more fields

I love the window seat on an airplane so that I can look at the patterns made on the earth below.  Google Earth makes window seats available all the time and around the world. 

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Roberta Wagner
changing mediums

It happened three years ago.   

I fought it at first.  I knew clay.  I worked with clay in my art studio for more than 30 years.  I studied glazes and firing processes and different clay bodies and knew what I needed to do to achieve the effects I wanted. For years, I loved the feeling of holding clay - both alive and calming. I loved the way I could manipulate it to get texture in a piece. I loved the excitement of opening the kiln and seeing how the magic of heat had changed the work inside. But I was also tired of the dust and the glaze chemicals.

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processRoberta Wagner
north dakota fields

Some Native Americans talk about it taking three generations to get used to "new ground" and to feel like you've sprung from that ground.  That may be true.  I sprung up from Minnesota ground and her corn fields must be buried deep in my psyche as the pattern of fields so often seep into my work.

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Roberta Wagner
small pieces

I am back to making small pieces and loving it.  Periodically, I think I need to start making larger pieces.  “They are bigger and better and more important,” my mind says.

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processRoberta Wagner
why art?

The best artists stop me in my tracks. Time stops. The first time I had that experience was at a Van Gogh show in New York.  It's a state beyond words. It is like a mystical experience.

Since then, many artists' have touched me that way.  Most recently Debbie Lyddon, Helen Terry, and Shelley Rhodes, all textile artists that I'll undoubtedly write more about someday, can lead me on a reverie as time stops. I get lost in their work.

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Roberta Wagner