Monthly Archives: August 2014

Art Touches Art – 10

“Interval“ and „After Columbus“

– Jereldine Redcorn –


Jereldine Redcorn:  On the left: The time of waiting (until the end of the drying process) – – – On the right:Head – Vessel“ Caddo – ceramic (formed of Jereldine Redcorn after the example of her Caddo – ancestors), during the dry process

Part 1: Interval

During the first time of our symposium all of us could watch how Jereldine Redcorn (J. R.) one earthen ware vessel created concentrated and in fully dedication after the other one without haste or hurry but steady. The vessels seemed to her hands to grow – for, she did not need an example or any other model. J. R. had internalized everything: Size, form, like samples also to be carved in! (See to this: „Art Touches Art – 2“) – – – After J. R. had worked approx. six vessels, she declared this first work step perfect. Before the burning process once the waiting followed on this that during the drying “the time” withdraws water out of the clay – now in form of the vessels

This „interval“ J. R. had included in her plans, though, to be able of trying out something new. Already in Oklahoma she had made preparations for this. On her table to work, we could see feathers now, buttons or wool or cords – respectively all manners: J. R. had intended to make masks…

 I have arranged some examples of her masks here:


Jereldine Redcorn: Hasinai

Mask made of ceramic, glazed; hold on wood plate, black – – – Applications: Wool, feathers, pearls – – – Bremen, 2000

Hasinai: Jereldine Redcorn (J. R.) reminds of the Hasinai-people, groups of Caddo speaking natives who originally came from the east of today’s Texas, with this mask. With different materials J. R. had built up an identity – how the identity of a Hasinai (like also this one of the Caddo-people altogether) had to develop newly in result of events by which they had been forced again and again to arrange and define themselves newly – in order to survive! I notice that J. R. the mouth part had particularly emphasized by the open, „speaking“ mouth. The Caddo – language had been one of the connecting elements for all „Caddo – groups“. J. R., nevertheless, had this mouth part at the same time to the background pressed. She had selected a dark glaze which the articulating lips dip into darkness: Their common – causing identity – Caddo – language had been extinguished!


Jereldine Redcorn: Eagle Man

Mask made of ceramic, glazed; hold on wood plate, black – – – Applications: Cord, feathers, pearls – – – Bremen, 2000

„Eagle Man“: I look into a consciousness that is reminding back of those times in which it had been natural to dive in another existence („identity with a changed attitude of mind“), as I think: From being consciously (bright face half) diving into unconsciousness (dark face half): The concentration on the „strength of body and mind of the eagle“.

Created with Nokia Smart Cam

Jereldine Redcorn: “Origine of Day and Night  

Masks made of ceramic, glazed; hold on wood plate, black – – – Applications: Cord, feathers, pearls – – – Bremen, 2000

“Origin of Day and Night“: This work of Jereldine Redcorn I feel as already reduced in the choice of the materials, which had been at disposal for her, and therefore as very expressive. Making masks had been an „excursion“ for J. R.. Later, she had not have taken up this topic “masks” again as far as I know – again at home in Oklahoma. Her dedication is for the ceramic vessels of her ancestors…

Origin of Day and Night“ refers to an old legend of the Caddo – Natives, with the same title. The legend talks about how the hunting behavior does not have influence only on the hunting result but also until the complete life. If a dotted deer is for example killed, then everything will seem dotted at every time. If a black deer is killed, everything is always only dark. To kill a white deer brought the light, but always and everywhere at each time. And this was not good either. The people recognized through this the necessity to kill a white and a black deer at the same time. When they had succeeded, there were the day and the night from this time on. (Freely told according to the legend „Origin of Day and Night“)*.

My interpretation: The legend teaches that we must take into account the contrasting simultaneously and include in our actions at everything we do. We create balance in our life only in such a way. Life teaches us that this is a particularly hard challenge…

* Source: 2: Creation of Day and Night

Information about the reference: This is an official side of the university Arkansas. Apparently, it is not possible to have access to this from Europe. I have found the side with a search machine by entering the keywords „Caddo day and night“. Renate Hugel

Part 2: I know how now…

On that day all of us had worked intensively and concentrated like always. I noticed sometime that Jereldine Redcorn had stood next to me already a whole while and watched me at my work. Our eyes had met each other while looking upwards. I had been astonished, probably; Jereldine reacted so as if she had felt “caught”. At this moment I had got conscious that Jereldine had already stood also at the others from the group of Quintum and left after some time again, before. This I had noticed at the angle of my eye during my work, from time to time, but had stayed with my work inwardly, however. While I had realized this, I heard Jereldine while saying: „Now, I know how you work: You paint what you want!“ She had already disappeared and gone to her place again, before I could ask her, how she had meant this. And I did what everyone did: I continued to work.

A whole while had been last by then and each of us had been deepened in her / his artistic activity of one’s own… – – – Jereldine suddenly had come to me again. In her hands she had hold a work board of pressed wood on which several pieces of clay formed to “ceramic-fragments” had been situated as if they had been “flung away”. She had shown me this plate with the words: “Here look, this is After Columbus !

