Simone Le Page ’24
Dreaming of better days in the Arts and Sciences shower.
By Simone Le Page ’24
Venturing from the bustling streets of Brooklyn, New York, to the serene landscapes of Maine, I found my academic haven at the College of the Atlantic. The allure of this unique institution lies in its philosophy of allowing students to freely explore diverse interests. I was enticed by the prospect of studying human ecology while seamlessly melding disciplines like performing arts, sound design, and coding. The transition from New York’s murky waters to Maine’s crystal-clear ocean was a sensory awakening. COA’s promise of academic liberty resonated deeply with my passion for immersive, hands-on experiences, steering me towards enrolling primarily in studio art and music production classes.
Intermediate Ceramics
In the Intermediate Ceramics course, led by ceramic artist Rocky Mann, my focus sharpened on refining my throwing techniques, particularly in crafting bowls, while delving into the domain of glazing methods. However, what truly captivated my interest was the exploration of slips—a blend of watered-down clay infused with pigments, offering a versatile medium for drawing and painting on the resilient green clay surface. Working with slips was a revelation. Mixing various slips together to achieve specific colors seemed straightforward at first. Yet, the intriguing aspect was witnessing these colors transform during the drying process. What initially appeared as a rich dark green might evolve into a different shade, while reds took on unforeseen hues like pink. This unpredictability in color evolution during drying fascinated me. I found myself inadvertently stumbling upon new color combinations, a creative journey I hadn’t preconceived. This element of surprise mirrors what draws me to artistic mediums such as pottery and printmaking, where the final outcome often evolves beyond the artist’s initial intentions. It’s a poignant reminder that while I can influence my art, the materials themselves contribute their unique narrative. The communal aspect of studio ceramics also left a lasting impression. Observing fellow potters’ shelves gradually fill up with their ongoing projects was immensely inspiring. Witnessing emerging trends and evolving styles within COA’s pottery community was fascinating—a testament to the diverse artistic expressions within the studio space.
Our Band Could Be Your Life
Our Band Could Be Your Life: Music, Art, Zines 1975-2015, led by [COA Magazine editor] Dan Mahoney, was a captivating journey into the intricate connections between music, art, counterculture, and resistance. Investigating the sub-pop music culture, the course provided a deep understanding of its profound links to various counter-cultural movements and forms of opposition. Throughout the term, the class delved into readings by critics who comprehended the profound intertwinement of music cultures with identity and politics. Engaging with these texts expanded students’ perspectives on the multifaceted nature of music as a vehicle for social commentary and expression. A unique aspect of the course was the weekly assignment of listening to albums representing different genres. This immersive experience allowed students to examine diverse musical landscapes, fostering a comprehension of the evolution and nuances within various music styles. However, the exploration wasn’t limited to passive listening. Assignments such as making zines, music videos, manifestos, and other creative projects provided a hands-on approach to appreciating analog artifacts. This practice was particularly significant in an increasingly digital world, enhancing students’ appreciation for tangible, physical forms of expression. The culmination of the course was an extraordinary event held at Thomas S. Gates Community Center where the class showcased their talents.
Studio Printmaking
Studio Printmaking, led by COA Allan Stone Chair in Visual Arts Catherine Clinger, was a transformative journey through the diverse realm of printing styles. From the intricacies of intaglio to the expressive relief techniques, the course exposed us to the rich tapestry of printmaking. What struck me most profoundly was the inherent urgency encapsulated within prints. Bold, arresting letters and powerful imagery served as vehicles for poignant political messages, mirroring the historical significance of prints as a potent blend of utility and artistry.
Our studio sessions were a sanctuary of creativity, offering ample time to delve into the complexities of each print design. The process demanded patience, unveiling layers of understanding and skill development. Despite my background in drawing, relief printing emerged as a challenge, forcing a re-evaluation of my grasp on light and shadow. In drawing, shadows are added to create depth, yet in relief printing, the technique involves subtracting darkness to reveal light—a paradigm shift that ignited a new dimension in my artistic comprehension. The contrast between relief and intaglio became evident as we navigated the course. While relief printing disrupted my conventional interpretation of shadows, intaglio resonated closely with drawing. The act of etching into materials like copper mirrored the process of drawing by carving out spaces for ink to inhabit, allowing for an intriguing blend of artistic familiarity within the printmaking world. The sublime nature of printmaking emerged through this contrast. It unveiled the beauty in the nuanced differences between subtracting and adding elements, and the delicate dance between engraving and revealing. Each stroke, each cut, held the potential to transform a blank canvas into a compelling narrative—a testament to the sublime fusion of technique, patience, and artistic expression. Catherine Clinger’s guidance and expertise served as a beacon, illuminating the path toward a deeper appreciation of the multifaceted world of printmaking—a discipline that continues to bridge the gap between utilitarian messages and artistic endeavors, resonating through the annals of art history and socio-political discourse.
