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Friendships in Clay

Opening Reception November 22 4-6 PM
Show runs November 22, 2019 – January 24, 2020
Shining Stone of Abiquiu
2 Co Rd 187 Abiquiu, NM 87510 (505) 685-4271
Monday – Friday 10 am – 4 pm
I am proud to participate in this show of 9 ceramic artists at the Shining Stone Gallery in Abiquiu. For this exhibit I put together a group of figurative sculptures I felt were appropriate as a “cast of characters” among a cast of character artists. We are all different but love to work and play together.

Lee Akins
Barbara Campbell
Matt Seikel
Luisa Baldinger
Judy Nelson-Moore
Michael Thornton
Jacquita Beddo
Andrea Pichaida
Frank Willett

Wall sculpture by Judy Nelson-Moore, unfired, painted paper clay
Judy Nelson-Moore: If I Only Knew What She Was Thinking

Ceramic art at Friendships in Clay, Shining Stone Gallery, Abiquiu
Work of Lee Akins, Andrea Pichaida and Frank Willett
Jacquita Beddo, curator of the exhibit says this about the show: Ceramic artists are kind of a rare breed among the art world. They often talk about their “clay community” which is something they alone in the art world share. Where competition may rule in many groups of artists this “clay community” sets itself apart. While “clay community” means different things to different folks it is usually centered around friendship. This is a friendship that is firmly rooting in sharing. We share techniques, knowledge, and our lives. While our lives are different, and our areas of expertise vary wildly, we share that precious gift in life of true honest friendship.  The artists in this show are all members of the New Mexico Potters and Clay Artist (NMPCA), where many of these friendships began and are nurtured.
Friendships in Clay opens with an Opening Reception November 22 from 4 – 6 PM and will run through January 24, 2020. The Opening Reception is sure to be a fun night with food, wine and art. 
The show is being held at the new gallery “Shining Stone of Abiquiu.” Abiquiu is the wonderful little village that was home to Georgia O’Keeffe and is now the home of the Georgia O’Keeffe Welcome Center. “Shining Stone of Abiquiu” is owned by Matthew Seikel and specializes in handmade ceramics. It is also the home of “Seikel Ceramics Studio” where Matthew works with wild clays and minerals local to the region. 
The “Shining Stone of Abiquiu” is across the road from the Bodes general store. Bodes has been a part of the Abiquiu community for literally 100 years, Martin Bode gave the place it’s name when he purchased it in 1919 and yes, it is still a general store. While you don’t find a full line of hardware there anymore you can find Lodge Ironware, enamelware, and myriad of hiking, camping, fishing supplies. They also have a green chili cheeseburger that is among the best in New Mexico.
Come and marvel at this wonderful show in this magical place.
Work by Luisa Baldinger and Michael Thornton

New Fume Fired Work

I call it fume firing.  Other clay artists call it saggar firing.  Having used many different “saggars” in the past including hand-made clay saggars, metal cans and brick-built, I am currently using tin-foil saggars.  Here are some results from Spring 2019.  

Judy Nelson-Moore, "Sisters" sculpture, 4 feet tall

Cactus and Succulent Shapes

In September, the Cactus and Succulent Club of Santa Fe published an article about my sculptures.


My Rya Rug

Finished Rya and my feetLike many artists, I have an interest in several different media.  Since I lived in Germany in the late 1960’s, I have loved the Scandinavian Rya rugs, especially the wonderful contemporary designs being produced in the 60’s and 70’s. Some had bright colors and others were more subtle mixed earth tones, but the depth and variety of color and patterns in these rugs captured me.

At the time I first found them, I wanted a rya rug, but could not afford to buy a rug nor even a kit to make one.  The traditional way to make a rya rug is to knot the pile at the same time as weaving the backing on the loom.  However, in the mid 20th century, pre-woven backings became available, but the cost of these kits was prohibitive to me at the time.

The women in my family are rug makers, at least that is true of my Mother, my Grandmother, and myself.   For many years I had a latch-hook rug in my entry that had been made by my Grandmother when she was in her later years.  I also have a hooked rug that my Mother made from strips of wool clothing.  When I had come back from Europe in the early 1970’s, I decided I must have something like a rya rug, so I made a cut-loop hooked rug using my Mother’s rug hook based on one of the rya designs from the brochures I brought back from Germany.  Both my Grandmother’s latch hook rug and my own hooked rug finally fell completely apart last year.  I found in my closet a latch-hook rug that I had bought and started to work on 40 years ago, and decided to finish the kit.  In the process, I remembered what it was that had made me stop…doing each little strand with the latch hook was not rewarding, but I finished the rug because I felt a deep connection to my Mother and Grandmother while working on it.  After I finished that rug, I felt I really wanted to replace the rug in my entry where my Grandmother’s rug had been.

