Patricia Sannit - Artist of the month, October 2012

ARTIST OF THE MONTH, October 2012: Patricia Sannit

Patricia Sannit - Artist of the month on Ceramics Now Magazine

Interview by Ileana Surducan for Ceramics Now Magazine - Issue Two

How did your experience in working on archeological sites in Jordan and Ethiopia influenced your work?

My work in Jordan and Ethiopia profoundly changed my work. I went to Jordan between my undergraduate degree and my graduate degree. At that point, I was already serious about clay, and although my early training had a functional emphasis (the well known American potter Warren Mackenzie was a teacher and influence), I had become more interested in sculpture. But my work had little focus and I was frustrated by what I saw as the triviality of my work. It didn’t seem to have a core or substance.

Before University, I had been an exchange student in Norway and had learned a lot about history, arts and culture there, but had not put it to any good use. However, when I went to Jordan, two things happened. I traveled all over the region - into Syria and Israel, and throughout Jordan, notable the amazing Petra. I was deeply impressed by the ancient culture and the design of the buildings and tombs and the handmade objects resonated with me. I understood finally that there was a connection between people and cultures and it was in a way manifested through the visual vocabulary around me. It related to the textiles of Scandinavia and the work that I had done as a kid. The desire to create some order, through geometry, on the natural world, and on roughly hewn stone and constructions seemed universal.

My other experience there that had a huge and lasting impact on me was the excavation itself. At Ain Ghazal, working in a “square” (archeological sites are frequently divided into precise squares so as to map out the location of a find onto three points in space) and seeing how the layers of the earth marked time and culture, hiding, or harboring, the evidence of past people was exciting to me. I recognized and felt awed by all of the people who had come before me. Ain Ghazal was first settled about 7250 B.C., during the so-called Pre-Pottery Neolithic B (PPNB) period. The result of our excavation was the discovery of a diverse assemblage of symbols including tokens of many shapes, animal and human figurines, modeled human skulls, “monumental” statues and mural and floor paintings. My square had a beautiful floor painting of iron oxide on plaster. During the final days of the field season, I worked to uncover the floor. As a ceramic artist, discovering a plaster floor painted with iron oxide, the same Iron oxide that I used so often in my work, was a thrill. But more significantly, as I knelt, sweeping the dust from the floor, I felt a profound sense of connection to the women who had lived there 9000 plus years before. I knew that we had shared many of the same feelings and concerns; I felt connected and understood that there was a huge chain of humanity of which I was a part. I still get goose bumps thinking of it. And that sense of our common humanity is what still informs my work today.

My subsequent adventure was in Ethiopia. I am very fortunate to have married a man who works at what is called the “Lucy” site in the Afar region of Ethiopia. Lucy is an Australopithicus afarensis, and her species populated that part of Africa between 3 and 4 million years ago. She is pat of our species ancestry. As one scans the ground for fossils, walking in the same rough wadis where our earliest ancestors walked, the sense of our history coming to surface is very powerful. It’s a beautiful place, though drier now than it was when Lucy lived there. It is very quiet and empty, and potent with history.

Patricia Sannit Ceramics - Artist of the month on Ceramics Now Magazine
Patricia Sannit, Cradle, 2010, hand-built, carved and incised reclaimed clays, slip and stain, 21”x32”x12” - View Patricia’s works

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Annie Woodford - Spotlight, October 2012

SPOTLIGHT, October 2012: Annie Woodford

Annie Woodford - Spotlight on Ceramics Now Magazine

Interview by Ileana Surducan and Vasi Hîrdo for Ceramics Now Magazine - Issue Two

You take your inspiration from nature. You are not just making a superficial observation, but you conduct a research of the things hidden to the naked eye. Tell us more about the universe you have discovered through your explorations.

I am fascinated by the natural world in its widest sense and at all levels. An interest in the nature of time - the past, present and future has led me to investigate multiverse theory and hidden dimensions - concealed worlds. From there I began to examine nature on a microscopic and nano scale. I became fascinated by the concept of the unseen and rendering it seen.

