Author Archive for C.C. Snider-Bryan


Lament – message for Jim Fish

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Instructional Design: Science, Art and Craft

saving this for future reference


Performance X Design

I’ve been reading some Henry Mintzberg recently.  His books–Managing and Managers Not MBA’s–both question prevailing thinking on management and leadership and present alternatives for effective management practice and development.  Both books include a model of management as a balancing act between science, art and craft. His argument is that effective management requires all three and an overemphasis on any one results in dysfunction.

I think it also offers some insight to effective Instructional Design.  Much of the recent debate regarding Instructional Design models and practice (see my own view here) seem to revolve around the prescriptive, process based models of ADDIE (and like models) versus  more open constructivist approaches, presumably more relevant for our networked and collaborative work environments.   The arguments tend to get unnecessarily polarized.  The following table is adapted from a similar one Mintzberg created for defined management styles.  I believe it works equally well…

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Clay Science at the Museum

Clay community is now back in my life – thank you NM Museum of Natural History & Science for allowing me to blend this ever-engaging expressive medium with its capacity for learning about physics and geology!

Jan-Mar 2017 Clay Science at the Museum
Mar-Apr Animal Stories
Apr-May Garden Ware
Aug-Oct Geology of Clay
Oct-Nov Animal Stories
Nov-Dec Color in Clay
Jan-Feb 2018 Color in Clay 2
Mar-Apr Inventions with Clay
Apr-May Plants on Clay

Garden Ware May 2017


Animal Stories Mar 2017

Clay Science at the Museum Jan 2017


Garden Ware 2017


Garden Ware Apr 2017


Entries to NM Potters & Clay Artists Show


2017 Celebration of Clay: Light and Shadow

at the Galería Arriba at the Abiquiu Inn

July 1, 2017 – August 25, 2017

Opening Reception, Saturday, July 1, 2017, 4-6 pm

Second Reception, Friday, August 4, 2017, 4-6 pm


Cirrelda Snider-Bryan #1 Title: “Untitled” Size: 8 x 6.5 inches

Price: $140 Light and Shadow: Thumb prints joining slab swatches catch light and create shadow.



Cirrelda Snider-Bryan #2 Title: “Morning Glory” Size: 5.75 x 5.75 inches

Price: $75 Light and Shadow: Textured tile catches light, shows shadow of this morning-blooming flower. © 2017 by Cirrelda Snider-Bryan


Statement: Cone 5-fired Ochre clay and Duncan underglaze. Texture, slab, press-tiles, leftover pieces from tile-making, drawing, commercial glazes, oxides, illustration – these elements form backbone of my process with clay, continuous since my first clay class at Philbrook Art Center in Tulsa at age 10. Documenting everyday relationships continues to inform my process – whether in the yard, on the road, on the horizon.




The Long Road East



The Ditch Road That Swings Back Toward the Sandias
And That Inspires Many A Thought About Caring For My Roots

poems in honor of
my parents
and in honor of my journey without them

©1993 Cirrelda Claire Snider-Bryan

sky bright
autumn day

high leaves
mark the way

I walk
on the road

prayer ode
from my home

steps rhyme
with this song

think time
and right now


Morning Walk on Ditch

I had been following this unknown configuration in the sand. It was a wide little swath – with knicks evenly spaced on both sides. Was it a snake ? was my first question.
The track came out into the middle of the road and doubled back.
It was a very intricate track.

I kept on walking. (Plodding a better word cause I was still sleepy and lost in thought.)
But had the thought – “There’s a story in that -. Was there a fight? Why did the intricate track double back?

So, I turn around … find it again … follow it …
Does it stop at that paw print – ?
No, it continues on down the
I see
a crawdad!

Who notices me, too, & stops.
Then starts up again.
Slowly, intricately, pulling that
body, that armor, along.
Gently texturing that sand
like a wonderful border on a clay pot.

Heading for the weeds –
(the protection for the day or to begin hibernation?)

I turn around to continue my walk.

There back in the middle of the road is another guy – but his legs are up in the air.
He’s helpless, legs trying to grasp something to turn him over.
My shoe tries to do that – and I do get him over. But he’s extremely muddy, caked with sandy mud.

& instantly he begins

to go in circles,

around & around & around.

I wonder, What’s wrong? Maybe he can’t see because he’s all covered up with wet sand.

Well, the minutes tick on and it is a work day. I continue my plod. Leaving him, (hoping he’ll find
his way off the road) other thoughts come into my mind after I wonder at the slowness of their flight.
Kinda dangerous.
They’re well-suited for their slowness, I guess, in that heavy armour.

