Time Travel with the Vessel Form

El Moche Style

El Moche Style

Dates: September 6 - November 22
Days/Times: Tuesdays, 1:00 - 4:00 pm
Level: Beginning - Advanced
Instructor: Salvador Jiménez Flores

Course description: In this course students will explore different hand building and image techniques in both utilitarian and decorative vessels. Students will utilize the collections of the Harvard Museums of Science and Culture to draw inspiration. Part of the class will focus on observing and recreating a historical vessel while implementing the possible ancient methods of creation. Students will also have the opportunity to create their own designs and personal narrative with a contemporary approach.12 classes/13 weeks. 
Course Fee:  Harvard Undergraduates: $125, Harvard Graduates: $225, Community Returning: $860.00, First Time Community: $780.00

For questions regarding registration, accessibility, discounts for multiple-class registration and new student referrals, and employee assistance programs, such as TAP: contact Shawn Panepinto, Director of Operations, at 617.495.8680 or email panepint@fas.harvard.edu

Students from other colleges interested in taking Ceramics courses: email panepint@fas.harvard.edu.

For questions regarding course content, email Kathy King, Director of Education at kking@fas.harvard.edu.

 

 

Watershed Center for Ceramic Art | Summer Residency

I had the privilege to be part of the "Nature in Ceramics" Artists-Invite-Artists a week ago and I had my watershed experience. I was able to create a new body of work based on the research that I've been working on for the past months as Artist-In-Residence (AIR) at the Harvard Ceramics Program. These two weeks were crucial to produce the work that will be show case in September as the completion of my first year as  AIR at the Harvard Ceramics Program. 

The Boston Globe | The Week Ahead: music, theater, art, and more

Salvador Jiménez-Flores’s “Dust to Dust,” from “I Am Not Who You Think I Am” at Urbano Project through June 10.

Salvador Jiménez-Flores’s “Dust to Dust,” from “I Am Not Who You Think I Am” at Urbano Project through June 10.

SALVADOR JIMÈNEZ-FLORES: I AM NOT WHO YOU THINK I AM Working in several mediums, Jimènez-Flores weaves myth and history with popular culture and politics, turning up the volume on what it means to be Mexican in America today. Through June 10. Urbano Project, 29 Germania St., Jamaica Plain. 617-983-1007, www.urbanoproject.org

http://www.bostonglobe.com/arts/music/2016/05/17/the-week-ahead-music-theater-art-and-more/jHqvOxTKi5hfeSGK8zSG9O/story.html

Free ceramics course for kids at the Harvard Ed Portal

Young artists working hard on making cups and tiles

Young artists working hard on making cups and tiles

Amazing work by young artists

Amazing work by young artists

January 21, 2016
The Harvard Ed Portal is excited to offer The Art of Clay: An Introduction to Ceramics to members ages 10-14 (grades 5-8) during February break.

In this course, Harvard Ceramics Artist-in-Residence Salvador Jiménez-Flores will teach students the basics of working with clay. Students will produce handmade tiles and cups to take home with them at the end of the class. No prior experience is required and all materials will be provided.

Be sure to reserve your space now! The course is free, and space is limited. Enrollment is on a first-come, first-served basis; attendees must attend all four sessions (9am-12pm, Tuesday, Feb. 16 through Friday, Feb. 19). Registrants or their families will be required to drop off a signed attendance commitment form and a small, refundable deposit prior to the first day of class.

Doing Some Research/Aquí de investigador

Last summer while backpacking through Perú, I visited the Museo Rafael Larco Herrera Lima, Perú. Last week, thank you to the Peabody Museum of Archaeology and Ethnology, Harvard University I have the opportunity to hold and analyze these artifacts as part of my art residency at Office of the Art at Harvard in the Ceramic Program

Bitten by the Clay Bug

 

Harvard Ceramics Program artist-in-residence Salvador Jiménez Flores talks about a passion for clay, community life and the practice of his work. 

