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.
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.
Mountain 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.
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.
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.
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: New Pyramids in Black / Yufuku Gallery, Tokyo July 10-19, 2014
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.