After my double-back, on my way home to get ready for work, I come upon the place in the road again.
The “caked” one is STILL there … his track all jumbled … he’s still been going around and around.

I stand there wondering. ? Should I throw him back in the ditch, let him get washed off, then he’ll come
back out on his own to continue his journey?

Do I wipe it off with my hand ?

Or would I be interfering ? Or will that mud stay on all day?

Will I, won’t I?

OK – grab some dry loose grass – make a brush in my hand – start to brush it off. It comes off easily.
THERE are his eyes ! – little black glassy balls.
He protests, just like my young niece when she’s getting the tangles combed out of her hair.

I can go.
I’m on my way.
Maybe he’ll not ger run over now.
“You’d better get off this road!” I say out loud to this boy (or girl) crawdad.

Walking on … other thoughts on my mind.
Me walking on my walk … my weekly double-backs.

Later I hear the sound of a vehicle coming from behind. Coming up close.
Panic. Is he off the road yet ?
Panic and help in the palms of my feet stretch, race ! back along the road toward him.
“Get off!” Those feet push him off.

Do we get helped along, too ?
Spirits unknown to us – once in a blue moon deciding to stoop down and brush us off ?
Someone once said to me that it could be our lives are like water striders on the ditch surface.
We’re not really aware of that whole other reality going on above us on the bank. Just only every once in a while we get this glimmer of a movement that doesn’t seem normal. And many times we just dismiss it as nothing. Yes there is that whole other big beautiful world going on, with being stopping to admire us or eat us. And to us it may just seem like a gray cloud, a chill wind, or an uncomfortable feeling of being shaken up., that amazingly leaves you feeling clearer. For some reason.


Tiles for the Open Space Traditions Garden


Honored to the max!

The staff at City of Albuquerque’s Open Space Visitor Center, 6500 Coors Blvd NW, along with Board Members of the Open Space Alliance, commissioned me to make 10 by 10 inch illustrated label signs for 11 elements in their demonstration garden dedicated to garden bed designs used in our region over time. The Open Space Visitor Center has a tradition of its own of honoring the connection between  art and ecology. Tile Heritage Association member Margy O’Brien created plant tile signs for this place many years ago, so there’s even a tradition of tiles there!


Staff members Noel Chilton, Kim Selving, Kent Swanson were joined by Board Member Charlie Wood to review my proposal to make press tiles. I showed them my Garden Companions press tile series (see other section of this blog) and they liked the idea that copies of the tiles could be made.

First four tiles were completed first week of April. Second four were completed by mid June. A wonderful garden party happened Saturday June 25th to unveil the installation. The last ones will be completed by the end of August and be installed in time for the Center’s  10th anniversary celebration mid September.

Here, in the “mosaic” above, are photos of the tiles and the process, from drawing to press tile to glazing of bisque-fired “pulling” from the negative.




Thanks to Linda’s suggestion, here are a few more photos showing the placement of the tiles at the Traditions Garden, Open Space Visitor Center on the west bank of the Rio Grande in Albuquerque.

inside the entrance with tile signs

inside the entrance with tile signs

entrance to Traditions Garden at Open Space Visitor Center

entrance to Traditions Garden at Open Space Visitor Center


finished Compost tile

finished Compost tile

glazing Compost tile

glazing Compost tile

Spanish tile at home

Spanish tile at home

drawing for Compost

drawing for Compost

Olla tile at home

Olla tile at home

Acequia tile at home

Acequia tile at home

Compost tile at home

Compost tile at home

Thank You Charlie Wood tile

Thank You Charlie Wood tile


Process for Imprint Tiles


I choose “relief” tile over just a flat, painted tile generally. I have etched and drawn into clay throughout the almost 50 years I’ve been working with it — first took clay classes at Philbrook Art Center in Tulsa in 1968 at the age of 11, with Marsha Manhart as my first teacher.

In the late 90’s I read Frank Giorgini’s book Handmade Tiles where he describes creating plaster molds for pressing slabs to create multiple versions of same tile. I know many folks were inspired by his book. After having a plaster press mold lose detail, I began to make my press molds from bisque-fired tiles. Most of the tiles shown in the albums here are made this way. I have created over 40 of these press tile forms which are negatives from my drawings.

Here are a few imprint tiles paired with finished tile. There is range of depth and detail – some are just lines, others have carved or built texture to create the final relief when a pre-measured slab is pressed into it.

clay & log posts

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