By Ian Askew ‘19

Salvador Jiménez Floresconsiders himself a nomad, traveling from city and city, engaging with communities and producing art that reflects his experience. The Mexican-born artist, who is an artist in residence at the Harvard Ceramics Program, has made waves in the Midwest scene through his public installations and project exhibitions. While he is quick to say he is no expert on sociology, his intense contemplation of identity and social politics shows through his art and drive to collaborate at Harvard. I sat with Jiménez Flores outside the Harvard Ceramics Studio, and we talked about his origins and what his goals are for this year. The following Q&A is an edited excerpt from our conversation.

On working with clay: I’m not sure if it was one of those things that I chose, or if it was organic. The first time that I started working with clay was after my undergrad [years] when I was living in Chicago. I was very involved with the arts community there.

One of my friends was trying to do a fundraiser for an organization, and she decided to do a clay marathon. She invited a lot of artists with clay or no clay experience and so I went. I started building a bowl by putting a slab of clay in a plaster mold and then from there I realized that that material can give you so many options. And it felt good. But I didn’t think about it that much until I applied to grad school.

I was in denial for a little bit. I was like: “I don’t want to get into this clay business.” A lot of people say, “Watch out! Once you get the clay bug it’s kind of hard to get out of it.” But I though “Nah, I think I’m just going to do it for a little bit”. But then I had a really great experience. Our professor, Israel Davis, would do a wood-firing workshop. And he would invite over visiting artists and it would be very communal, just an overall great experience. And I knew that was essential for my growth as an artist, creating more of a network with other artists.

On Clay All NightI feel like anyone can relate to working with clay. Once people get beyond the “Oh, I’m going to get dirty” point, it's really a great material for everyone to play with. Once you start working with clay, in particular, sometimes you get into this rabbit hole, and you get lost and lose track of time and just start building because it’s a very physical, very tactile medium. You have to touch it and move it around. I think events like [Clay All Night] are great in the sense that you just allow people to get together and make art.

On the purpose of the work: The whole purpose of my artwork is the idea of trying to create awareness and propose actions through my artwork, whether that’s by coming to see the work and people starting to question some notion or idea. Maybe they see something that is funny, maybe there’s something that they can relate to. But there’s not much control that we have as artists after we put the artwork out there. I think that’s kind of the beauty of art, too. You create something that is very personal and it has a lot of meaning to you, but once you put it out there, people might not even care. Or, at the same time, they might even add more meaning than what you thought they would.

On labeling art: I make art that is relevant to my experience in this world. And once I put it out there it is the viewer who is really going to assign those categories. Ideally, if I were to decide, I would want them to see the artwork as what it is and not necessarily put where I’m coming from first, like “Oh, this is a Mexican artist,” or “Latino artist.” But, at the same time, I do acknowledge that that’s the kind of work that I’ve been doing and that's also the kind of work that I’m passionate about.

On his class at Harvard: I’m teaching one class at the ceramics studio: Interdisciplinary Sculpture. That class is open to any Harvard student and any members of the community. Right now, that group of students is mostly people who have been coming to the studio for a while.

The way I think about that class is thinking more about ideas and how I can assist the students to make those ideas happen – not letting them be limited by clay, but thinking about what else they can do with it. It goes back to my practice. Whenever I’m trying to make something, I try to find the material that will better fit the idea that I’m trying to address. And sometimes that’s clay, sometimes that’s drawing, sometimes that’s painting. That’s one of the things I’m trying to push: Think about the idea, think about what is that you want and then think about what material would better fit that idea.

On the Harvard community: I’m really looking forward to collaborating with other organizations or institutions. I’m open to working with anyone, pretty much. If there’s a way of combining art and also talking about these things or these themes, I’ll be open to that. That’s also a big part of my practice. I think eventually, meeting the right people, I can do other projects besides just working here on my own.

Unmasked: Alum Helps Children of Migrant Farmers Discover Their Identity

Imagine for a moment what it’s like growing up a child of a migrant farmer in America. On top of all the normal trials and tribulations of adolescence, you’re fighting a constant uphill battle trying to fit into a language system and culture that isn’t your own. And just when you feel like you’re starting to get your bearings, your family has to uproot itself and move on to another city in another state in search of more work.