One of the subjects I investigated was that of diatoms, especially fossil diatoms. Invisible to the naked eye, beautiful and structurally complex I discovered them to bevery significanting the field of paleoclimatology - they are an important indicator of climate change.

I like to select various aspects of the natural world and then examine them on both a macroscopic and microscopic level, considering them in terms of their relationship to time and how they relate to other parts of the universe.

[] Read the full interview in Ceramics Now - Issue Two

Intricate but also delicate, your work seems to be obtained through a very meticulous process. What materials and techniques do you use and how much time does it take to complete a new piece?

Porcelain is the clay I favor - I particularly like ‘Southern Ice White’ which was developed by the Australian ceramicist Les Blakebrough. In general, the works are handbuilt; occasionally I use slip in a free but controlled way, sometimes combining it with fine glass fibre. I like to push the material beyond its perceived boundaries. The characteristics of porcelain mean that it requires careful handling throughout the making process and control and accuracy with firing and cooling.

I often incorporate extraneous materials once the piece is fired such as metal, monofilament, fibre or horsehair. These elements add richness to the work.

A new piece can take up to two weeks to make, depending on its complexity and it can take a further week or two to construct and apply other elements. I work intuitively when I am making, drawing on my research and bringing all the experiences together.

[] Read the full interview in Ceramics Now - Issue Two

Annie Woodford Contemporary Ceramics, Ceramics Now Magazine
Annie Woodford, Circlet, 2009, Porcelain, copper, stainless steel, 24 x 24 x 24 cm
View Annie Woodford’s works

Both science and art are a way of looking at the surrounding environment. What do you think is their meeting point? What kind of form of knowledge is art?

I often find myself working with scientists on projects and I think the two disciplines have many aspects in common. They both help us to understand the world around us. They both rely on investigation and imagination – the ‘what if?’ principle.

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Cristina Popescu Russu - Romanian ceramic artist, October 2012

ROMANIAN CONTEMPORARY CERAMICS, October 2012: Cristina Popescu Russu

Cristina Popescu Russu - Romanian contemporary ceramics

Interview by Alexandra Mureşan for Ceramics Now Magazine - Issue Two

In 1975 you graduated Ceramics at the Nicolae Grigorescu Arts Institute in Bucharest. You have been active in this domain for over 35 years, all marked by a large number of exhibitions, as well as participations to international symposiums. How was this passion for ceramics born? Have you had any masters that marked your career?

In the Music & Fine Arts Highschool in Craiova, the teachers Şopov Cole Nicos, Ion Marineanu and Vasile Buz have inspired me a love for painting as well as for molding. I fell in love with our prehistoric ceramics and from then on I knew I would dedicate myself to this domain.  
In the N. Grigorescu Arts Institute in Bucharest I had the privilege of meeting remarkable teachers: Lucia Ioan Neagu, Costel Badea. I learned something from each of them, namely to learn as much arts history as possible, to investigate, to experiment and to be creative at the same time, to not plagiarize, to know that talent had no significance without daily work, and that only the well made work, the passionate one - can lead to performance.
Being fascinated by the renaissance techniques in painting and by the technology of ceramics - like I was then, I used to work all day long in the Institute with the love and the exigency that have been taught to us by our professors.

The material that you most often work with is porcelain. What determines you to prefer it to all others? What are the artistic proprieties of porcelain that makes it more suitable for you than any other material?

In the ’70 and the ’80 there was collaboration between the arts institutes and the factories in the country that specialized in porcelain, tile, sandstone, glass and other materials. The students used to make their internship and their diploma works there, benefiting from what is vital for an artist: the specific materials and technologies. My love for porcelain was born there as a challenge. Only the ones who have knowledge in the technology of ceramics can comprehend how difficult it is to achieve performance when porcelain is the material of choice. It is a difficult material, hard to manage, because it has a memory and you have to know with precision the distortions, the contractions, the burning curves, when you want to obtain something in particular. Everything is fascinating about this material: the pure white, the translucence gained by the thinning of the fragments, its resonance when it is well burned, its preciousness. 

