I build up rather on a flat surface and then stand up. The perspective of the piece is very different once standing, even when marking to join. The decoration for the most part was good but not for skin tones for reality of pieces concerning human form; other painting techniques were cohesive and could be utilized later. For the most part the experience of learning the armature and details of her work was good and useful.

TANG DYNASTY

AD 618-906

The Tang Dynasty was be known for figurative work mainly as grave site guardians. Horses, camels and civic officials were frequently found as guards both inside the tombs and around the tombs. The embellishments were with bright colors called “Scani” meaning tri color and were used primarily for burials. The glazes chosen were usually metal oxides in combination with lead. The colors were copper for green and iron for brown or yellow brown occasionally the use of

cobalt blue was mixed with clear and cream glazes.

Lead was involved with decoration because of its fluidity with results of a brighter colors. Today it is not used in drinking vessels but substituted or not used at all because of its toxicity. Most metals in glazes are used for brighter colorants in pottery then and in the present times. The creators of the statues were not recognized as artist but utilized as necessary to decoration of tombs etc. therefore, they were considered craftsmen and not artist.

LONGQUAN

C 960-1279

Southern Zhijiang glazes have a bluish grey bird egg color on stoneware which is defined as a delicate and simple form. These forms are in line with the Song Dynasty and use simple forms which are highly regarded. The glazes are usually thick and the color varying.

BLACKWARE

C 960-1250

The black ware can be sensitive to application as well kiln atmosphere. The firing and cooling is carefully watched throughout the process and placement is important as well for positive results. The iron oxides are from 5-10 % with low iron oxide glazes seem to be duller rather than glossy. Wood ash is applied to the raw black ware deliberately from the wall of the kiln which is typically called splashed on and named country ware.

DINGWARE

C 1000-1400

Ding ware was first to be chosen for places in the Song Dynast Thought to be the very finest of work, was thin,

thrown and press molded with motifs. It was also very strong and utilized creamy colors which was very desirable for production ceramics.

JUNWARE

C 1050-1450

Junware is unique in the manner of its glazes which are typically blues but vary and have earthworm tracks along with opalescent or cloudy soft finishes. They are very colorful, sometimes with lavender blue, light green blue with purple splashes which were primarily in Honan province. The finest

are light grey with light blue and copper rich producing dark red and blues. The dark and richer colors were produced later in the period when more copper was added to the mix.

The flow of this sculpture incorporates both glass and ceramic materials. The combining unity of the two make an elegant and graceful sculpture. There is a balance with the softness of the edges and color which marry the uniqueness of the two materials to present a flower like piece. Any angle of the sculpture can entice the viewer to a walk around the piece and lead the eye and soul to a quiet and peaceful state of mind. In one word “Graceful.”

Etsuko Tashima, Japanese Contemporary

www.jacquemcdonaldceramics.weebly.com

Again peace and grace surround this piece of work simplistic and definition of balance. This work is delicate

and very thin and seems to float. The colors are the bird egg blue or green which mimic the Lonquan glazes dating back to the 960-1279 or Song Dynasty.

Fukami Sueharu, Japanese Artist Contemporary.

www.jacquemcdonaldcermics.weebly.com

Rules do not apply when it comes to this work with its smooth fluid, liquid splashing in the air so to speak. The skill of this artist goes beyond the laws of gravity as he draws in not only adults but children in his work. At first glance its hot, splashing suspends the cups in the air as with other works it is playful and clearly exhibits the fun in this artist work. It also addresses issues in this case, hot and dangerous.

Johnson Tsang, Hong Kong Artist. Contemporary

www.jacquemcdonaldceramics.weebly.com

Although each one appears to be like the next; I find each statue has a voice. Combining uniformity to very simple forms from a viewer stand point also symbolizes voices coming from Beijing, China, loud and clear. Change.

