Harumi Nakashima and Akihiro Maeta at Gallery VOICE, Tajimi, Japan
September 11 - October 19, 2014
Images courtesy of Gallery VOICE
By Debra Sloan, 2014
In the province of British Columbia, on the far western edge of Canada, the ceramic culture was initiated through international immigration during the 20th Century. BC is one of the few places in the world where the indigenous people did not develop a ceramic technology.
Instead the First Nations were and remain masters of wood — their source of all things practical and expressive. Ceramic knowledge had to be imported, and a local audience is still in the process of being cultivated. The variability of the BC ceramic practice reflects the waves of immigration that have and continue to flow into this region. Equally various are the recipients — a polyglot of information meeting a polygon culture.
Galerie Perrotin, Hong Kong, is pleased to present “Fireworks” by Johan Creten. Born in Sint-Truiden, Belgium, Creten has been working on the move for 25 years, from Mexico to Rome, from Miami to Amsterdam. He currently lives in Paris, France, but the sculptures exhibited in Hong Kong have been specially made during the past two years at Struktuur 68 in Den Haag, the Netherlands.
During the residency I have created a few bodies of work including figurative animal and human forms as well as readymades and found object casts utilizing Kohler’s ceramics facilities. I have incorporate multiples and one of a kind pieces in work in series. The access to the unique facilities and the opportunity to work with Kohler associates provided me with an exceptional experience that has inspired my work.
Project created in Arts/Industry, a long-term residency program at the John Michael Kohler Art Center Inc. Arts/Industry takes place at Kohler Co.
Mikael Jackson and Sophus Ejler Jepsen: For miles … & tanton / Copenhagen Ceramics
September 25 - October 18, 2014
Materiality and balance – and a young man’s search for his lost shadow in the concrete-jungle of Chamisso. Two very different artists meet in Copenhagen Ceramics’s current exhibition.
At Copenhagen Ceramics ceramicist Mikael Jackson is showing a new series of works that explore the physical conditions for balance with the architecture of the gallery-space itself as the starting point. The ceramic works consist of juxtaposed geometrical elements, whose meaning as both freestanding and supporting elements is scrutinized.
This piece expands on themes from a previous installation that dealt with inter-generational trauma, i.e., the unresolved affects of trauma that have been passed on from one generation to the next. I wanted to further explore the nature of trauma, this time specifically in relation to archetypes of heroism and the heroic’s relationship to violence.
This work began with a simple observation: newspaper photos depicting individuals – whether confronted with natural disasters, war, or engaged in protest – often shared a similar expressiveness, body language, and composition.
These images of people with anguished faces and strained bodies, recurring again and again, become, in their repetition, timeless and interchangeable. But the insistent beat of time moves the individual past the captured image. And what seems interchangeable is often a truly singular and defining event for the person in question. In attempting to return to the memory of that moment they become captive to it.
The Cleveland Institute of Art is seeking a qualified individual to fill a full-time ranked position as Assistant / Associate Professor in the Ceramics Department. The position offers the opportunity to join a vibrant and experienced faculty, to provide vision and innovation toward ceramic, art, and design education, and to collaborate and to teach across disciplines in the Craft and Design Environment.
The Ceramics Department at the Cleveland Institute of Art is known internationally by its faculty, alumni, and visiting artists. Ceramics is one of three majors in the Craft + Design Environment, and offers a comprehensive program that includes sculpture, utilitarian, ceramic design work, and a curriculum to afford a breadth of opportunities across contemporary art and design.
Position begins August 2015. Review of applications is scheduled to begin November, 2014 and will continue until the position is filled.
This series is based on the concept of curiosity cabinets. The books have been collected in flea markets in Brussels and Lisbon and are now inhabited by white creators giving them a new life, with imagined stories.
Vitor Reis: These works relate to some popular Portuguese native customs. The aim is to appropriate those customs and refresh them by creating new relations. Those new relations intend to create experiences and criticism of our present time.
This work is based in the traditional representation of the Caldas da Rainha phallus. The piece is composed by many little representations of crammed phalluses. In a first look, they look like candies, but after a closer look the shapes start to define themselves.
This project presents a brick photographed in the surroundings of different disused ceramic factories around the city of Caldas da Rainha, Portugal. The work is carefully positioned to best reflect the surrounding environment. The brick with wings is photographed with other found bricks, as if the brick had flown away one day, returning on this occasion for a visit.
Animals have been used in stories as metaphors and analogues for human experiences and feelings for ages. Their representations are a source of comfort, protection, wisdom, tragedy, and sorrow. In reality, we manipulate, control, use, and abuse these very same animals for our own benefit. The sculptures I create stem from this dichotomy.
Ice bliss, 2013
These white and gray cones, irregular and of different heights were made from icicles “grown” in PET bottles which were then molded at various stages of melting, like the retreat of glaciers in our mountains. Ice bliss is a metaphor for global warming. It is also the way art turns ice into vases. Function at service of contemplation and reflection and vice versa.
This series focuses on specific issues we learn about when we are children, and how we react to these same issues as we age based on the way we were taught. Some of the issues I have explored within this series are gender roles, sexuality, and women’s rights.
Children are like sponges and what we learn or are exposed to will effect our ideas as adults, sometimes in rejection of but usually in adherence to the ideals we were taught. The children I sculpt are often pensive or somber and confront the viewer with their gaze. Their expressions are captured in a psychological portrait that solemnly expresses the enormity of their journey ahead.
This series encompasses several different types of relationships and varies from piece to piece. Some of the sculptures in this series focus on the relationship between people and the environment. For example, our general disconnect with nature, excessive consumption, and the earths’ retaliation. Other sculptures focus on the relationships we can form with objects or an accumulation of material goods. This can, but does not always relate back to our connection to the environment.