[] Read the full interview in Ceramics Now - Issue Two

You are the founder of Galateea Gallery, the only gallery in Romania dedicated to promoting contemporary Romanian ceramics. What is the Gallery’s history and what are its projects?

In 1953, the Artists Union in Romania is granted the use of the space for an exposition hall. In 1955, arh. Eugen Vernescu arranges it to host painting and sculpture expositions. Twenty years later, arh. Mircea Coradino dramatically modifies its interior and façade, and the art critiques Mihai Ispir and Mihai Drişcu titled it Galateea Gallery.

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Arina Ailincai - Romanian ceramic artist, October 2012

ROMANIAN CONTEMPORARY CERAMICS, October 2012: Arina Ailincăi

Arina Ailincai - Romanian ceramic artist, Romanian contemporary ceramics special feature

Interview by Vasi Hîrdo for Ceramics Now Magazine - Issue Two
Translation by Anca Sânpetrean

What was your first contact with ceramics?

The first meeting with ceramic took place when I entered the university, as I decided to take the admission exam for the Ceramics Department. The reason for this option was the liberal reputation held by the Ceramics Department, mainly due to the young teachers of various formations, who were encouraging the free investigation subordinated to an “interdisciplinary” that at that time was quite attractive.

Because originally I had a sentimental inclination for Graphics - I was more familiar with expressing myself through lines and white / black tonal values. My way of perceiving the world and building volumes remained indebted to the graphic vision.

After graduation, due to my job as a designer at the porcelain factory in Cluj, I familiarized myself with the subtle expressivity of porcelain and its processing technology, practicing with this material for a long time, and ending up loving it.

You have participated in many competitions and international group exhibitions. What are the most important things you have learned by taking part in these events?

For me they represent a form of self-assessment and validation of my personal approach to ceramics in a context of ongoing dialogue with other colleagues. As for the residences and symposiums, they are extremely benefic cultural exchanges for the refreshening of one’s ideas. They also bring the sense of being an ambassador of one’s own culture and historical traditions who makes a personal contribution, no matter how small, to the international artistic context. These kinds of events are especially significant for Romanian artists who have suffered, as we all know, from a period of political restrictions that had made the direct contact with the cultural world outside the Communist Bloc almost impossible.

What message or feeling do you want to convey to your viewer through your works? The portraits and the imprints that constitute your work are part of the artistic approach, or they are simply the result of a process of searching?

I find it hard to give a clear answer to this question, because it implies a number factors of which an artist is not always aware. Maybe is best to say that my works are the imprint of my inner trials and tribulations. In other words, they are a way of sensitively relating to the socio-cultural climate that surrounds me.

How the viewer can “read” my work, depends on one’s cultural heritage or current state of mind, and on other many things… but the perception with its various interpretations will always remains an open question. But oh, what joy we experience when the viewer interpretation comes close to the intended meaning, proving that our discourse is not just a monolog lost in void. 

[] Read the full interview in Ceramics Now - Issue Two

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Marta Jakobovits - Romanian ceramic artist, October 2012

ROMANIAN CONTEMPORARY CERAMICS, October 2012: Marta Jakobovits

Marta Jakobovits - Romanian ceramic artist

Interview by by Ileana Surducan and Alexandra Mureşan for Ceramics Now Magazine - Issue Two

What message or emotion do you want to convey to the observer through your works? Is your artistic undertake based on a certain idea or is it more of a searching process and experimentation?

