Anne Marie Laureys / Galerie Sofie Lachaert, Tielrode

Anne Marie Laureys ceramics exhibition at Galerie Sofie Lachaert

Anne Marie Laureys / Galerie Sofie Lachaert, Tielrode, Belgium
October 12 - November 16, 2014

For Anne Marie Laureys, making is exploring the physical laws of the material. She creates spacious, fine, delicate forms that reveal the speed, fluency and the plasticity of clay. Into the thrown and altered forms she puts an extremely personal sensibility that goes hand in hand with the tension and flexibility of a wet pot. The forms are the result of a very physical and tangible human gesture, which has an air of mystery and sensuality, while also evoking a variety of other senses.

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Drawing Through Clay

By Rachel Dickson, 2014

It is no coincidence that we refer to the ‘making’ of a drawing. To draw is to make and to make is to draw. To draw on skills, experience, material qualities, the past, a glimpse of the future and the influence of others. Others who have taught us, told us their stories, showed us their own secrets and entrusted us to pass them on. Others we have never met.

How do we learn to explore our own stories through material and line. Is this a skill developed by chance, by coincidence, through the influence of other ‘drawings’, by experimentation, or being directed. Yet in all cases the link between the head and hand unfolds through the ‘drawing’. The hand often answers many questions that the mind or sketch cannot, and there may also be lessons to be learned of trust.

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Seth Czaplewski: Ceramic Streets, 2009-Present

I view my work as crossover media. I usually abstract forms, which are then situated outdoor. Once placed, each on-site piece is documented as the primary archival “art object”. In doing so, my hope is that each work will ask viewers to reexamine and reconsider how art functions in their surroundings. I install my work in public, leaving it subject to societal forces and the whim of passersby. They are left to provoke thought, be transformed, or remain.

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Michael Boroniec: Spatial Spirals, 2014

What began with teapots and a single spiral, has evolved into a series of vases that vary in form, degree of expansion, and number of coils. Each vessel is wheel thrown then deconstructed. This process reveals aspects of the vase that most rarely encounter.

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Jamie Bates Slone: Projections, 2012-2014

Projected onto life size, coil built figures, are a series of macro images of my casted work. The projections engulf and overwhelm the figures, as do my anxieties and fears for my health, the health of loved ones and cancer itself.

Yoichiro Kamei: Lattice receptacle, 2005-2013

The Lattice receptacle series comprises artworks that use porcelain lattice structures as fundamental forms.

A piece is constructed by the accumulation of base units (cubic hollows), which are formed using a slip casting technique. From this production method of unit accumulation derives geometric and formative aesthetics that give space the capacity to exist in density. The internal space that is opened by the lattice structure becomes a device to receive light, and together with the permeability of porcelain it emphasizes the aspect of light and shadow.

A Clay Bestiary / Hunterdon Art Museum, Clinton

A Clay Bestiary at Hunterdon Art Museum

A Clay Bestiary / Hunterdon Art Museum, Clinton, New Jersey
September 27, 2014 - January 4, 2015

The exhibition features about 15 artists from several countries including Canada, the United States and South Korea. It highlights the work of such renowned artists as Sergei Isupov, Jason Walker and Red Weldon Sandlin, as well as others who are emerging to the forefront in technical mastery, and offering fresh, creative approaches to representing the world of creatures through clay.

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Contemporary ceramics of British Columbia

By Debra Sloan, 2014

In the province of British Columbia, on the far western edge of Canada, the ceramic culture was initiated through international immigration during the 20th Century. BC is one of the few places in the world where the indigenous people did not develop a ceramic technology.

Instead the First Nations were and remain masters of wood — their source of all things practical and expressive. Ceramic knowledge had to be imported, and a local audience is still in the process of being cultivated. The variability of the BC ceramic practice reflects the waves of immigration that have and continue to flow into this region. Equally various are the recipients  a polyglot of information meeting a polygon culture.

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Johan Creten: Fireworks / Galerie Perrotin, Hong Kong
October 2 - November 15, 2014

Galerie Perrotin, Hong Kong, is pleased to present “Fireworks” by Johan Creten. Born in Sint-Truiden, Belgium, Creten has been working on the move for 25 years, from Mexico to Rome, from Miami to Amsterdam. He currently lives in Paris, France, but the sculptures exhibited in Hong Kong have been specially made during the past two years at Struktuur 68 in Den Haag, the Netherlands.

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Marina Kuchinski: John Michael Kohler Arts and Industry Residency, 2014

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.

Andréa Keys Connell: The Pursuit of Hercules, 2011

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. 

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