For these children, understanding who they are and realizing who they want to become is only made more difficult by an educational system that too often marginalizes them. That’s why the experiences offered in the Saugatuck Center for the Arts' (SCA) summer migrant program, Growing Young Artists, are so important. For the past four years, SCA has welcomed over 6000 children of migrant farmers inside its facilities for a series of arts and culturally focused educational experiences that activate their individual creativity and help them build key skills including literacy, language, problem solving, team building, communication skills, and social etiquette.

Children in the Growing Young Artists program at SCA show off their handmade sketch books (image courtesy of Saugatuck Center for the Arts)

“This is one of our most prized programs because we’re proud of the impact we have on these kids,” said Whitney Valentine, education and exhibitions manager at SCA. “We really get to know them on a deep level, we’re asking them deep questions and having them journal and sketch, and more often then not they’ve never been invited to think inwardly and express themselves before. The ownership they come to have of their ideas is phenomenal.”

Kendall College of Art and Design of Ferris State University (KCAD) alum Salvador Jiménez (’14, MFA Drawing) understands the situation these children are in better than most. Jiménez has been uprooted himself, having moved with his family to from Mexico to Chicago at the age of 15 before eventually coming to Grand Rapids to pursue his MFA at KCAD. This summer, he had the opportunity to connect with students in the Growing Young Artists program through an artist residency at SCA.

Jiménez' personal journey resonated with the children, who were excited to learn more about how he became an artist (image courtesy of Saugatuck Center for the Arts)

“I was most interested in sharing my knowledge of art making and my personal life story with the children,” says Jiménez. ”My father was part of the Bracero Program that brought millions of Mexican guest workers to the United States in the late 60s. Growing up in Mexico, he would always share stories of his years of picking grapes and tomatoes in California. I would also work on my father’s farm prior to coming to the United States.”

Creative expression became the vehicle through which Jiménez forged his identity in America. Now, he says he feels privileged to be able help set others off on a similar path. “The most important thing is to give them the attention that they deserve. Some people don’t even know that these children exist. What this program does is create an environment where they feel comfortable, where they feel like they have something they can bring to the table that can benefit everyone. It’s this idea of trying to get them to a point where they’re free and they can express their own ideas."

Jiménez first interaction with the students was a presentation in which he shared his own journey. “I think it’s important for the kids to see that if I could do it, they can do it too,” he says.

Then, while a team of other artists led classes over the course of the program’s six sessions, Jiménez guided the children on an extended art project where they each created their own picket signs projecting ideas they felt strongly about, and papier-mâché and plaster masks that reflected their personalities, hopes, struggles, and dreams.

(above, middle, and below): Jiménez helped the children create masks that reflected their personalities, their hopes, and their dreams (images courtesy of Saugatuck Center for the Arts)

At first, Valentine says, the children seemed hesitant about the projects, but once they got going, they began to let their guard down and open themselves up, both to the concept of their masks and to the interaction with Jiménez. “Salvador was absolutely outstanding; he related to them in so many ways that they gravitated towards them. He’s so gracious and kind, and he’s a quiet but powerful leader. He taught our whole team humility, and he really helped the students get the most out of the experience. “

Jiménez and the children, who were proud to display the masks and signs they created (image courtesy of Saugatuck Center for the Arts)

At the program’s closing ceremony, the children put on a mini-performance for their parents and SCA staff using their masks and signs. Jiménez says the idea for the performance was inspired by El Teatro Campesino, a farm worker’s theatre group started by playwright and Chicano theatre pioneer Luis Valdez during the Chicano farm labor movement led by Cesar Chavez in the 1960s.

“Theatre was an outlet to connect to farmers about social issues; it was a form of entertainment that was informative and empowering,” says Jiménez. “It was great to see the kids take ownership of their masks and projecting their own ideas onto the performance.”

(above): The children presented their masks at a special ceremony; (below): Each child's mask was unique in its own way (images courtesy of Saugatuck Center for thre Arts)

Soon, many of the students will move on to new places and new challenges, but Jiménez hopes that after their experience at SCA, they’ll be taking the seeds of empowerment along with them. “As instructors or as artists, our role is to facilitate,” he says. ”We’re trying to set these kids on their own path in terms of what it is they want to create.”