I felt for my part “caught“ now! At the same time, I perceived in me a spreading feeling which arrived gradually in my head and composed itself there in words: „I know, you have something more great, more enormous and of totally cruelty to reappraise!“ I felt ashamed while these dumb words were forming themselves in me… – – – The happy and slight laughter of Jereldine had been snatching me immediately from my inner reaction, before I could continue thinking – and the room had been filled by her joy: Her joy at „having understood“! Yes, it had been important for her to communicate this to me by her look: She had been looking for my eye contact for certain. And the vibrations of joy and understanding multiplied themselves at each other, made all of us “as light as a feather” and „inspired“ our actions…

On the photo below the completed work of art of Jereldine Redcorn is to be seen, which I had got in the situation described above in the rough state to face:


Jereldine Redcorn:   „After Columbus“

Ceramic – Fragments, glazed; hold on wood plate, black – – – Bremen, 2000

A feeling had somehow gone through me afterward to have experienced a “historical moment“! Should this be the request now for us to start with a “fragments – collecting“, together? (See: „Art Touches Art – 9“) Actually, I felt helpless with such a great question. And I was glad that still freeing vibrations of “ease and joy“ of Jereldine were floating in the room!  

I, however, experienced Jereldine as a great „fragments – collector“ in the true sense of the word! – J. R. had been touched when having seen the ceramic vessels of her ancestors. She admired their manual and artistic skills, highly developed. And she had made it to her own task to revive these abilities by doing: Jereldine Redcorn lifts up with her work in dedication what had been destroyed carelessly and regarded as valueless, and puts the completed ceramic vessels on the base of esteem with that, surrounded by an aura from dedication and empathy – that spiritual beam strength, that Jereldine Redcorn breathes into every single piece with her work. (See to this:

Speaking of „breathing into“ and „aura“, this sounds very abstract and not comprehensible! I would like to quote Pablo Picasso in this place therefore who said once:

“Art washes the dust of the weekday from the soul.“

The more I had removed from „collecting-fragments“ (see „Art Touches Art – 9“), and the more I had dealed with the possibilities of art, the more I came personally to this conviction: “I can only then be content with my result, if my work of art satisfies the demand of Picasso quoted above!“

In „Art touches Art – 2“ I had described, how very much Jereldine Redcorn had been disappointed to have to realize that the climatic conditions had not been optimal in Germany (in summer 2000) in order to achieve on her earthenware vessels a glaze being in accordance in their appearance to the historical examples. The extent of this statement actually is only correctly understandable, when looking at her results which had arisen at home in Oklahoma:, then click „Portfolio“

  The perfection of the forms multiplies itself together with the fine meticulous scratched drawings into the surfaces of the ceramics. Furthermore the surface gleam brings another increase of the feeling of „totality“ in the sense of „being whole at oneself“! The „ideal way“ is at its aim, if all three features in their perfection (form, scratched drawings and surface gleam) unify together into something quite special which “touches” us as observers. Immediately “with one wipe“ our soul increases and, with that, „gets rid of the dust of the weekday“ – to remain in the picture of Picasso’s remark!

Jereldine Redcorn has achieved this „enchantment“ with her ceramic-works – according to my opinion. And, since J. R. elevates the ceramics of her ancestors from the past, destruction and disregard, the Caddo – Natives of America as well had raised their craft into art – while having integrated it into their life!  Renate Hugel

Remark: Current stand: To Jereldine Redcorn I have written under “Art Touches Art” the contributions “Art Touches Art – 2” und “Art Touches Art – 10”.

Reference to a Sad Anniversary

I have made a new contribution under the category Into Memory of Sherman Chaddlesone“. Cause for this is the first anniversary after the death of Sherman Chaddlesone. The title of the new contribution is: “In Memory of Sherman Chaddlesone” – – – Renate Hugel

The Memory of Sherman Chaddlesone

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Picture Details: Renate Hugel:  „The Memory of Sherman Chaddlesone“  – – – Pencil drawing on transparent paper; behind this a part of a photo*, 16 x 25, 5 cm, 2014 – – –  * Part from a photo taken during the Kiowa Black Leggings Ceremony nearby Anadarko, Oklahoma, 2001

One year is last: The day of death of Sherman Chaddlesone (June 2nd 1947 – August 17th 2013) comes up again with August today’s 17th, 2014! We, Renate und Heinz Hugel, think of the mourning of his next relatives on this sad memory day: Allie Chaddlesone (widow), Shawn Dae (daughter), as well as also all other family members! – – –  I, Renate Hugel, have formed this portrait in memory of Sherman Chaddlesone. The teepee which had been built up next to the dance floor for the Kiowa Black Leggings Ceremony can be seen in the background of my pencil drawing on transparent paper. Shades of other participants can be seen in front of the teepee.  This is a part of a photo which I had taken there in the year 2001. I would like to remind with that as the care of the old traditions had been importantly to Sherman Chaddlesone and as he had engaged himself very much through this for the receipt of the contact to the tribe ancestors! – – – It had been also important for Sherman Chaddlesone at the same time that his wife Allie Chaddlesone as a dancer could regularly take part in the annual events of her tribe. Allie Chaddlesone is an enrolled member of the Kootenai tribe. Her husband Sherman always accompanied her for the annual dances to Montana / Idaho so that she could take part in the traditional medicine dances of her tribe there in the mountains! Renate Hugel