For me, this process is never conscious, programmed or preconceived. It is more of a constant experiment that is absolutely instinctive. My only guides on this path are those primal, undefined sensations generated by touching and feeling the malleable and permissive clay.
Only afterwards I come to realize with wonder that a kind of actualization takes place - a humble identification, like a translation of some archaic, immemorial message. When I stop and ”read” the pieces that I created, and I analyze the way I created them, I marvel and realize that an actualization was already in me, that that translation was made through me.
Good or bad, this is my path; through it I try to understand, not in a rational way, but rather through sensations and feelings, some of the facts of my existence, trying at the same time to leave some signs behind, signs that have meaning only if they are perceived by others.

[] Read the full interview in Ceramics Now - Issue Two

Many of your works are created in raku – a technique that is not the most convenient for everybody. Why did you choose this technique? What are the advantages and disadvantages that it presents?

Raku is a technique that allows one to obtain very special and organic effects, both surprising and discreet. The expressive potential of the surface is greatly enhanced and can vary according to time and to different types of materials used in the burning – crumbled paper, sawdust, grass or dry leafs. Because of the strange appearance obtained through the ulterior reductions, the objects that are born through raku seem to me to be part of an ancient world, they appear timeless.

The process of preparing the clay for the object that will be raku fired is special and equally important to me, because this offers just as many possibilities. The preparation involving different salts, oxides, engobes or glazes, in diverse combinations gives the final piece a special and unique visual individuality.
Throughout the years I tested many of these possibilities, and through numerous repetitions I tried to understand and feel the spell of prompt intervention and immediate decision. These interventions can give you the impression that you work directly with the magical proprieties of the ceramic material.

Marta Jakobovits Contemporary Ceramics featured on Ceramics Now

Clay is perceived by many to be a docile and easy to manipulate material, but a real ceramic artist knows its potential and limits. In your opinion, what should be the relation between an artist and the material he uses?

Clay is a material that is very open to the tactile dialog of touches, and this opening is very important to me because it creates a link to a world full of miracles and secrets. Through the material I am capable to connect with messages from ancient times. Clay seems to transport me into a different time, a different dimension. This is the reason why, whenever I find myself face to face with clay I try to reach the highest level of sincerity.

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Kwok-Pong Bobby Tso - Spotlight, October 2012

SPOTLIGHT, October 2012: Kwok-Pong Bobby Tso

Kwok-Pong Bobby Tso - Spotlight on Ceramics Now Magazine

Interview by Ileana Surducan for Ceramics Now Magazine - Issue Two

Your work evokes artificial landscapes and strange architectural agglomerations. What is your source of inspiration?

Most of my work inspired by man-made objects; something like a view of building blocks from the sky, transformer boxes out in the field, and strange formations on the roof. Recently I started to add more abstracted objects, like the connection parts of an exhaust fan, pipe or even inside a lock. I am inspired by something that is recognizable but has an uncertain function.

[] Read the full interview in Ceramics Now - Issue Two

What technique do you use in order to achieve the monolithic, geometrical volumes that compose your work? Take us through the process of creating your work.

For most of my work I combine hand building, slip casting, and wheel thrown techniques. In terms of surface, I achieve an ultra-smooth finish by using a range of sandpaper from 200-600 grit. I then use a marble polisher to sand the surface till it is as smooth as butter. For my industrial landscape series, “The View From Above,” I leave the clay surface as it is this emphasizes the unique qualities found within a raw clay body. For my “Industrial landscape series”; I apply glazes, sometimes paint or enamel to achieve the old sanded look.

The Industrial Landscape series are exploring the mysterious relationship between how one object fits unexpectedly into another and becomes a whole new composition. Tell us more about this relationship.

The mysterious relationship between space and curiosity has always influenced my work. I think those space redefine objects and give those objects meaning. For example, when you have a simple form like a cup, the space created by the handle defines the shape of the cup, when you added a saucer to this cup, the composition has changed. It redefines the function of this cup not only by adding more meaning to it, but also increasing the tension. I believe that one object needs another object and the space in between are the main reason why I am interested in this relationship, it is also what peaks my curiosity and motivates my work.

