Tim Rowan

Tim Rowan Ceramics

Tim Rowan's profile on Ceramics Now - View works

Tim Rowan was born in 1967 in New York City and grew up in Connecticut, along the shore of Long Island Sound. His art education began during college, receiving a BFA from The State University of New York at New Paltz before journeying to Japan for 2 years to apprentice with ceramic artist Ryuichi Kakurezaki. Upon his return he worked briefly in studios in Massachusetts and New York before receiving his MFA from Pennsylvania State University.

He established his kiln and studio deep in the woods of the Hudson Valley in 2000, where he lives with his wife and son. His work has been represented in solo and group exhibitions internationally, most recently having solo shows at Yufuku Gallery in Tokyo, Japan and Cavin-Morris Gallery, in New York City. In September, 2013, Tim Rowans ceramic sculptures will be represented in a solo exhibition at Lacoste Gallery, in Concord, Massachusetts.

Rowans’ work is made, primarily, from native clay, direct from the earth and unprocessed. He works with geologists to locate local clay deposits and hand-digs selected sections of earth. The “impurities” in the clay are left to reveal themselves, upon sculpting and firing. The forms are slowly constructed from layers, built up over days and weeks, then hand-carved. They are fired for seven days and nights in a woodfueled kiln. No glaze is applied; the surface textures and colors are the result of the interaction of the clay, fly-ash, coals and fire.

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Graciela Olio

Graciela Olio Ceramics

Graciela Olio's profile on Ceramics Now - View works

The path of my work can be brought together in thematic series which are constantly reshaped.  These can be defined as: Social Satire, Saga of Discovery, Automata, Contemporary Bestiaries, Dwarfs, Self-referential work, Uselessly Decorative Objects, Project South (work in progress) and The Collector.

Project South is a “work in progress” in which I use images transferred from Simulcop booklets (Argentinean schoolbooks used to help drawing during the 60s and the 80s) to propose a journey through South America and Argentina.
The drawings of political, hydrographical and climate maps as well as maps showing our flora and fauna, different parts of important cities and ports, and the most important American products show the ideal representation of our continent’s recent past. Project South is a commitment to the future of our region, a work anchored in the ironic game of our memory.

The Home Series, which is part of Project South, expresses and affirms a place of belonging. A region, Latin America, a continent South America, a country, Argentina, a city, a house, a home. Modest, almost collapsing houses  are a regular sight in the cultural landscape of both, South and Latin America. The ironic word “Home” entails a trick, almost a funny one, in this poverty context. The simplicity of the dwelling, made up of printed cardboard shows the sad reality we have been facing for years now. There are roofless houses, houses on the verge of catastrophe, houses falling apart and self- sustaining houses. This is a series in permanent construction and its metaphorical development manifests itself as a symbol of resistance.

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Graciela Olio Ceramics: Proyecto Sur, Serie Home (Project South, Home Series), 2011, Porcelain sheet (Keraflex) print with laser decal on raw sheet before handbuilding, all 30x20x0,8 cm.

Olaf Breuning: Human Nature / Pippy Houldsworth Gallery, London

Olaf Breuning: Human Nature exhibition Pippy Houldsworth Gallery, London

Olaf Breuning: Human Nature / Pippy Houldsworth Gallery, London
November 23, 2012 - January 12, 2013

Private View: Thursday 22 November, 6-8 pm.

Pippy Houldsworth Gallery is delighted to present a new commission for The Box by New York based Swiss artist Olaf Breuning. Breuning is known for his diverse and humorous explorations of the relationship between art, life and contemporary culture. Working across film, photography, sculpture and drawing, Breuning investigates the absurd and the surreal, creating perpetual punch lines and endless drama resulting from an instinctive relationship with language and materials. Here, Breuning creates a new installation for The Box, translating a new stick drawing into a precarious miniature metal sculpture. The Box is a micro project space consisting of a floating white cube set inside a black vertical opening. It is a unique architectural space through which the gallery facilitates new projects with important emerging and established artists. Previous commissions include Ai Weiwei, Martha Rosler, Ruth Claxton and Daniel Arsham.

Breuning’s solo exhibitions include the Institute of Modern Art, Brisbane; Palais de Tokyo, Paris; Chisenhale Gallery, London; Migros Museum für Gegenwartskunst, Zurich; Centre d’Art Contemporain, La Chapelle de Geneteil, Mayenne; Kunstmuseum, Lucerne; and the New Stedelijk Museum, Amsterdam. Group shows include Museum of Contemporary Art, Kraków (MACAK); Saatchi Gallery, London; FLAG Art Foundation, New York; Museum of Contemporary Art, Miami; The Power Plant, Toronto; CCA Wattis Institute, San Francisco; 54th Venice Biennale; MoMA PS1, New York; MoMA, New York, Whitney Museum of American Art, New York; and S.M.A.K, Gent, Belgium. His work is represented in collections including Fonds National d’Art Contemporain; Grafische Sammlung des Museums für Gestaltung, Zürich; Kunsthalle Hamburg; Louisiana Museum, Copenhagen; Musée d’Art Moderne, Paris; UBS Collection and Saatchi Collection, London.

Above: Olaf Breuning, Smoke Bombs 2, 2011, C-print (1/6), 120 x 150 cm.

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