E. Saffronia Downing — SAIC CLASS OF 2020 GRADUATE WEBSITE
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The Future of Our Plans: SAIC Graduate Class of 2020
Master of Fine Arts in Studio, Ceramics
e-saffronia.net
The shovel digs into a matrix of loam, sandy soil, and yellow clay. The shovel digs a deep hole. It hits shale, composed of compressed mud– a soft sedimentary stone. A heap accrues: bits of brick, plastic particles, a bottle cap, concrete chunks, cat hair, and decomposing plants. The shovel digs into limestone bedrock.
Chicago was once full of holes– clay fields acres wide, quarries miles deep. A city composed of brick and limestone. Bricks of yellow clay full of carbonates that burn pink in the kiln. Sidewalks of limestone aggregate: Silurian skeletal sediment¬– the remains of ancient oceans.
Now, the holes are filled with rubble and debris– paved over in a history obscured by urban sprawl. That strip-mall is named Brickyard. That reservoir has dolomitic shores.
Thornton Quarry, 2020, Video, 3:47 mins.
Untitled, 2019, Chicago clay, earthenware, porcelain, waste glaze, epoxy resin, curbside debris, photograph, 19 x 17 in.
Tree Stump (Backyard Clay Body– Detail Image), 2019, Stoneware and glaze, 36 x 12 x 12 in.
Brickyard, 2020, Video screenshot
Terracotta Mound (Backyard Clay Body– Detail Image), 2019, Earthenware and steel, 24 x 12 x 12 in.
Backyard Clay Body, 2019, Objects found in artist’s backyard: Foraged clay, waste glaze, discarded materials and steel, dimensions variable.
Untitled (Backyard Clay Body– Detail Image), 2019, Stoneware, waste glaze, foraged clay and found glass
Untitled (Backyard Clay Body– Detail Image), 2019, Particle board, detritus, resin, and photograph of artist’s backyard
Untitled (Backyard Clay Body), 2019, Foraged clay, waste glaze, discarded materials, and steel, 30 x 17 in.
All photos by Olivia Alonso Gough.
Brickyard Mall, 2020, Video, 2:36 mins.
Glenn Adamson, Art Interrupted, 2020 –
All over Chicago, if you know where to find them, there are old clay pits – remnants of a
now-disappeared brickmaking industry, which built the very architecture that eventually
obscured it. Saffronia Downing discovered the pits’ locations in an 1891 industrial atlas
of the city. It’s a typical example of what she looks for: stories and connections, lying
just beneath notice. Her work is evolved from procedures that have little to do with
conventional ceramic repertoire. She is a professional noticer of things.
Downing habitually walks the urban fabric, keeping a sharp-eyed lookout for objects of
interest, textures, configurations, juxtapositions. This magpie-like, opportunistic
methodology eventually eddies and pools into sculptural situations, which are composed of found detritus, fabricated ceramic elements, and sometimes photographs.
There is something vaguely occult about these works; they suggest magical thinking in
full flow. Yet they are also map-like, an oblique cartographic allegory of Downing’s own
wanderings. One could say they are located where the mind meets matter – conceptual
rubber hitting the recalcitrant road. Or that they are like archaeological findings from our
post-industrial present, evidence of life in the anthropocene.
Recently, Downing has changed the physical orientation of her psycho-geographical
sculptures. While they were previously held in low vitrines, echoing the ground from
which her findings were scavenged, she has now been propping them up on metal
armatures, as if to say: look at this. The rigid steel architecture of these mounts
suggests a scientific framework – the display cases in a natural history museum,
perhaps – while the amorphous sculpted elements instead evoke the trajectory of
Surrealism, extending from George Bataille’s explorations of the informe through Jean
Dubuffet and Jean Fautrier: an emotionally evocative, materially intense, nearly abstract
type of figuration.
I asked Downing what she might do with the unstructured time she suddenly had on her
hands; she responded that she could still take her walks. She also has at her disposal a
backyard – and a shovel. She’s an artist who doesn’t need much to build a world.
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Saffron Festival in Safranbolu, Turkey
Saffron Festival in Safranbolu, Turkey | Islamosphere
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Enchanted Dervish
10/28/2022 at 16:09
In Asia Minor, saffron was grown as early as the time of the Hittites, who used it as a medicine.
The production of this spice retained its importance in the times of the Greeks and Ottomans.
Saffron was grown in the Ottoman Empire in Istanbul, Tokat, Izmir, Adana and Sanlıurfa, mainly Safranbolu. But by 19In 13 AD, this culture was preserved only in Safranbolu, which got its name from the name of this spice in Turkish — safran. About a hundred years ago, it was grown here in 40 villages. Advances in dyeing technology and in the pharmaceutical industry to find cheap substitutes for saffron, as well as the high price, have led to lower consumption and a further reduction in its production. Now in Safranbolu this spice is grown by 40 producers in 11 villages on 37 sites, while under optimal conditions, 0.5 kg of saffron is obtained from one site. Local authorities are trying to keep the tradition alive with state-sponsored projects. One of them is the annual saffron festival, which takes place in October at the height of the harvest of this crop.
Source: Ahmet Özler/AA
Safranbolu Prefecture and Municipality and the Culture and Tourism Foundation held the 6th Saffron Festival this year. The program was attended by officials who assured that they would make further efforts to support and expand the production of spices. Safranbolu Mayor Elif Köse said in her speech that a program with a much broader content was prepared, but most of the activities had to be canceled due to an explosion at a mine in Amasra in the neighboring province of Bartin on October 14, 2022, which became Turkey’s largest industrial disaster, as a result of which killed 40 people and injured 20 others.
Source: safranbolubirlik.com
Guests of the festival were offered various treats, and they also collected saffron as part of the events. Foreign guests of the festival also took part in the harvest. Christina Meyer, a US citizen, told an AA correspondent that she has been living in Turkey for 3 years, she arrived in Safranbolu 2 years ago.
“For the first time I participated in the harvest of saffron and harvested it. I was happy to be here,” says Christina.
Source: Ahmet Özler/AA
Mbula Ratzlaff, a citizen of Kenya, said that she had visited Safranbolu for the first time. The woman says that collecting saffron is very exciting, and she is going to come here every year. And Kristina Anna Dvareckite from Lithuania, who also took part in the harvest, said that she came to see how saffron is harvested, but she would like to visit here again and settle in Safranbolu in the future.
Source: Ahmet Özler/AA
Participants of the festival visited the Forest School and an exhibition of paintings by Ilche Pinarbashi. The 6th Saffron Festival ended with a tour of the City of Medicinal and Aromatic Plants garden. This garden was opened in 2019under the auspices of President Recep Tayyip Erdogan as part of the campaign «11 Million Trees: Seedlings Today, Breath Tomorrow».
