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Artist and Teacher |
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Contact Information: Ann McCrea 31A Pleasant St 2nd Floor Newburyport MA 01950 Phone: 978.462.9213 EMAIL: MCCREARTWORKS@BASICISP.NET |
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Messing About With Clay brings together people of all ages to carry on ancient traditions of Native Americans, of Africans and Asians who gathered and created art in community generation after generation. Each session begins with a story which brings the listeners together in a common, age-old experience and inspires the sculpting which follows. A demonstration and explanation of sculpting techniques provides a useful engaging preparation for people of all ages and abilities. Ann’s encouraging positive responses to participants’ sculpting throughout yields sculpture of remarkable quality and significance to the sculptor! Set Up For participants from 5 and up. Also for specified age groups such young adults, adults or particular grades. Sculpting limited to 25 participants except 20 for mask making. Story and demonstration open to more, depending on available space. $300 includes clay, tools, sample sculptures, instructions for drying , painting and display, and plates or base for finished work. Travel additional . Program lasts 70 minutes. _________________________________
Mask Making |
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Why has mask making been such a vital part of every culture through the ages? How have masks been used? Why have masks of tribal cultures influenced individual artists like Picasso and Matisse and schools of artists like the Futurists, and Cubists? Why do they still interest today? How can we participate in this tradition? These questions form the basis for a preliminary discussion featuring Mexican, African and Asian masks as well as terra cotta masks by the artist. A demonstration focusing on the expressive nature of masks and their influence on artists follows. Participants then sculpt their own terra cotta mask to take home and paint when dry. Spirit Animals |
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The Zuni and other pueblo Indians carve animals of minerals small enough to fit into their pockets. They believe these hold the life force of the animal and connect the humans who carry them to the spirit world and to the spirit of the animal it represents, which would help them meditate and face challenges wisely. Some are decorated with offerings of stones, beads, etc. to evoke the spirit within. An introductory discussion focuses on how we choose animals , the qualities they represent and how these might affect our lives. After a brief demonstration participants sculpt their own animal or animals which they can later paint. Safari |
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Mary Kingsley spent a solitary childhood in the early 1900s outside London. There she read the books in her father’s library which fostered her love of travel, especially West Africa. She learned to steer a river boat, collected botanical and fish specimens, braved rapids and reached the uncharted Rambouee River, while maintaining a sense of humor and underwriting her return trip by writing travel books and speaking to large crowds. An example: “When I saw that a large hippo had blocked my path, I scratched him behind the ear with my umbrella, and we parted on good terms.” Inspired by her gusto and wit, participants can choose from an array of animals she encountered, including the hippo, a crocodile or an elephant. Storyteller |
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In 1964 Helen Cordero of the Cochiti pueblo sculpted the first storyteller to honor her grandfather’s storytelling. What has now become a popular tradition at first included a seated adult surrounded by young listeners. Soon it included owl, bear and later , even cat dog or rabbit tellers. This subject lends itself to collaborative sculpting, with one person sculpting the storyteller and another the listeners. |
