Making In Collections | Tini Pinto | Episode 872
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Tini Pinto | Episode 872
All art is an osmosis of sensory stimuli into a physical manifestation of our experiences. Tini Pinto is the consummate artist. Tini’s primary mediums are ceramics and oil on canvas. Tini has lived an adventurous life, traveling and living around the world. Tini finds inspiration in the physical world and creativity in a metaphysical one. Tini creates work that expresses her joy and transcends the expected.
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Does it ever feel restrictive when you have a series that you are working in as your boundaries?
I would say it doesn’t feel restrictive as much as it pushes me to be creative. I think without boundaries, without restriction, it’s too open-ended. I wouldn’t know where to begin and where to end. So by putting certain kinds of restrictions on what I can do or cannot do that are self-imposed, I think it helps me to be more creative.
Are you suggesting that it helps you think more deeply about a specific subject?
Absolutely. Yes. And also it’s a learning curve. My new collection, Bio morphosis, the first lot of the twelve pieces that I produced, I look at them now and I have very ambitious ideas for the next lot of the same collection. Because I treat these as a learning curve. We learned what glazes worked. We learned how the textures reacted to the glazes, I learned whether the pieces are structurally sound or not sound. So with all that information I cannot wait to see what I make next.
So what I hear you saying is one piece is helping to inform the next piece. Correct?
Yes. And I feel like one has to exhaust all of their ideas before you are done with a collection.
When do you know it’s time to change direction?
When new ideas stop coming into my head. They just pop into my head and I think, Oooo I need to make that next. So we are done with this collection. Laughter. It’s very organic. I really don’t have a system or a method that works every time.
Does it help you get into the studio more quickly because you have a purpose?
Yeah, of course. With ceramics we all know that it is time sensitive and once you have thrown pieces sitting in the studio they have to be trimmed. They have to be put away in wet boxes. So yes, of course, it’s something I actually wake up for. I wake up every day just to make art, Paul.
What’s your favorite tool to work with in the studio?
My favorite tool, well it depends on the day, but usually I work with a lot of soft ribs and I think my fingers. I love sticking my fingers in clay and seeing what happens.
The Little Prince by Antoine De Saint-Exupery
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