Longtime potter looks outward

Frank Colson shows sculpture and ceramics in different corners of the world in any given week but has called Sarasota home for 43 years.

With shows this year in Spain, Switzerland, Greece and the Dominican Republic, Sarasota's first pottery-school founder continues to expand his art network and travels.

It works out nicely, as Colson is not as keen on the city as he used to be.

"When I came down here and saw Sarasota for the first time, I said, 'Wow, if I ever live in Florida, this is where I'll live,'" he recalls.

It was for Colson a microcosm of his native Los Angeles, with thriving theaters, galleries, water sports and a community of renowned artists like painter Sid Solomon and mystery writer John D. MacDonald at the small town's heart and fore.

He bought the home of Sarasota's first artists' colony from founder Hilton Leech, trading his pottery as part of the down payment.

Diana, his wife, taught music in Sarasota schools, while Colson taught pottery four days a week, three times a day.

His clay-throwing methods are Asian, using the entire upper body with the pottery wheel, while the more common European style uses only hands.

The 12-foot-tall pieces he makes would be impossible using the European style, Colson says.

He began fusing ceramic with sculptural techniques, and his personal work became increasingly sculptural.

The artistic evolution shows in Colson's horse sculptures, his favored form since 1962.

"I don't know too much about horses, which gives me an advantage," he says.

He considers himself a representational artist: his horse interpretations are recognizable, but not realistic.

Colson does not think of the animals he creates as animals, but rather as expressions, and says he chooses his themes and styles subconsciously.

He credits international travel and firsthand pottery experience with molding his methods, as well as his use of indigenous African and Asian styles.

He has lived and worked in 57 countries, taught in Australia, owned a tile factory in Mexico, and driven overland from the Middle East to Europe with Diana and their sons, Kevin and Sean.

"Anytime I landed in any place, I was usually seeking out the native craftsmen working with clay. I found myself in a little village in Pakistan throwing clay with the native potter."

As Colson's style evolved, Diana produced films and wrote operas for the Sarasota Opera.

Kevin and Sean honed their artistic talents as well.

Meanwhile, Sarasota developed condos, mansions, dozens of golf courses, 300,000 more residents -- and cultural amnesia, in Colson's view.

"Artists in Soho find beautiful places to work. Then the rest of the world comes and pushes it out and corrupts it," Colson laments.

He believes artists who molded Sarasota are continually forgotten.

"In this community when people come in now, they have more money than God and less culture than an ant," he said.

Most days are now spent working at his home studio and swimming in the nearby Gulf. If he has to buy supplies in town, he waits until rush hour passes.

His increasing detachment from the Sarasota community allows him to focus on his work, free of outside influences. He hasn't taught classes in more than eight years.

Colson has hope for the city he fell for, and its potential metropolitan turn.

"Downtown, what you're seeing is the nucleus of a Miami, a Tampa, any big city, and it's going to expand.

"That's America: you find a gold mine, you build on it. So be it."

More information on Colson's art is available online at www.colsonart.com.

His works are currently on display at State of the Arts gallery on State Street downtown.

______

Josh Orr can be contacted at joshua.orr@gmail.com.

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Sarasota Herald Tribune May 17, 2006 Who's in town	Paper version below


Longtime potter looks outward Frank Colson shows sculpture and ceramics in different corners of the world in any given week but has called Sarasota home for 43 years. With shows this year in Spain, Switzerland, Greece and the Dominican Republic, Sarasota's first pottery-school founder continues to expand his art network and travels. It works out nicely, as Colson is not as keen on the city as he used to be. "When I came down here and saw Sarasota for the first time, I said, 'Wow, if I ever live in Florida, this is where I'll live,'" he recalls. It was for Colson a microcosm of his native Los Angeles, with thriving theaters, galleries, water sports and a community of renowned artists like painter Sid Solomon and mystery writer John D. MacDonald at the small town's heart and fore. He bought the home of Sarasota's first artists' colony from founder Hilton Leech, trading his pottery as part of the down payment. Diana, his wife, taught music in Sarasota schools, while Colson taught pottery four days a week, three times a day. His clay-throwing methods are Asian, using the entire upper body with the pottery wheel, while the more common European style uses only hands. The 12-foot-tall pieces he makes would be impossible using the European style, Colson says. He began fusing ceramic with sculptural techniques, and his personal work became increasingly sculptural. The artistic evolution shows in Colson's horse sculptures, his favored form since 1962. "I don't know too much about horses, which gives me an advantage," he says. He considers himself a representational artist: his horse interpretations are recognizable, but not realistic. Colson does not think of the animals he creates as animals, but rather as expressions, and says he chooses his themes and styles subconsciously. He credits international travel and firsthand pottery experience with molding his methods, as well as his use of indigenous African and Asian styles. He has lived and worked in 57 countries, taught in Australia, owned a tile factory in Mexico, and driven overland from the Middle East to Europe with Diana and their sons, Kevin and Sean. "Anytime I landed in any place, I was usually seeking out the native craftsmen working with clay. I found myself in a little village in Pakistan throwing clay with the native potter." As Colson's style evolved, Diana produced films and wrote operas for the Sarasota Opera. Kevin and Sean honed their artistic talents as well. Meanwhile, Sarasota developed condos, mansions, dozens of golf courses, 300,000 more residents -- and cultural amnesia, in Colson's view. "Artists in Soho find beautiful places to work. Then the rest of the world comes and pushes it out and corrupts it," Colson laments. He believes artists who molded Sarasota are continually forgotten. "In this community when people come in now, they have more money than God and less culture than an ant," he said. Most days are now spent working at his home studio and swimming in the nearby Gulf. If he has to buy supplies in town, he waits until rush hour passes. His increasing detachment from the Sarasota community allows him to focus on his work, free of outside influences. He hasn't taught classes in more than eight years. Colson has hope for the city he fell for, and its potential metropolitan turn. "Downtown, what you're seeing is the nucleus of a Miami, a Tampa, any big city, and it's going to expand. "That's America: you find a gold mine, you build on it. So be it." More information on Colson's art is available online at www.colsonart.com. His works are currently on display at State of the Arts gallery on State Street downtown. ______ Josh Orr can be contacted at joshua.orr@gmail.com.