Courtesy of the artist and Cheim & Read, New York
David Hicks: Nucleus / Cross MacKenzie Gallery, Washington DC
January 10 - February 28, 2014
Cross MacKenzie Gallery is pleased to present “Nucleus” an exhibition of new ceramic sculpture by the prolific and compelling California based artist, David Hicks. This is his third solo show at our gallery.
“I am still digging in the dirt to understand my attraction to the agricultural,” the artist says of this new body of work. Though Hicks continues in these botanic and organic themes, his compositions have opened up and become less dense – no longer hanging down with the force of gravity from vertical wires. The new work is metaphorically blossoming. His array of gourd-like shapes of various textures, hues and dimensions are now suspended from a metal armature fixed to the wall, projecting outward like sconces, flower-like, hovering in space.
In her 2013 review of Hicks’ 2011 exhibition, “Farewell” at our gallery for Ceramic Art and Perception, Janet Koplos described Hicks’ sculpture; “the works are wonderfully sensuous abstractions (as all pottery can be) and are especially appealing for both color and texture”.
Every element is unique and unfamiliar, inhabiting a place in one’s imagination between associations: at once a cantaloupe or pear, then a beached bouy, an insect pod, a bird’s nest or an exotic dirt encrusted seed. Koplos describes the density of Hicks’ previous work; “But the numbers, the depth of accumulation and the softly worn surfaces hint that they have been retired and frugally held in reserve. It is a library of objects”. Though the artist still draws from that library, the new presentation is more precious, now demanding examination and appreciation for the individual elements rather than focusing the viewer’s attention on the clustered mass. The ceramic forms are one-by-one lovingly harnessed into fitted brackets, more akin to diamond settings now than the sinkers on fishing lines of the past. Even with the artist’s fresh approach and careful selection, his paring down on the amount of objects in the sculptures, Hicks is far from being a minimalist. His wall pieces continue the artist’s themes of nature’s abundance and excess, the forces of bearing fruit and multiplying.
The sense of planting seeds is even more obvious in the two pedestal pieces in the show that sit tree-like with a central weighted stalk, branching out with the ceramic forms perched on and suspended from the metal limbs. We are tempted with the tactile rawness, to pick the heavy fruit before it drops.
David Hicks received his B.F.A. from California State University, Long Beach, CA. and his M.F.A. from the New York State College of Ceramics at Alfred University. His work is in several prominent collections including the World Ceramic Museum, Icheon, Korea, the American Museum of Ceramic Art–AMOCO, Pomona CA, the American Embassy in Figi through the State Department’s, Art in Embassies program and the Arizona State University Art Museum in Tempe, AZ. He lives and works in Visalia CA. with his wife and new baby daughter.
Gail Nichols: Atmosphere / Narek Galleries, Tanja, NSW, Australia
January 10 - February 24, 2014
Opening reception: Saturday, January 11, 6 pm.
Earth, air, fire and water are the essential elements in Gail Nichols’ vessels, both figuratively and metaphorically. The infinite landscape surrounding her home and studio at the base of Mt. Budawang near Braidwood not only inspires her strong, wheel thrown forms, it also provides the atmosphere that affects the soda vapour glaze firings. Moist air and damp earth will create a different firing result to days of low humidity.
A bowl filled with air and light and described by its own materiality, may have an irregular rim reflecting the undulating horizon and a luscious glaze of glassy celadon or shadowy grey mauve or rich, thick cream and molten soft browns tinged with fiery orange clay at the base. These glazes are created by swirling soda vapours in the firing process reacting with elements deep within the clay and each pot is placed in the kiln so that intended surfaces will occur.
Nichols’ control of kiln atmosphere has been gained over years of extensive research, leading to a PhD at Monash University in 2002. Her book, Soda Clay and Fire, published by the American Ceramic Society, is a leading text in the field. Her work is represented in Australian and international collections including the National Gallery of Australia.
Gallery hours: Friday to Monday, 10:30 AM to 5:30 PM, and by appointment.
Emmanuel Boos and Esben Klemann: Systematic Uncertainty / Copenhagen Ceramics, Denmark
February 28 - March 28, 2013
In ceramics the unknown is a fate for the practitioner. Emmanuel Boos and Esben both welcome unpredictability. Moreover they are provoking it. They share a playful and experimental approach to the ceramic material and their works are bred from a great curiosity towards the processes of the material.
Emmanuel Boos, now living in London, was born and grew up in France. He trained with Jean Girel, one of the big names in French ceramics, known for his works with beautiful textural glazes. Emmanuel Boos equally places the glazes at the centre of his artistic practice, but goes further. He questions the classic hierarchy, where the materials as such are regarded as undifferentiated, depending on being given form, morphe, which traditionally is considered the essential part.
