Infinite Place: The Ceramic Art of Wayne Higby at Racine Art Museum
September 21, 2014 - January 4, 2015
Images by Jon Bolton, Brian Oglesbee and Steve Myers. Courtesy Racine Art Museum.
Made in China: The New Export Ware / Independent Art Projects, North Adams
October 18 - November 16, 2014
Independent Art Projects is pleased to be the first venue hosting Made in China: The New Export Ware, an on-going series of exhibitions and public programs featuring international contemporary ceramic artists re-contextualizing traditional Chinese export porcelain production methods and visual vocabulary, curated by Ferrin Contemporary’s Director Leslie Ferrin.
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.
Nicola Tassie: Craft / Standpoint Gallery, London
September 19 - October 26, 2014
This exhibition marks a point of reckoning in the oeuvre of Nicola Tassie, one of London’s most sought-after studio ceramicists and teachers. Drawing on three decades of experimentation, consolidation and reflection, this exhibition pushes newly-made and older works up against one another. The installations and displays of functional, functionally ambiguous, and overtly sculptural works show Tassie investigating with renewed clarity the questions she has posed and re-posed in regard to the practice and reception of ceramics throughout her career.
September 18 - November 1, 2014
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.
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.
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.
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.
Alison Britton & Jim Partridge: Cut and Run / Marsden Woo Gallery, London
October 14 - November 15, 2014
Alison Britton has returned to making pots after a year of working on her book, Seeing Things, Collected Writing on Art, Craft and Design. (Occasional Papers, 2013)
Picking up the threads in the studio she has resolved to work with a basic simplicity, making a series of tall jars, painted white and black over the buff clay body. Her casual mode of slab building, the balanced irregularity of planes, columns, cut off cones, and facets, is still in play. Pouring slip, a loosely controlled process, continues to be important, as well as working with a brush.
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, 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.
David Furman: Figures of Speech / Lois Lambert Gallery, Santa Monica
September 6 - November 9, 2014
Furman creates impeccably crafted scenarios of figurative mannequins that reveal a universal understanding of body language. Anchored to a sofa, couch, or table and chairs, these figurative forms show a diverse range of human emotion and investigate the depths of non-verbal communication.