Ruth Power: Cephalophilia (installation), 2011, 100cm wide x 100cm long x 40 cm high.
Ruth Power: Split breasts (Cephalophilia), 2011, 48cm wide x 42cm long x 14cm deep; porcelain, LED light, cord, plug, wooden box with black paint and flocked interior
Ruth Power: Bound breast (Cephalophilia), 2011, 43cm wide x 37cm long x 14cm deep; porcelain, LED light, cord, plug, wooden box with black paint and flocked interior.
Turi Heisselberg Pedersen: My Garden / Copenhagen Ceramics, Denmark
March 29 - April 21, 2012
Opening reception with Garth Clark, New York-based critic, writer and gallerist: Thursday, March 29, 5–8 pm.
Artist Talk with Turi Heisselberg Pedersen: Saturday, March 31 at 2 pm.
"I love my garden, its plants and vigorous growths. Its potency of growth that within one season can produce an enormous plant from a tiny seed. It contains such a wealth of amazing and strange shapes, textures and colours. Furthermore it is a curious mix of nature and cultivation, of something dirty or beautiful, of poetry and ugliness. Certain things bloom and grow, some go wrong, unsuccessfully. It is a world of controlled nature, which is shaped, trimmed and reworked, not unlike the world of clay" Turi Heisselberg Pedersen explains on the inspiration for her show. Her garden can be experienced at Copenhagen Ceramics from 29 March through 21 April 2012.
For the exhibition My Garden Turi Hesisselberg Pedersen has created a new series of works inspired by the patterns, textures and structures in her garden. In the process of transforming this into ceramics works, two overall themes have emerged:
Vases inspired by buds and growths
On one hand you find a group of precise, simple and cultivated shapes. For example vases inspired by the tautness of swelling flower buds – formal expressions that may seem almost vulgar. Or abstract, simple vase-shapes miming the upward, rhythmic patterns of plant-growth. Both act as ceramic equivalents to the trimmed and cultivated nature of gardens and an interpretation of the underlying order.
The opposite theme renders visible the sprouting life under ground. Out of this, works in the shape of organic, bulbous forms and seed capsules emerge with coarse, expressive surfaces or fluted structures. Careless growths and root-like forms, testifying to the more unruly forces of the garden.
In her new exhibition, Turi Heisselberg Pedersen will be showing some all-new, expressive and asymmetric works, where she explores the inherent character and textural freshness of the clay. Other pieces are more typical of her and display her mastery of simplified sculptural vessels, where rhythm, lines and the interplay between forms are recurrent themes.
Jenni Ward: Branch Series II, 2011, ceramic & high temperature, wire, 42” x 8” x 8”
Jenni Ward: Sprout Series II, 2010, ceramic & high temperature, wire, 12” x 12” x 12” each
Jenni Ward: Sprout Series V, 2009, ceramic & high temperature, wire, 15” x 4” x 3”
Jenni Ward: Nest Series IV, 2010, ceramic & high temperature, wire, 12” x 10” 8”
Jenni Ward: Hive Series IV, 2011, ceramic & wire, 26” x 10” x 10”
Liliana Folta: Freedom on Wheels, 2010, ceramic, oxides, glazes, found objects, high temp wire, 15x8x5.5in.
Liliana Folta: Inhale-Exhale-Explode, 2009/10, ceramic installation, oxides, glazes, wood, high temp wire, 14x12x4in (each)
Liliana Folta: An Abstract Poem of Freedom, detail, 2009
Liliana Folta: Waiting for You in White, 2008, ceramic, oxides, glazes, fresh water pearls, crystal beads, high temp wire, 10x3.5x3.5in.
“My work has a sculptural yet functional element to it and encompasses a sense of traditional ceramic techniques. Within this tradition is the art of storytelling and symbols which evoke certain sentiments and nostalgia but also a sense of the present environment. This environment is psychological and therefore each piece points to emotions within the narrative.
My present work is currently narrated by the symbol of the chair.
How does one define a simple thing like the chair? What makes the chair, a chair? As James Joyce says in A Portrait of a young man, “Is a chair conceived as a work of tragic or comic art?”
No other object forcefully shapes the physical, social and emotional dimensions of our lives. On the chair seats only one person at a time and responds to the body through comfort. It has a communicative function and offers a glimpse into our collective ideas about that sense of comfort and order.
One can imagine the world from a persons’ perspective as it communicates compassion. Just as its absence communicates disrespect, lack of empathy and loss, whether this loss is a physical or emotional one.” Kira O’Brien
Kira O’Brien: The Attic, 2011, white earthenware, black and colored slips, 1150 transparent glaze, 40x8x8cm