Memories

Memories are wonderful. Thinking back throughout the years of documentation by pictures, I realize sketches are rewards for the soul. Much of the time memories are distorted over time. An Artist can reinvent them; storytellers can make them more exciting, and our parents can pass them down in lockets, clothing, and letters. It does not mean they aren’t real; it just means some are just a bit off key. You can develop memory in your hands, in cooking, school work or just walking. It is how we develop our lives. It is good to have memories and they can protect people as well as entertain children or family members.

Alzheimer patients live in memories, repeating statements over and over. It’s the recall for them that is distorted. Is that really any different than changing a story? Birth wakes up memories as the death rekindles the years of a loved one. Great art comes from memories and repetitive work, and stories are told there as well. Sometimes the observer misinterprets the art and it becomes what they think the art is about, not what the artist is saying. It then becomes their story or memory. The brain is a mass of matter, it is a complex organ that protects and creates stories, within stories, much of the time in dreams. Artists take dreams and make them a reality, and observers tell the tale.

Artist retain memory in their hands when developing a project such as a sculpture or ceramic pot. Sensors from the brain to the hand act as memory triggers to the brain, which tells us if it is done over and over, eventually we will get better. It is the same in math or any other academic process; once set it is easy to recall. Most of the time it is automatic without even realizing it is being done, whatever that might be.

If truth were memories, then distortion would be no more. Most of the time distortion is better than the truth, so the memory is a truth until someone else changes it and creates a new truth or memory. As artists we try to convey our truth in our art and we do a pretty good job. However, give three artist an assignment, and three versions will appear completely different. Because of our memory of the assignment, even when read over and over, the way it is processed is different. People think and see differently; therefore, stories and truths are not the same and never will be.

Education:

2015 Currently in Graduate School at Fort Hays State University - Ceramic

Sculpture MFA program

2014 Missouri Southern State University - BFA

2000 University of Miami - Certificate - Audio Visual

1999 Palm Beach County University - Graphic Arts

Experience:

2012-13 Internship: Phoenix Fired Arts Joplin, Missouri

2000 Moplady Productions West Palm Beach, Florida

1999 Commission - Mural Jupiter Lighthouse West Palm Beach, Florida

2009-13 Focal Point Gallery: Joplin, Missouri

2013 Blix Magazine

2002 Hibel Gallery: West Palm Beach, Florida, Private collection Painting

2001 Commissioned Painting: Private Collections Tampa, Florida

2004 Commissioned Painting: Private Collection Atlanta, Florida

2002 Commissioned Painting: Chief of Delaware Tribe Bartlesville, Oklahoma

2014 Commissioned Painting: Private Collection Live Oak, Florida

Honors

2014 Kohler Industries Presenter: Special invitation for residency, Wisconsin

2014 Spiva Arts Membership Show: Best in show 3D

2014 Membership Show: Midwest Clay Artist Joplin, Missouri

2013 BFA thesis show Missouri Southern State University

2013 Creativity Across American Show sponsored by the National Endowment

for the Arts,

Interactive presentation, Joplin, Missouri

2013 Phoenix Fired Arts Mural Public Art Tiles Joplin, Missouri

2012 Joplin Mural project Public Art Joplin, Missouri

2007 Thomas Hart Benton Show: Neosho, Missouri 2nd Place Cash award

2007-10 Chief Sarcoxie Days: 1st place Cash Awards 10 events Cash awards

2004 Recognized by the Bureau of Indian Affairs as a Native American the

Delaware Tribe of Indians

2003 Thunder on Beach, Vero Beach, Florida 1st place Cash award

2010 Scholarships: The Hyde Scholarship, International Scandinavia Trip

$5,500.

2012 -13 Hyde Art Scholarship, $1,000 for Art Education

Jacque Moody-McDonald

6468 Dogwood Road

Reeds, Missouri 64859

417 793-6311

www.jacquemcdonaldceramics.weebly.com

mcdonaldjacque.jm@gmail.com