Red Lodge Clay Center, RLCC Staff 2010 – 2014, Short-Term Resident (AIA) 2019
“Monster” as a spiritual tool is a tradition I willfully jumped into. I am engaging a conversation about ritual and religion. I facilitate spiritual reclamation for those who see medicine in objects. I posit that totem, talisman, god, demon, angel, witch, hero, and spirit from any tradition have been equally used as devices of oppression. Guardian Monsters seize the power of those objects and beings from an authoritarian state of mind and put that power back into the hearts and minds of the individual. Guardian Monsters are my shibboleth, they drive the darkness away, and they hold the individual accountable to their highest self. Guardian Monsters are objects that carry stories we imbue them with. They are tools of empowerment and reflection. YOU get to name your belief. YOU get to carve your road to enlightenment. The Guardian Monsters are just an interpretation of the talisman, the totem, the god, the demon, the angel, the witch, the hero…the spirit, and I’m proud to explore this rich, historical vein. I delight in the the potential of colorful, textured, multivalent creatures.
Born and raised by the descendants of hillbillies, Jill Foote-Hutton is an artist following in the tradition of medicine woman and storyteller through her creative practice dubbed Whistlepig Studio. She has earned a living as a teacher, curator, writer, artists, and arts administrator since 2003. She has been graced with the opportunities to travel to Greece, Denmark, China, Japan, and glorious locales within the United States in the name of contemporary craft.
Specifically, she was the Coordinator of Artist Services and Storytelling at Northern Clay Center where she managed fellowships, grants, and artists’ residencies. She was Curator of Exhibitions at Red Lodge Clay Center in Red Lodge, Montana from 2010-14. She was Gallery Director and lead faculty for seven years at East Central College in Union, Missouri. Her MFA was earned at the University of Mississippi in 2003, and her BFA was earned at Webster University in 1994.
Whether she is spinning her own tales, chronicling observations from the world of clay and the world at large, or facilitating others’ voices through word and form, she has always been committed to the craft of storytelling. As of January 2020, she was appointed as the Editor of The Studio Potter, a non-profit periodical, centered in studio practice, promoting discussion of technology, criticism, aesthetics, and history within the ceramics community.