Kwok-Pong Bobby Tso Contemporary Ceramics
Kwok-Pong Bobby Tso, Zeta, Industrial landscape Series, 2011, Porcelain, paint, wood, hobby paper and metal, H 13 1/4” x W 14” x D 6”
View Kwok-Pong Bobby Tso’s works

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In memoriam Eugenia Pop / Interview

ROMANIAN CONTEMPORARY CERAMICS, October 2012

In memoriam Eugenia Pop
Eugenia Pop lived and worked in Cluj-Napoca, Romania, where she graduated from the Ceramics Department of “Ion Andreescu” Arts Institute in 1971. Over the course of 40 years, she had exhibited in many countries and has been awarded for her career by the Romanian Government (Order of Cultural Merit) and the Fine Arts Union.

Eugenia Pop Romanian ceramic artist

Two days after our meeting in February, Eugenia Pop went to the Copăceni alms house, near Turda, to read in peace a book by Zhi Gang Sha. She wanted to learn how to communicate better with her guardian angel. She told us that the spirit must be cleaned more frequently.

We thank Jeni Pop from our hearts and promise to carry her optimism out in the world.

Interview by Alexandra Mureşan and Vasi Hîrdo for Ceramics Now Magazine, Issue Two
February 2012

How did the fascination for ceramics started?

I graduated Ceramics at the Fine Arts Highschool in Cluj. In the twelfth grade I had an excessive curiosity to do work as much as possible, that’s why I chose ceramics. I was a colleague with Arina Ailincăi for 6 years. We were also six in the department. Our personalities were very different, and they remained the same. A sculptor inoculated me the idea of versions. He gave me a theme, a ceramic piece in an architectural environment. After a few sketches, he told me to do more versions. I didn’t like the idea – why make more versions when the first one was good enough? But, if the master told me, I had to do it. I did lots of versions and sketches, from bad to worse. He chose from the first two, and I remained very sad because I worked so hard on so many. After a while, the seed sprouted in my mind. I was at a Communist party meeting, and I got very bored. I had my sketchbook at me and I was doing all sorts of sketches and drawings. The expression was changing with little diversity if terms of form. I showed the sketches to my professor. It remained my method over the years.

Now I stopped doing more versions on a theme. I read books, for example those written by Rudolf Steiner, and I make illustrations on the pages. When reading a book twice, the images speak to me a lot more and I feel the text very differently when it’s illustrated, just like a plastic commentary.

What are your main sources of inspiration?

I broke up with the illustrative image of the exterior form. I adhered to the archetypal forms, which are interior forms of the soul, forms that kids use when drawing, but also used in the antic culture.

Mihai Oroveanu said “Look how monumental your works are,” even if they were very small. Dan Hăliucă said the contrary: “That’s how it should be – plenty and small.” I used this thing with plenty and small a lot, because that’s how the image of the soul is. The soul is very capacious. From it’s ampleness you can make plenty and small.

A moment of crystallization appeared when I found my personality – when I said that this is how I want to express myself. It was the humanity theme, the man. The mother man, the old man, the child man. Mother Earth. These are themes that I feel I synthesized.
When I was young, my mother used to call me “little golden thorn” – she couldn’t tell me that I was not right, but I was also very determined. I was telling the truth.

Eugenia Pop - Mother Earth, ceramics
Eugenia Pop, Mother Earth, 1985, Soft porcelain

What is your dearest part in elaborating a new work?

Each part has its own magic. The first one is sketching the idea and choosing the right drawing, then follows the modeling and making the negative. After that, the fascination of the firing starts. It is like when a mother gives birth – she doesn’t know how the child will look like or what color his eyes will be. It is just like that after the firing, when you remain charmed by an object, and you say to yourself that this is mine! – its color has changed and it shrank. After you inspect it for a while, you adopt it or not. Sometimes you have to say I’m sorry – this is not mine.

