Tristan Dirk Stamm was born and raised in Massachusetts outside of Boston. He graduated from Marlboro College with a BA in Visual Arts and Environmental Studies. He currently works and lives in Portland, Maine.
Michael Boroniec (b. 1983) is an American sculptor who resides and works in Berkshire County, Massachusetts for its culturally rich history, natural surroundings, and family.
Boroniec received a BFA from Rhode Island School of Design in 2006 with a concentration in ceramic material. His work focuses on ceramic as a dialog between the historical and contemporary implications of clay as a fine art material.
Seth Czaplewski was born in 1987 in St. Louis, Missouri. He is an artist currently living in Orlando, FL. In 2014 he received his MFA from Washington University and in 2012 his BFA from the University of Central Florida. In 2009 Seth started exhibiting locally, nationally, and unsolicited.
Constance McBride: The Lonely Girls, 2013
In this series, works depicting physical aging and a gendered issue surrounding dementia are engaged from a female point of view. Questions surrounding social responsibility are visited through an intimate look at a mother’s dilemma. My focus shifted to my mother after a few years of observing and caring for her while she navigated her days living with Alzheimer’s disease. My mother’s countenance emerges in the work through clay figures over a period of time and through multiplicity. By investigating concrete representations and creating situations that the viewer will identify with, I hope to engage the viewer in a deeper way.
Gaku Shakunaga (b. 1978) creates swirling stoneware pyramids drenched in luscious black glaze accentuated with lacquer. One of the younger ceramists of Yufuku, Shakunaga represents the future of Japanese ceramic sculptors, of artists who are not afraid to create non-functional ceramics that are devoid of function, and are challenging conceptual objects that are modes of expression as well as outlets for the artist’s aesthetics. Having graduated with a degree in sculpture from the leading Tokyo University of Arts, the most prestigious of art universities in Japan, Shakunaga’s new works find the artist combining the forms of his previous Sekiso series with his new-found muse in black.
Rose Cabat at 100: A Retrospective Exhibition of Ceramics at Tucson Museum of Art, Arizona
February 1 - September 14, 2014
Collection of the artist. Photos by Carissa Castillo and Rachel Shand.
Hello friends. Welcome to Month in Review, a summary of the last month of activity here at Ceramics Now.
By Hagai Segev, 2014
“Up until two years ago, my father, Yaakov, had an agricultural mechanization workshop. Every time I visited the workshop, I found myself entranced by the power of the iron boards and the pile of black and rust colored iron pipes of different diameters, waiting to be used”, Simcha Even-Chen reminisces.
“When I saw the call for entries for the contest and exhibition at Kapfenberg, Austria, entitled “At the Moment”, I decided to use these memories of my father’s workshop. This was the birth of “A Moment Before…” a work I created in 2009, which has since led to the growth of a whole body of works”.1
The memories that awakened this body are the evolution of the artistic research Even-Chen had been immersed in during the period of 2006-2009. This group of sculptures, entitled “Illusion”, was exhibited at The Fifth Israeli Ceramics Biennale at The Eretz Israel Museum (2008), among other places, and even received the Gold Coast International Ceramic Art Award.
Zane Bennett Contemporary Art is pleased to announce Complications, an exhibition of works in glass by Matthew Szösz. The opening is Friday, June 27, at the gallery, from 5-7 pm as part of the Railyard Arts District Last Friday Artwalk.
Matthew Szösz, born in Providence Rhode Island, resides and practices in northern California. He holds a Bachelor’s of Fine Arts, a Bachelor’s of Industrial Design and a Master of Fine Arts in Glass all from Rhode Island School of Design (RISD), and has been awarded grants by prestigious institutions in his field such as the L.C. Tiffany Foundation. Szösz has held numerous artist residencies all over the world including the Danish Royal Academy.
Jamie Bates Slone: Phenotypes, 2014
I have developed a process utilizing my knowledge of various casting methods and glaze, chemistry to create forms made entirely glaze. The color and texture is appealing and repulsive at the same time. When viewed through a magnifying glass the surface resembles Scanning Electron Micrographs of cancer cells. The fragile and fleeting appearance of these pieces symbolizes the transient nature of human life. This series of glaze, casted hands represent the genetic passing of disease from generation to generation. It is my fear that my family’s history with cancer is somehow genetic.
Sakiyama Takayuki and Fukumoto Fuku / Joan B Mirviss, New York
June 10 - August 22, 2014
Sakiyama Takayuki: Tidal Forms
Sakiyama Takayuki (b. 1958) continues to expound on his series: Chōtō - Listening to the Waves. Focusing now on the power of the ocean, the artist created these highly sculptural ceramic works to evoke the sublime nature of the waves and currents.
Sakiyama continues to mine the rugged coastline and beaches of his home on the Izu Peninsula for inspiration. The surfaces of his strikingly unique centrifugal forms give the appearance of having been made from sand. A special glaze that he developed highlights the intricate designs, which the artist achieves by carving the clay. Moving and receding across the surface, the texture also echoes raked Zen Gardens. These substantial double-walled vessels maintain true to their functional origins while conveying a highly sculptural quality.
Susan Phillips: Untitled, 2013
Watt’s Up? Ceramics and Light / Bernardaud Foundation, Limoges, France
June 13 - November 29, 2014
Watt’s Up? explores the relationship between ceramics and light by presenting some thirty works of art from all over the world, all created in recent years. Oddly enough, this relationship seems to inspire artists more than designers, trained to create objects such as lamps. Perhaps that’s because light transcends objects and gives us a whole new take on the world. Light affects our vision by modifying our perception of space and movement. In addition, there is a symbolic, poetic and mysterious element to it. As the French author Jean Giono once put it, very clever mysteries hide in the light. If light and ceramics go hand in hand, it’s mainly courtesy of porcelain’s unique properties of translucency, which can give light – produced by a candle or a tungsten filament – a soft, poetic aura and elicit a feeling of wonder. Ceramics offers a broad palette of sensations to play with. Faience is heavy, glossy and sensual in its interaction with light. Pottery absorbs lux units and asserts its own material plasticity to counter the intangible nature of light. Porcelain is lightweight and translucent, and the matte aspect of unglazed biscuit forms a striking contrast with the gloss of the glaze. Watt’s Up? is an unprecedented investigation of the latest innovations and know-how, both sensorial and intellectual in scope.
Sarah Purvey: Landscape Series, 2010-2014