Elizabeth Shriver: Large Floral Pod, alternative view, 2011
Elizabeth Shriver: Spring Rising, 2010, Ceramic, 14 x 13 x 9 in.
Elizabeth Shriver: Seed Pod, 2007, Ceramic, 13 x 17 x 17 in.
Elizabeth Shriver: Spherical Swirl Lantern, 2010, Ceramic, 12 x 12 x 12 in.
Elizabeth Shriver: Lilies in Bloom, 2007, Ceramic, 22x 12 x 11 in.
Elizabeth Shriver: Swan Gourd, 2007, Ceramic, 17 x 17x 13 in.
Clémence van Lunen exhibition / Galerie NeC, Hong Kong
October 5 - November 18, 2012
Opening: Thursday, October 4, from 6 pm.
“Sculpture, polyglot, curious and on the alert, fascinated by the countries which she has discovered, cultures and languages which she practises and likes, Clémence Van Lunen is a renaissance woman. She develops multiple works which could be defined as high curiosity in the same sense we sometimes describe ancient amateurs cabinet, but in her case it is in an eclectic and knowledgable way. The art critic and exhibition curator Frédéric Bodet wrote about her work, “rare forms are expressed with an indecisive act, dedicated to the enjoyment as much as to the dismay that she constantly tries to disturb us, her sculptures evoke a sort of sympathy which makes you stop and hesitate.”
Her invitation to Sèvres in 2007 - that allowed me to get to know her better - stood out as an evidence, as a necessary stage for her after her travels a round the world and her research in ceramics.
On her return from one of her regular travels to China, she proposed at Cité de la céramique a universe of porcelain dragons (she chose on purpose the most symbolic animal of China), with the determination to produce them all herself with an never before used experimental mixture of porcelain pastas from our mill.
Compositions of a series of porcelain elements turned, deformed then wrapped up, gathered in an experimental way and delicately assembled, the monumental sculptures required the traditional techniques of production but, however, adapted in a personal and creative way. She then imagined an centre piece , consisting of several elements of biscuit which was built up of a small «archipelago» on a table, like so many islands with strange plants; it was an invitation to a new journey!
Her experience at la Cité de la céramique illustrates perfectly its capacity to create a gateway, to imagine formal round trips, cultural and aesthetic juxtapositions, which are her trademark and her talent.”
David Caméo, Director of Sèvres, Cité de la Ceramique France
Arina Ailincăi: IN-SCRIPTED BODY / Art on the Avenue Gallery, Philadelphia, PA
September 14 - October 7, 2012
Opening Reception: Friday, September 14, 5:30 - 8:30 pm.
Art on the Avenue Gallery, at 3808 Lancaster Avenue, is pleased to present Arina Ailincăi: IN-SCRIPTED BODY, a solo sculpture exhibition featuring recent works in clay of this noteworthy international artist.
Arina Ailincăi is a truly international artist. Raised and educated in Romania, she began her artistic career in Eastern Europe. In the 1980s she crossed the Atlantic and settled in Canada, where she was soon acknowledged as one of its most talented artists working in clay. At that time she also exhibited and lectured in the United States. Over the last several years, she has been invited to work, exhibit and lecture at major ceramic art centers and international events throughout Europe, including Denmark, Estonia, Latvia, France, Italy, Germany, Switzerland, Hungary, Romania, Croatia and Turkey. Most recently she has held residencies in China, Taiwan, Japan and South Korea.
Arina Ailincăi’s art focuses on the human figure, with the body cast using real bodies - often her own. The closeresemblance of the ceramic sculpture to the actual body is only a starting point for her deeper exploration of the universal human condition as an embodied self. Ailincai’s sculptures in clay are philosophically and metaphorically charged. The markings on the outer surface and the mysterious inscriptions in the hollow interior of the body transform the replica of a particular individual into an archetypal human vessel, holding the traces of inner life, time, place and history.
“My desire is to “write” a three dimensional poem to both the fragile physical body and the intangible world of our inner existence. I translate this desire into ceramic sculpture through the use of faithfully replicated, life-size clay body-casts and fragments. I press the clay into the plaster mold to create ”the shell,” a hollowed out body shape: an empty vessel containing the inner self, with its personal and universal history. The scripts imprinted on the interior walls of the shell, acquire symbolic and metaphoric dimensions, becoming a palimpsest of the entire human existence. While most of my works are made in clay, I make use of other materials and techniques, often combining drawing and photography in my installations. I want to synthesize two-dimensional and three-dimensional vocabularies into a visual language charged with meaning, which directs the viewers to sense their location, both within and without.” Arina Ailincăi
Contemporary Clay Invitational / j fergeson gallery, Farmville, VA
October 5 - December 15, 2012
Opening Reception: Saturday, October 13, 5:00 pm.
