Prize winning Polish-born artist Aneta Regel Deleu is a rapidly rising star on the European ceramic art horizon. She is an honors graduate of the Gdansk, Poland Fine Art Academy and London’s University of Westminster and Royal College of Art. This is her first exhibition at Puls Contemporary Ceramics Gallery.
"The main focus of my ceramic forms is the exploration of materials and their combinations. I am particularly interested combining the rough natural qualities of materials such as rock with malleable materials such as clay. The resulting juxtaposition of the natural and human-made creates a dramatic friction and tension. This reinforces the transformation and sense of movement that objects undergo during the passage from one state to another throughout the making process."
Aneta Regel’s work seeks no functional path other than that of the communicative and expository power of art itself. Like certain of her mid-20th century pioneering artistic antecedents, she utterly rejects the label of potter. Simply because her medium is clay, fire and occasionally glaze, that does not make it craft. The designation of ceramist or ceramic artist—or better yet, ceramic sculptor—is both more expansive and accurate.
The human figure is not her vehicle of expression. Rather it is the trees, rocks, fields, and river-beds first encountered in her native northern Poland and later in her travels. Her formal language is abstract, creating a sort of equivalent to the natural world rather than attempting to describe it. Hers is a landscape, or more precisely, aspects of a landscape that create images through which she seeks to convey her vision of a reality we may already have encountered or indeed might yet encounter.
Regel is a romantic seeking to capture the forms, energies and rhythms of the forests and natural phenomena that have surrounded her. She has repeatedly been confronted by native rock, split and ground into powder by the power of glacial ice.
Opening Reception: Friday, October 5, from 5-7 pm.
This October, Red Lodge Clay Center will present MOUNTED. An exhibit featuring the works of Lindsay Pichaske, Adelaide Paul, Ryan Blackwell, Thaddeus Erdahl, Amy Santoferraro, Christine Golden, Undine Brod and Roxanne Jackson. Topical to many regions is the ritual of hunting season and the provision of food. Just beyond the border of a ritual born of need are taxidermy arts, which can serve as an analogy for Maslow’s hierarchy of needs. The aforementioned survivalist skill sets are about harnessing natural elements. Decorative or trophy mounting came after our basic needs as humans were met. The work featured in this exhibit will, hopefully, explore the realm beyond basic needs and delve into hazards of modernity with frivolous, dark, and poignant mounts.
The exhibition will be posted online, Monday, October 7 by 10 am at the Red Lodge Clay Center’s website.
CONCEPTION - Part Two / Canvas Galleries, Belfast September 27 - October 11, 2012
Opening Reception: Thursday, September 27, 6.30 - 9.00 pm.
Following on from Conception Part One London in June, Darren MacPherson and Patrick Colhoun introduce the second part of a two part exhibition of work from two very different but complimentary artists. Two mediums, MacPherson’s vibrant, acid coloured figurative paintings alongside Colhoun’s dark, brooding, somewhat disturbing contemporary sculpture.
Part one in June was London, MacPherson’s base; part two is Belfast, Colhoun’s hometown.
Part one, described as ‘Art with balls’ by Cool on Demand Culture blog, showcased the work in a gritty industrial setting in South East London. The second venue will be a contemporary white cube gallery in Belfast, a city really starting to find its feet in the genre of contemporary art.
Two artists, two cities, two cultures, two mediums.
Darren MacPherson has a growing reputation as a contemporary figurative artist whose acrylic and spray paint works are bold and full of colour.
His frequent use of high key colours can be jarring, even startling to a first-time viewer. The negative space in the composition used merely to emphasise the foreground; this is the part of his work that he spends most time on, adding layer upon layer of content. Darren’s colours bounce off the canvas and his chaotic, sometimes erratic, strokes make for abstract suggestions of the male and female form.
Inclusion in prestigious events such as FLAGSTOP in Los Angeles, the inaugural Other Art Fair in London and the 2011 National Open Art Exhibition are cementing MacPherson as an artist with a growing reputation.
Patrick Colhoun is a contemporary sculptor living and working in Belfast. His irreverent approach and ever darker subject matter make for work that is anything but traditional ceramics. His use of other materials such as latex, hosiery and piercings add to the mix.