Valentine added, “They’re going to remember their masks, they’re going to remember the relationships they built with Salvador and our team, and they’re going to be more empowered to go back to school and move wherever they have to move. They’re going to get excited and feel more comfortable talking to their parents about their ideas too. This experience will stay with them, hopefully for a very long time.”
 

 

KCAD News

 

MFA Drawing Alum Named Harvard Ceramics Program’s 2015-2016 Artist-in-Residence

Posted August 12, 2015 in AlumniDrawingMaster of Fine Arts

Salvador Jiménez (’14, MFA Drawing) is pretty familiar with moving to unfamiliar places. Born in Mexico, Jiménez moved with his family to Chicago at the age of 15, earning a high school diploma and a Graphic Design/Digital Media degree from Robert Morris University before moving to Grand Rapids to pursue his MFA at Kendall College of Art and Design of Ferris State University (KCAD).  

Salvador Jiménez

His next stop: Boston, MA, where he’ll begin a yearlong artist residency in Harvard University’s Ceramics Program this September. Like most artist-in-residence programs, this one blends the personal pursuit of artistic growth with collaborative engagement with the local community, and that’s nothing new for Jiménez.

Everywhere he’s gone, he’s embedded himself in the local creative community as an artist and a community advocate. In Chicago, he taught art to young people through the Yollocalli Arts Reach initiative, and here in West Michigan he’s worked alongside organizations like the Ox-Bow School of Arts, Heartside Art Studio and Gallery, and the Grand Rapids Community Foundation, to name a few.

Jiménez helping conduct a printmaking workshop at KCAD

“It is easy to settle for conformity; it gives us a sense of control. It isn’t until one's circumstances become unstable and uncertain that we find reality and feel alive,” said Jiménez. “There are three words that I apply to my art making process and to my life: curiosity, mystery, and uncomfortable. Curiosity keeps me humble and only confirms that I know nothing. Mystery makes everything worth trying and failing. And uncomfortable allows me to grow."

Kathy King, assistant to the acting director of the Harvard Ceramics program, first met Jiménez at Ox-Bow School of Art, where he attended a workshop she was teaching. King says she was immediately impressed with both Jimenez’ work and his work ethic, and encouraged him to apply for the Harvard residency. He would eventually come out on top of the intensely competitive application process.

Jiménez preparing the kiln for firing during one of his many stints at Ox-Bow

“What drew the committee to choose Salvador as our 2015-2016 Artist in Residence was his use of mixed media - including ceramics - within his work,” said King. “We felt he would inspire our students to see how ceramics can be intermingled with a wide variety of sculptural media. Also, we were very drawn to his commitment and interest in working with the community here at Harvard and the greater Boston area.”

At Harvard, Jiménez will be required to spend at least 20 hours a week on his own work while dedicating at least five hours a week to work within the program, including conducting a public workshop, giving presentations to classes, and participating in events and special projects with the Harvard community.

Within the Ceramics program’s state-of-the-art urban studio environment, Jiménez will be provided personal studio space, as well as free access to materials and equipment for both producing and documenting his work. He’ll also be able to take classes and firing workshops, pursue paid teaching opportunities, attend visiting artist workshops and symposiums, and sell and show work in the Ceramics program’s annual exhibition and sales events.

“I look forward to embedding myself in the Boston community. I know it will be hard at the beginning but I know I will make the best out of this opportunity,” said Jiménez. "I’m ready to work harder than ever and focus on my studio practice and research during this residency. I have lived 15 years in México and 15 more in the Midwest and I'm looking forward to expanding my networks to the East Coast. The city and its people will impact my artwork and I'm eagerly anticipating this transformation."

As a capstone to his residency, Jiménez will have a solo exhibition of work completed during his time in the program in Harvard’s Gallery 224. He’ll also donate one work to the University’s permanent collection.

p://www.kcad.edu/news/mfa-drawing-alum-named-harvard-ceramics-programs-2015-2016-artist-in-residence-/