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Month in Review: September 2012

Featured on Ceramics Now: Bertozzi & Casoni's Regeneration exhibition at All Visual Arts, London

Hello friends. Welcome to Month in Review, a summary of the last month of activity here at Ceramics Now.
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Subscribe to Ceramics Now Magazine, the international bi-annual journal that promotes critical discussion about contemporary ceramics through interviews, artist projects and reviews.

This month’s featured artists (view list):

Elizabeth Shriver (works)
David Gallagher (works)
Francesco Ardini (works)
Ellen Schön (works)

This month’s featured exhibitions:

Ceramics Now Team Exhibition / Europe Gallery, Brasov
Contemporary Ceramics / Stremmel Gallery, Reno, NV
Ellen Schön: Vessel Variations (x3) / Vessels Gallery
Fragile! In Transit / Traveling exhibition around Europe
Scandinavian Design / Museum of Fine Arts, Houston
Marek Cecuła: SEEDS / Glass and Ceramics, Wrocław
Rosemarie Trockel: A Cosmos / NEW MUSEUM, New York
Bharti Kher / Parasol unit foundation for contemporary art
Ruth Duckworth exhibition / Erskine Hall & Coe, London
Contemporary Clay Invitational / j fergeson gallery
Arina Ailincăi: In-Scripted Body / Art on the Avenue
Scandinavian Ceramics Conference 2012 / Hjørring
Clémence van Lunen exhibition / Galerie NeC, Hong Kong
MOUNTED / Red Lodge Clay Center, Red Lodge, Montana
CONCEPTION - Part Two / Canvas Galleries, Belfast
Aneta Regel Deleu / Puls Contemporary Ceramics
Liliana Folta / Amazing Things Art Center, Framingham
Reviving the light: Zsolnay Ceramic Design / ILIAD, NY
Bertozzi & Casoni: Regeneration / All Visual Arts, London

This month’s featured connections:

Daehyun Kim Illustrations
Mimicry Chairs by Japanese design studio Nendo
Martin Creed on My Modern Metropolis
Leslie David - Painting Please!
Tim Hawkinson - Mobius Ship
Robert Montgomery: Echoes of Voices in the High Towers
James Hoff: I’m Already a Has-Been / VI, VII, Oslo
Anna Von Mertens - Portraits

This month’s news on Ceramics Now:

New publishing schedule for print and digital
New magazine shop - 10% Sale ends December 31, 2012
We hit 25000 followers on Tumblr (27600 now)
Published Calendar of Ceramic Art Competitions for 2013

Next month’s news: Ceramics Now Exhibition - 3rd edition

The primary email address of our Editor-in-Chief, vasi@vasihirdo.com, hasn’t been working well in the last days (Domain Registrar problem). Please resend or forward your emails to vasi@ceramicsnow.org

Thank you!

Arina Ailincai: IN-SCRIPTED BODY / Art on the Avenue Gallery, Philadelphia

Arina Ailincai IN-SCRIPTED BODY exhibition Art on the Avenue Gallery, Philadelphia - Contemporary romanian ceramics

Arina Ailincăi: IN-SCRIPTED BODY / Art on the Avenue Gallery, Philadelphia, PA
September 14 - October 7, 2012

Opening Reception: Friday, September 14, 5:30 - 8:30 pm.

Art on the Avenue Gallery, at 3808 Lancaster Avenue, is pleased to present Arina Ailincăi: IN-SCRIPTED BODY, a solo sculpture exhibition featuring recent works in clay of this noteworthy international artist.

Arina Ailincăi is a truly international artist. Raised and educated in Romania, she began her artistic career in Eastern Europe. In the 1980s she crossed the Atlantic and settled in Canada, where she was soon acknowledged as one of its most talented artists working in clay. At that time she also exhibited and lectured in the United States. Over the last several years, she has been invited to work, exhibit and lecture at major ceramic art centers and international events throughout Europe, including Denmark, Estonia, Latvia, France, Italy, Germany, Switzerland, Hungary, Romania, Croatia and Turkey. Most recently she has held residencies in China, Taiwan, Japan and South Korea.