I began researching rya rugs on the internet.  I found that vintage rya rugs are very expensive and very few new ones are being made.  Then, I made a startling discovery!  I found Melinda Bryd, an artist in Maryland, whose own heritage from her grandparents had involved a business selling rya rug making supplies.  She had at the time decided to buy back her grandparent’s business and write a book about rya rug making.  She had some backing and yarn for sale on etsy.  I immediately bought a backing and started searching for a design for my rug.  Melinda and I shared a special interest in rya rugs, and I am so grateful that she is working to revive rya rug making.  I could not have done my rug without her help and materials.  She has written a great story about my project on her blog.

My approach to design:  I looked at more than 200 images from the internet and from my own designs before settling on the first rug design.  Being a computer person, I decided to use a computer-generated grid to plan the design.Rya Rug Design Plot  I created a grid with the correct number of rows and columns to match the backing I had chosen:  80 rows and 84 knots across.  Each square in the grid represents one knot.  I outlined the different color areas in the rug and assigned each color area a number.  Then, I counted the knots in each color area.  Sitting down with Melinda’s yarn samples and my design, I determined which color yarns would go in each area.  (Each knot has three strands, which is what leads to the great richness of a rya…mixing different colors into one knot, kind of like a pointilist painting where the eye blends them into one color).  Below is a picture of my color area plan with yarns grouped into the color area codes on the graph at right.  While knotting the rug, I worked from this computer printed graph of the design, and it worked very well.  Towards the end, I started to vary from the design and just work directly with the yarn colors and what I felt would work for the design.

Yarn SwatchesThe cost of the materials for this first rug have been well below what I feel the value of the result is, and about the same or less than it would cost me to buy a high quality rug of the same size.  The backing from Melinda was $108.  When I ordered the yarn, I ended up getting almost 50% more than I really needed because I was uncertain about how much extra my blending and variations would take on this design, and I also didn’t have enough confidence on my first rug to cut the estimate too closely.  The cost of the yarn was $365, so I used about $250 worth of yarn on the rug.  I could sell some of it back to Melinda, or use it to make another rya…or some other wool yarn project.

Yarn ordered from Melinda Byrd for my first rya rug.  I used about 2/3  to 3/4 of this.

Yarn ordered from Melinda Byrd for my first rya rug. I used about 2/3 to 3/4 of this.

Back Seat Driver

Back Seat Driver, ceramic and mixed media sculpture by Judy Nelson-Moore

This piece is about that disconcerting or disorienting feeling of driving in a car and having the passenger(s) issue conflicting directions. 

Imbedded in the sculpture during the making is a rather large previously fired fragment of a face as well as a previously fired hand.  The use of paperclay allowed me to imbed these fired pieces and then fire the sculpture again without them cracking out of the piece.  Two metal pieces were added after the firing.

Studio, Meet the World

 When I am in the studio, I think that I am retreating from the world.  One of my recent pieces, however, reminds me that the world comes into the studio with me.

The piece is named “Wise Men Sailing…and the dish ran away with the spoon.”  Here’s a picture…

So, what is going on with this piece?

As I was listening to an NPR program about the economy in Greece, and how one woman had been working at her job without any pay for a year!  I reflected on the financial “wise” men who had created this circumstance as well as the effect of my own retirement plans falling into a void.  This led to making three figures with avaricious expressions, fired in a fume fire for that burnt look.  I put them in a boat because three figures in a boat resonates with the old poem “Winkyn, Blinkyn and Nod”.  I had a pyramid piece that was perfect as the base.  Because the whole situation is so impossible to understand, I put them in their fantasy boat on top of a pyramid, and added the dish and the spoon to refer to the nonsense of the nursery rhyme.  Zombie masks rim the boat…my commentary on the wisdom of these men.  Even though the work was developed over many months, I still have not come to any better understanding of the financial situation!  “…The little dog laughed to see such sport, and the dish ran away with the spoon.”

Judy Nelson-Moore

Santa Fe, New Mexico 2012

Art Statement: My Background

I grew up in Denver, a city girl. I graduated from Colorado State University with a degree in Humanities. Over the years, I have studied with many wonderful clay artists, including James and Nan McKinnell. I realized that what I admired about many artists’ work was not the technical expertise, but the spirit and soul in their work. So I started to pursue a study of Jungian Psychology, studied creative imagery work with Edith Wallace and Steve Gallegos. At the same time, I was working with many different companies around the country as a database software developer and implementation specialist. The combination of these experiences, plus a strong interest and affinity for primitive and indigenous art of many cultures, has helped to form the imagery and motivation for my sculpture.

Paperclay Information

Here is a document I use in my paperclay classes and workshops. It contains a summary of some of my paperclay wisdom.



Fume Firing

Here is a document containing a summary about fume firing.  Saggar firing, tin-foil saggars, pit firing, low-fire salt firing:  these are all terms for fume firing.  I have even done fume firing in an electric kiln. Lately, I have been mostly doing fume firing in tin-foil saggars in a gas kiln.