Paula Bellacera

Paula Bellacera Ceramics

Paula Bellacera's profile on Ceramics Now Magazine - View her works

“All my life I have been fascinated with form and color. During my youth I watched my mother dabble in various art media; eventually she settled on ceramics. Inspired by her explorations I struck out on my own. I focused on the two-dimensional plane first with photography, then painting, and finally printmaking. Recently I began attending a community Raku night where I discovered my true joy is interacting with clay and creating three-dimensional forms. The spontaneity and plasticity of the medium makes handbuilding a process of discovery - full of surprises. My approach is a collaboration where the clay and I work together to discover hidden shapes and reveal emotions and personalities through animal forms.

Just as friends and acquaintances have their own distinctive traits and behaviors, each of my sculpted animals has personality and expresses a unique character. When people step into my world (via studio or gallery), they often smile and chuckle as they recognize a bit of themselves, their pets, friends or family members in the postures and expressions of my sculptures. In this work, my intention is to present the best of humanity through our animal friends and to help us laugh and love our differences and ourselves.” Paula Bellacera

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Paula Bellacera: Chubby BT (Boston Terrier), 11” x 12” x 8”, 2011, handbuilt, low-fire clay, glaze, underglaze

Paula Bellacera: Chubby BT (Boston Terrier), 11” x 12” x 8”, 2011, handbuilt, low-fire clay, glaze, underglaze

Ken Price and Larry Bell / Kayne Griffin Corcoran, Santa Monica, USA

Ken Price and Larry Bell exhibition at Kayne Griffin Corcoran Gallery, Santa Monica

Ken Price and Larry Bell / Kayne Griffin Corcoran, Santa Monica, CA, USA
January 20 – March 3, 2012

Kayne Griffin Corcoran is pleased to announce an exhibition of work by Ken Price and Larry Bell. The exhibition explores the divergent paths taken by these two artists who both started their careers in the early 1960s at the influential Ferus Gallery in Los Angeles.

Ken Price’s sculpture has defied convention since the 1960s. The colorful and willfully deviant ceramic sculptures in this exhibition refer to excavated landscapes, ancient architecture, and amoeba-like forms while at the same time remaining defiantly abstract. Price’s intention with these sculptures is to create “an organic fusion of color with surface form.” He applies layer upon layer of paint to the sculpture and then sands the surface to expose the various layers of color beneath. His sculptures from the late 1980s and early 1990s are an exercise in excavation. The organically-shaped sculptures appear to have been sliced open, revealing black polygons on the interior of the sculpture that read as voids. His later works are reminiscent of blobs with mottled surfaces often in a pearlescent finish.

The hard-edged geometry of Larry Bell’s works contrast sharply with Price’s organic forms. Bell’s glass cubes address the dematerialization of the object. Using a dichroic vacuum coating to line the interiors of the glass cubes, Bell creates objects that are at once reflective and seem to disappear. This emphasis on perceptualism aligned Bell with the Light and Space movement in California in the 1970s. This exhibition will include several examples of early Bell cubes as well as a shelf from 1970.

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Debra Fleury

Debra Fleury Contemporary Ceramics

Debra Fleury's profile on Ceramics Now Magazine - View her works

“While growing up near the ocean, I spent many hours peering at tiny creatures and looking for clues to their secret lives. This began a lifelong passion for the the minute details, the battered fragments, and the myriad patterns of organic life. The smallest bits of bone or shell would ignite intense curiosity and imaginative leaps; What was this creature? What did it look like? How did it die? Did it have a family, a home, or friends? Did it feel or think? What would it have thought of me? I create sculptural objects in an empathetic attempt to gain insight into the inner life of creatures and I seek to spark curiosity and imaginative leaps in the viewer.

Clay is critical to exploring these ideas. Touching clay and responding to its organic properties are key aspects of my largely exploratory and intuitive creative process. Risk taking and pushing materials to their limits is also important. I experiment with the forces used to shape clay, glaze, and glass as a process for imagining and exploring the effects of natural forces. I combine clays with glass or other materials to see what they reveal about their individual properties when they are fused together.” Debra Fleury

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Debra Fleury: Limpid, 2011. Dark Stoneware, Porcelain and glass. Fired to cone 6 (neutral atmosphere), (wall or surface installation). Dimensions variable, average size per individual piece is approximately 11 cm x 11 cm x  5 cm

Debra Fleury: Limpid, 2011. Dark Stoneware, Porcelain and glass. Fired to cone 6 (neutral atmosphere), (wall or surface installation). Dimensions variable, average size per individual piece is approximately 11 cm x 11 cm x  5 cm