Arina Ailincăi’s art focuses on the human figure, with the body cast using real bodies - often her own. The closeresemblance of the ceramic sculpture to the actual body is only a starting point for her deeper exploration of the universal human condition as an embodied self. Ailincai’s sculptures in clay are philosophically and metaphorically charged. The markings on the outer surface and the mysterious inscriptions in the hollow interior of the body transform the replica of a particular individual into an archetypal human vessel, holding the traces of inner life, time, place and history.

"My desire is to “write” a three dimensional poem to both the fragile physical body and the intangible world of our inner existence. I translate this desire into ceramic sculpture through the use of faithfully replicated, life-size clay body-casts and fragments. I press the clay into the plaster mold to create ”the shell," a hollowed out body shape: an empty vessel containing the inner self, with its personal and universal history. The scripts imprinted on the interior walls of the shell, acquire symbolic and metaphoric dimensions, becoming a palimpsest of the entire human existence.  While most of my works are made in clay, I make use of other materials and techniques, often combining drawing and photography in my installations. I want to synthesize two-dimensional and three-dimensional vocabularies into a visual language charged with meaning, which directs the viewers to sense their location, both within and without.” Arina Ailincăi

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Interview with Kimberly Cook - Artist of the month, May 2012

ARTIST OF THE MONTH, May 2012: Kimberly Cook

/ Read the full interview in Ceramics Now - Issue Two

Ceramics Now Magazine
: Do you remember your first encounter with ceramics? What made you choose this particular way of expressing yourself?

Kimberly Cook: My first encounter with ceramics was when I was a child. During my family’s summer holiday, my parents would take my sister and I on a very long drive from Texas to Ohio, to visit my father’s family. I remember being so excited when we arrived in Ohio, because it meant that I was going to be able to visit my aunt Coby’s ceramic studio. She had an incredible ceramic studio set up in her basement, where she taught workshops. I remember loving the smell of the wet clay, being surrounded by an endless array of colorful glazes, china paints, gold, silver, and pearl lusters, and tools that enabled her students to create anything they wanted out of this wondrous natural material that was easy to form and smelled sweetly of the earth. I was enthralled with the medium, and wanted to learn the techniques of creating both my own sculptural and functional forms.

Another vivid childhood memory of being exposed to ceramics was seeing the traveling King Tut exhibit. I was drawn to the ceramic Bes deity pots and their use in the home as a protector of women and children. For the first time, even in mynaiveté, I realized that there could exist a “conceptual” aspect to creating these forms. What also intrigued me were the marl ceramics of the second Naqada period, which were decorated with reddish-brown drawings that developed from the early geometric forms to less abstract images. Among some of my favorite are those that depicted oared boats transporting what has been interpreted as deities, and the decorations that included people and animals.

Working in clay has become a cathartic way of expressing myself, and because of this, I will never stop using it as my primary mode of self-expression. From these early childhood memories and tangible encounters, I found a palpable love of ceramic materials, which sustain me to this day.

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Kimberly Cook Contemporary Ceramics - Interview for Ceramics Now Magazine

Trophy, 2011, Ceramic, mason stain, gold luster, 35” x 23” x 20” - View her works

Your works are figurative and often have a narrative quality. But trying to convey a certain message without using words can be difficult for an artist. Do you sometimes fear that people will fail to understand the meaning of your works? How outspoken should a work of art be?

I use to be concerned that viewers would fail to understand my work, but not anymore. After your work has been censored and removed from a gallery, you start to understand that that is actually a compliment. You have struck a nerve; a message got across to a viewer, understood or misunderstood, doesn’t matter. What created that shift in thought for me was the fact that I realized that everyone is going to have their own experience viewing my work, their own perception, and their own opinions. I am okay with that – to me that is what good art is about. If it moves someone, great; if it disturbs someone, great – I want my work to encourage people to go inside of themselves and ponder and reflect before reaching any hard and fast conclusions.
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