The latest show at the j fergeson gallery in Farmville, VA, explores the diverse possibilities of what can be done with clay. This show, the gallery’s largest of the year, features works from 30 national artists. Here one will find both sculptural and functional pieces, but perhaps most interesting is the way the artists have settled somewhere in between.
The show is an extraordinary collection of ceramic work by artists working at the top of their field. Co-curators Andréa Keys Connell, lead professor in clay at Virginia Commonwealth University, and Adam Paulek, lead professor in clay at Longwood University, chose the artists for their commitment to fine craft, progressive thought, sensitivity to material and humor.
Artist A. Blair Clemo, inspired by the ornate history of European Decorative Arts, creates vessels that are functional, but also ridiculously opulent, as if ready to serve royalty. John Oliver Lewis presents two sculptures inspired equally by architecture, natural land formations, cartoons, and candy - think Monument Valley out of salt water taffy. And then there’s Darrin Ekern’s “potasaurus”: a sculpture of a T-Rex in a studio throwing a pot.
A. Blair Clemo, Kurt Anderson, Tom Bartel, Jason Hackett, Hiroe Hanazono, Mike Jabbur, Bethany Krull, John Oliver Lewis, Richard Nickel, Nathan Prouty, Debbie Quick, Dave Smith, Mikey Walsh, Trent Berning, Kelly Berning, Jeff Campana, Sam Chung, David Eichelberger, Darrin Ekern, Misty Gamble, Meredith Host Kowalski, Nicole Aquillano, Frank Martin, Dan Molyneux, Chris Picket, Adrian Sandstrom, Amy Santafararo, Shawn Spangler, Kendra Sparks, Adero Willard.
This variety of work isn’t often seen in small galleries, and the curators are excited to present it to an audience that may be unfamiliar with just how adventurous contemporary clay has become.
Marek Cecuła: SEEDS / Glass and Ceramics Gallery, Wrocław, Poland
September 13 - October 10, 2012
Opening reception: Thursday, September 13, 18.00 pm.
The modern reality evokes more and more catastrophic visions, not as much of the end of the world perhaps, but rather of the decline of the world as we know it. Last century’s escalating occurrence of natural disasters and the worryingly fast degradation of the environment are food for thought, resulting in the eco trends on the one hand, and growing speculation crowned with the prophecies of the demise of civilization on the other.
In this situation, we are more thorough in creating architecture which is resistant to the most severe disasters, buying insurance policies which will hypothetically safeguard our future. We assume optimistically that we will somehow survive and manage to preserve our civilization.
In his latest project entitled “Seeds – the art of survival”, Marek Cecuła goes a step further, envisaging the annihilation of humankind in his vision of the future. However, he assumes that it is possible to preserve the material which enables Rebirth, as well as substances and tools needed for further functioning. All which is needed to that end is finding a form, a capsule made of an ultra-resistant material guaranteeing the preservation of the survival substance. The nature suggests a solution – the “seeds” are based on actual plant seeds, while their outer texture brings to mind the exceptionally durable diamond. The material used by the artist to generate his “seeds” is ceramics, whose durability is proved by archaeological excavations, which allow us to track down the development of civilization from the prehistoric times, through antiquity, to the modern era.
The exhibition in Wrocław’s BWA Glass and Ceramics Gallery blends art and science. Building terror and suspense, Cecuła shows the viewers real materials from the sites of natural disasters, statistics and scientific data presenting the real picture of what we are threatened with, a detailed description of the material used in building the seeds, and finally the main hero, together with the contents guaranteeing – according to the artist – the survival of substances ensuring Rebirth. There is no space left for any valuable objects representing our culture or development of civilization, there are no technological gizmos. Cecuła refers to the sources of life, only intending to preserve the existence of live matter which would allow an evolutionary revival of the civilization. The exhibition presents twenty large and twenty small “seeds”. Each is composed of two airtight elements. In its final version, the project is planned to contain a hundred such forms to be distributed all over the planet in order to secure the ultimate survival. The design of the “seeds”, their aesthetic form, is supposed to evoke a sense of security and hope for Rebirth.