Kira O’Brien: The Sleepers, 2011, white earthenware, black and colored slips, 1150 transparent glaze, 14cm

Kira O’Brien: The Sleepers, 2011, white earthenware, black and colored slips, 1150 transparent glaze, 14cm

Kira O’Brien: The Conversation, 2011, white earthenware, black and colored slips, 1150 transparent glaze, 24cm

Kira O’Brien: The Conversation, 2011, white earthenware, black and colored slips, 1150 transparent glaze, 24cm

Kira O’Brien: chair, 2011, white earthenware, black and colored slips, 1150 transparent glaze, 30x13x13cm

Kira O’Brien: chair, 2011, white earthenware, black and colored slips, 1150 transparent glaze, 30x13x13cm

Kira O’Brien: Absent, 2011, white earthenware, black and colored slips, 1150 transparent glaze, 30x18x15cm

Kira O’Brien: Absent, 2011, white earthenware, black and colored slips, 1150 transparent glaze, 30x18x15cm

Kira O’Brien: The Night, 2011, Wall Platter, white earthenware, black and colored slips, 1150 transparent glaze, 35cm

Kira O’Brien: The Night, 2011, Wall Platter, white earthenware, black and colored slips, 1150 transparent glaze, 35cm

Suzanne Stumpf: Interactive Sculpture No. 9, 2008, 16”h x 8”w x 8”d, wheelthrown porcelain with handbuilt components; black slip and shellac resist; oxidation fired to cone 10Although Interactive Sculpture No. 9 appears at first glance to be some sort of game, there are no rules here. It is intended for the playful pleasure of the viewer to arrange the sticks with their different colored tips entirely to their own whim. (When all the sticks are removed the work is a trompe l’oeil with the raised black dots hiding its holes.)

Suzanne Stumpf: Interactive Sculpture No. 9, 2008, 16”h x 8”w x 8”d, wheelthrown porcelain with handbuilt components; black slip and shellac resist; oxidation fired to cone 10

Although Interactive Sculpture No. 9 appears at first glance to be some sort of game, there are no rules here. It is intended for the playful pleasure of the viewer to arrange the sticks with their different colored tips entirely to their own whim. (When all the sticks are removed the work is a trompe l’oeil with the raised black dots hiding its holes.)

Suzanne Stumpf: Spike, 2008, 5.5”h x 8”w x 3” d, wheelthrown and altered porcelain with handbuilt components; black slip and shellac resist; oxidation fired to cone 10I am yet to meet a woman who does not smile knowingly or even laugh out loud when viewing “Spike.” “Für die Schönheit muß man leiden” — “For beauty, one must suffer.”
The fashion industry only seduced me into wearing too-high heels for a short time in my life. It was a long time ago, yet I do have a strong physical memory of how my feet felt after walking an unplanned distance or standing longer than anticipated in them.
“Spike” has innumerable permutations for viewing. When all of the black, orange, yellow, and white “pins” are removed, Spike is somewhat of a trompe l’oeil with the raised black dots disguising its holes. The pins at first glance seem to be playful pain indicators. Yet, because the pins are pointed on both ends, when we place them into Spike, can we feel also a wee bit of revenge?

Suzanne Stumpf: Spike, 2008, 5.5”h x 8”w x 3” d, wheelthrown and altered porcelain with handbuilt components; black slip and shellac resist; oxidation fired to cone 10

I am yet to meet a woman who does not smile knowingly or even laugh out loud when viewing “Spike.” “Für die Schönheit muß man leiden” — “For beauty, one must suffer.”

The fashion industry only seduced me into wearing too-high heels for a short time in my life. It was a long time ago, yet I do have a strong physical memory of how my feet felt after walking an unplanned distance or standing longer than anticipated in them.

“Spike” has innumerable permutations for viewing. When all of the black, orange, yellow, and white “pins” are removed, Spike is somewhat of a trompe l’oeil with the raised black dots disguising its holes. The pins at first glance seem to be playful pain indicators. Yet, because the pins are pointed on both ends, when we place them into Spike, can we feel also a wee bit of revenge?