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Welcome, fellow dreamers, dedicated tinkerers, and connoisseurs of the beautifully bent reality.
For years, I've been wrestling with design—the design of art, the design of a decent martini, the design of a neighborhood where the stop signs actually mean something. And early on, I stumbled into a term that cracked open the world like a misplaced coconut: Affordance. You’re asking, "Can I afford it?" Nonsense. We’re talking about Can It Afford You? Forget the idea that a chair is just a chair. That's stale thinking. Affordance is the ongoing conversation between the object and the occupant. It’s not an inherent property; it’s the possibilities for action that erupt from the wild dance between a thing's potential and your unique, complicated abilities—right here, right now. A doorknob is a cosmic handshake; its shape invites you to grasp and turn, emerging from the evolutionary pressure of a million human hands. Affordance is the realization that nothing exists in isolation. Every line you carve, every color you mix, is an ongoing negotiation within a complex adaptive system. The clay, your hands, the kiln's temperature—they all haggle over what, precisely, is going to become possible. But here’s the dazzling twist for us artists and anarchists: You hold the power. Affordances aren't waiting to be passively discovered; they are actively constructive. When you approach a blank canvas and ask, "What's possible for me here?"—you don't just find potential; you create it. Your skill, your experience, your mood, your very engaged presence, pulls that potential screaming out of the material. Key Point: Affordances are potentials, not commands. They are an invitation to possibility, waiting for your particular brand of genius to show up and say, "Let's tango." For the artist, this means your material is your partner, not your slave. For the customer, when you buy a piece, you acquire a new set of affordances—the ceramic mug affords not just coffee, but the quiet moment of warmth in your palm. Stop asking what you can afford, and start asking: What wild, beautiful possibilities are we, together, about to create? Happy New Year, Kirk McCarthy. President - ACCI Board of Directors The once bare brick walls inside historic ACCI Gallery on Shattuck Avenue have come alive this March to commemorate Women’s History Month with a vibrant metaphorical tapestry woven by many of the women who were instrumental in the gallery’s history. Erda LaBuhn, ACCI’s very first president, helped set ACCI’s loom in motion through her vision and leadership, beginning the process that would enable those who followed to succeed and thrive. Catherine Webb’s talents as a woodworker became an important asset in the gallery’s first steps of establishing a home. As different pieces of wood are often joined together to create a unified structure, Webb used her keen observation skills in finding the building in which we could build a strong, lasting legacy. Her dedication extended beyond ACCI, as she mentored fellow member Veola Wilson, whose innovative spirit blossomed into an award-winning invention of a unique jewelry box; a testament to the power of nurturing. Kay Sekimachi stands as a pioneer, resurrecting the art of fiber and weaving and being anointed as a “weaver’s weaver,” adding a previously under-represented texture to the artistic tapestry. Using the loom to construct three-dimensional forms, Sekimachi’s sculptural pieces are exploratory forms utilizing movement, space, and transparency. Through her dedication to children's art classes at ACCI, Susan Cerny, ensured the threads of creativity would continue to be spun by future generations. Multi-talented, her artwork started as oil-on-wood floral art pieces, but segued into ceramics, and her local historic preservation endeavors earned her recognition as an "Outstanding Berkeley Woman;" a well-deserved accolade. These are but a few of the brilliant strands woven into the fabric of ACCI. Another clay artist who left a mark on ACCI and Berkeley is Martha Nickoloff, who co-authored the neighborhood preservation ordinance, led the creation of Ohlone Park, and who championed the very space where our artistic expression thrives. Susan Felix, both a pit fire ceramist and Berkeley's Art Ambassador, has had her ritual-themed work displayed by some of the most prestigious collections in the world; from the Museum of Contemporary Crafts in New York to Christie’s in London, England, with numerous solo exhibitions all over the country. These women, and countless others, are the weft and warp of ACCI's story. They are the vibrant colors and intricate patterns that make our artistic tapestry unique and enduring. Their contributions, like the brushstrokes on a masterpiece, have not only enriched the gallery but also left a lasting impact on the cultural fabric of Berkeley. As we celebrate Women's History Month, let their stories continue to inspire, reminding us of the power of collaboration, mentorship, and the enduring legacy woven by remarkable women. Article by ACCI Artist Carolyn Tillie and Kirk McCarthy Don't miss this article in the Berkeleyside with ACCI Artist, Julie Atkinson, on her career path, artistic process and why she chooses to highlight natural hair in her work.
 Photo from the exhibition by Hillary Johnson |
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