For Boos form is often a pretext, a playground for glazes to develop on. His interest lies with the poetic character and sensuality of the glaze, both in a direct sense as the fusion of basic materials and in the symbolic potential of this. His works are not conceptually based; rather they express a search for beauty, that strives for a form of aesthetic contemplation appealing firstly to our senses and our emotions.
For his first show in Denmark, Emmanuel Boos will be showing both plinth and wall pieces. His intent is to draw the viewer into the glaze, inviting us to meander in its depth through poetic reverie. His forms oscillate between mysterious enclosed objects – minerals with an underlying organic presence – and thin sheets of porcelain like canvases gently folding and developing into space.
The expressive heartland in Esben Klemann’s work is clearly defined by his interest in architecture, construction and material, and a constant urge to further develop the making-processes, that are essential for the expression of the final works.
On ceramics, he states: "People envisage a lot of different things when you use the word ceramics. Images of ordinary domestic items, giant-sized-vessels, reliefs by Asger Jorn, etc. Through changes in work-methods, tools and placements, I strive to add new images to the picture, believing that ceramics has the potential to offer something more and different. I purposely draw my experiences from other sculptural areas into the ceramic process, to push it all into new directions.
You may label my work non-thematic or abstract, or see it as a formal language which communicates by establishing artistically elaborated spaces and objects, that in contrast to the ordinary, inject vitality into things.”
Matthew Harris & Tim Rowan exhibition / Erskine, Hall & Coe, London
February 20 - March 20, 2013
An exhibition of works on paper by Matthew Harris and ceramics by Tim Rowan.
Matthew Harris’ work on paper has been shown in many group and solo exhibitions throughout the U.K, Europe, Japan and the U.S. As drawings they are made to be seen in their own right but also to act as starting points or ‘cartoons’ for larger works that are made using dyed and painted cloth.
Working primarily from things seen, the drawings recall, interpret and explore imagery, improvising around a given theme. Matthew Harris lives and works in Stroud, Gloucestershire.
Tim Rowan was born 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 The Pennsylvania State University. In 2000 he established his kiln and studio deep in the woods of the Hudson Valley.
"The works in this exhibition have all been completed over the past two years. They are made, primarily, from native clay. This is direct from the earth and unprocessed as opposed to industrially manufactured clay bodies. The forms are slowly constructed from layers, built up over days and weeks then carved. They are fired for seven days and nights in a wood fuelled kiln. No glaze is applied; the surface textures and colours are the result of the interaction of the clay, fly-ash, coals and fire.
I am constantly building on previous work – just as individual pieces evolve in the process of making, the body of work as a whole does as well. Most of my work develops from the process of making, firing, and arranging. While I may have images in my head of some specific things I have seen, for instance the remnants of an old quarry derrick abandoned in the woods near my home, once I start making, new forms emerge. There is a search and discovery.
I am particularly drawn to objects in various states of decay – either through use over time such as tools or the effects of the “elements”. Everything is in a constant state of flux. These are merely markers of a particular time and place.
It is only when I am fully engaged in the making – that the forms present themselves. There is an intuitive process of discovery – of wondering, of noticing, of physically or intellectually feeling the forms. I work on many pieces at once to enable me to become lost in the process - freely moving from one form to another. There is a complete acceptance in the process. Faith. That is the guide. We work together, informing and reacting to each other.
There are four distinct series in this body of work. The sculptures are the most ambiguous and poetic for me. Drawn from a multitude of sources, industrial detritus, tools and abstracting the fragments of a vessel. The vessels are rooted in more of a pottery vernacular. They are there to nourish. We are comforted. We have a sense of place. The cups are individual intimate moments. Each one is a separate story. Held. Caressed. Nourishment. Life-affirming. The boxes may be urns. Shelters. Forced to touch in order to experience the inside. Containment. Security. Protect me. What is revealed?
International Glass and Clay Exhibit 2013 / Pepco Edison Place Gallery, Washington DC
March 1-23, 2013
Artomatic, Inc., the Office of the Secretary for the District of Columbia, the District of Columbia Commission on the Arts and Humanities, the DowntownDC Business Improvement District (BID), and Sunderland, England City Council, are proud to present an international fine arts glass and clay exhibit, International Glass and Clay 2013, hosted at the Pepco Edison Place Gallery in downtown Washington, D.C.
International Glass and Clay 2013, which will run from March 1 to 23, debuts as the third Artomatic international collaboration with District of Columbia Sister City, Sunderland, England. Located in the heart of D.C., the Pepco Edison Place Gallery will display vibrant works of glass and clay.
Coming off the success of Glass3 in 2008 and Artomatic 2009, this will be Artomatic’s third international exhibit and the first to feature fine clay art. This exhibition will present expressive glass and clay artwork as well as narrative sculptures that blend traditional craft materials such as glass and clay with digital technologies, removing the boundaries between the traditional categories of craft, art, and design.