Join the annual Scandinavian Ceramics Conference in Hjørring, Denmark, for panels, lectures, exhibitions and demonstrations by outstanding ceramic artists and professionals from Scandinavia and around the world. Registration is available online.
Presenters: Karin Andersson, Stefan Andersson, Polly Beach, Clive Bowen, Nato Eristavi, Ann-Louise Gustafsson, Susanne Hangaard, Hbyba Harrabi, Janne Hieck, Ayumi Horie, Ane Fabricius, Anna Johansdottir, Henning Jørgensen, James Kasper, Michael Maguire, Susan Maguire, Gregory Hamilton Miller, Sheri O’Connor, Steve Mattison, Catherine Orrantia, Anders Ruhwald, Markus Rusch, Bernt Petersen, Waleed Qaisi.
THEMES ▬ Ceramic Artist Residencies: Centers and Programs What kind of opportunities are there for ceramic artists to work in new contexts around the world? How do we find these programs, and what can we access there? How do these ceramic work centers and institutions develop, how are they funded, and who do they provide resources for? How do artists apply for a residency, and what kind of projects get accepted? How can an artist residency fit with your career, whether you’re a student, young professlonal, or world renowned artist. Mette Blum Marcher (DK), Steve Mattington (Hungary/Wales)
▬ Earthenware and slip Earthenware clay is one of the most common minerals on earth, and can be found in almost every country in the world. In combination with other clay slip materials, and metal oxides, it makes up one of the most common material ranges of the ceramic pallet. During the conference, we’ll have presentations about English Slip Ware, Slip trailing in England and Japan, and different slip applications to Earthenware ranges. In addition, we’ll be discussing new developments in low temperature glazes that do and don’t contain lead, borate, and other low temperature fluxes, exploring the fit and fitness of these various glaze options. Clive Bowen (UK), Waleed Qaisi (Iraq/Qatar)
▬ Trends in Scandinavian Ceramics What’s happening now in Scandinavian Ceramics? Who are the emerging and expanding voices in the ceramic field, and what are they working on, and burning for? Where did they study, and how did they get moving in our field? Are you one of them? Would you like a place to tell about your work at ScanCeram? We’ve made one for you! If you’re a student or faculty in Ceramics, we’ve got special opportunities this year for you to present about your work, your school, or your institution. Together with the Vendsyssel Art Museum, we’ve also arranged our first museum level exhibition of NY NORDIC KERAMIK September 11th to October 21st, 2012, with an opening reception and gallery talks Friday, September 21st by involved artists, curators, and organizers. Ane-Fabricius Christiansen (DK), Ann-Louise Gustafsson (SE), Susanne Hangaard (DK)
▬ Ceramic Institutions: Education What kind of ceramic education institutions exist in the world today? In Germany, the Ceramic School in Landshut offers programs in apprenticeship, journeymen, and masters level ceramics, while still being engaged with studio art practices, an extension of a guild system. How does this compare with ceramic educations in the USA, which focus on Bachelor and MFA programs, or Australian ones, or those in for example, Georgia? Which of these educations are relevant for what career paths? What skills do they develop, what communities do they participate in and develop? How do these institutions collaborate with each other more broadly nationally and internationally? Michael Maquire (USA), Nato Eristavi (Georgia), Sheri O’Connor (USA)
▬ Internet and Online Marketing Should you be selling your work on Etsy? Do you have a commercial Facebook Site? Who do you follow on Twitter? And how do you get these activities to result in actual sales of your work? These, and many other important techniques for marketing your work and yourself online, are an important focus of this years conference. With experienced professionals presenting and leading the discussion, we’ll work up guidelines and suggestions for current activities, and try to anticipate future directions to move in. Beyond that, what are the minimal basic activities that we need to invest in to have a presence online, that is time and economically efficient. Ayumi Horie (USA), Stefan Andersson (SE), Polly Beach (USA)
“I work with clay to create an array of graceful, sensuous, organic forms. These pieces are made through a variety of hand-building methods such as slab-building, coiling, pinching, and forming with molds. Rarely relying on glaze, I use textures, stains, and colored clay to add visual and tactile interest. I am drawn toward neutral earth tones that complement rather than distract from my intricate sculptural vessels.
The curving lines and interplay of light and shadow in my work generate an illusion of movement, giving each piece an almost lifelike quality. A successful piece is one that begs to be touched as well as explored visually.” Elizabeth Shriver