The exhibition will display international glass and clay artists from Sunderland’s Cohesion Artists and the University of Sunderland, and Washington, D.C.based artists from the Washington Glass School and Flux Studios.
Each arts organization has selected the artists whose work will be on display during the 20 day exhibit. Artwork will also be for sale, with all proceeds going to the artist.
To complement the artwork, International Glass and Clay 2013 will host panels at Pepco Edison Place Gallery all month long meant to inspire indepth conversation about cultural diplomacy, Fulbright exchanges and international artists residencies and the arts. The events will include representatives from cultural institutions in the nation’s capital, including embassies, government entities, think tanks and local arts organizations.
Ceramics Now Exhibition, 3rd edition / Galateea Gallery, Bucharest, Romania
November 8-26, 2012
Opening Reception: Thursday, November 8, 6:00 PM.
The international Ceramics Now Exhibition is an itinerary exhibition of contemporary ceramics which presents works of artists that are featured in Ceramics Now Magazine’s platforms or are invited. The exhibition reunites artists from different countries and communities, and facilitates contact between them and the public. Ceramics Now Magazine and Exhibition operate as an exchange platform between artists, galleries, museums, collectors and people passionate about art.
In the context of the globalization of arts and of rapid exchange of information, it is more and more necessary to make a serious coagulation of what is contemporary ceramics. The incorporation of many diverse subjects, working techniques and mediums in creating a ceramic object, are more and more frequent, risking if not counterbalanced, to take this domain back to crafts. The harmony between the compositional elements and concept can be realized through exercise, and this exercise is a reference point for contemporary artists. In creating a contemporary ceramic object, an equilibrium can be reached by those who feel the need to create and who create with depth. Originating either from Australia, Africa, Europe, Asia or America, practice, delicacy and accuracy are characteristics that unite them. The Ceramics Now Exhibition reunites these artists and brings their work together aiming to create an open platform between them and the public. The third edition of our main event will be held between 8-26th of November 2012, at Galateea Gallery, Bucharest, and will present the works of 22 world-renowned contemporary ceramic artists.
EXHIBITING ARTISTS: Steve Belz (USA), Gherghina Costea (Romania), Kimberly Cook (USA), Ossama Mahmoud Emam (Egypt), Nato Eristavi (Georgia), Jason Hackett (USA), Teresa and Helena Jané (Portugal), Brian Kakas (USA), Yoichiro Kamei (Japan), Kentaro Kawabata (Japan), Allison Luce (USA), Nicolae Moldovan (Romania), Akio Niisato (Japan), Heide Nonnenmacher (Germany), Szilvia Ortlieb (Austria), Barbara Schmid (Austria), Avital Sheffer (Australia), Suzanne Stumpf (USA), Kouzo Takeuchi (Japan), Shinya Tanoue (Japan), Kwok-Pong Bobby Tso (China), Gavril Zmicală (Romania).
Curator: Vasi Hîrdo
Coordinator: Cristina Popescu Russu
Ceramics Now Magazine is a comprehensive and innovative publication & online art platform specialized in contemporary ceramics. Founded in 2011, the magazine celebrates the creative field of ceramics through publishing interviews, reviews and works of new and world-renowned ceramic artists, and providing information on contemporary ceramic art exhibitions.
Liliana Folta exhibition / Amazing Things Art Center, Framingham, MA
September 27 - October 28, 2012
Opening reception and Artist talk: October 4, 7-9 pm.
Liliana Folta is a Latin American multidisciplinary artist. Born in Buenos Aires, Argentina, she lives and works in Boston, Massachusetts.
"The potential ability of the imagination has an important impact in our lives. Minds have visual images that we collect through our lives.
These inner-images that represent my works are examinations of my existence. However, in this bank of memories I cherish every possible emotion; happiness, growing pains, family loss, first love, motherhood, sexuality, multicultural experiences, frustration, society’s rules and most importantly the celebration of life.
As an artist I like to work with different mediums especially acrylic paintings and ceramic sculptures. For the past few years I have been experimenting with mixed media installation. The freedom of expanding my work in another dimension makes me feel more connected with the viewers.
The process of my work mostly is very spontaneous; the rest comes along with what my subconscious has been saving in my bank of memories, throughout my life and the happening of the moment.”
Exhibition in collaboration with Mike Vickers (Light effects) and Gustavo Jiménez (Experimental sounds).
Curator: Olga Shmuylovich.
Liliana Fonta’s works are in several private and public collections in the United States, Puerto Rico, Argentina, Australia, Spain, Poland, Museum of Contemporary Ceramics - Dominican Republic, Ku Art Center - Beijing.