Debra Fleury: Fallen, 2010, alternative view
Art should come from the heart of the artist, it should engage the audience, it should connect with the community, it should start a dialog, a debate. It should get people to look at things in a way they have not thought of, or to see what they have looked at but not really seen. Art has to come deeply from the artist, there has to be raw emotion and honesty in the work if it is to connect with people. An Artist paints and sculpts what they know. These are all the reasons I wanted to do a show about Alzheimer’s disease. To start a dialog, to connect, to get people to understand what it is like to have the disease, it is a part of my life, so it is what I know, what I am around. I took those thoughts and feelings and transformed them into visuals to engage my audience.
I speak through paint and clay. Art is a look inside the artist, what I am feeling is transferred into the clay while I am sculpting, Those feelings have to go somewhere. I wanted to tell a story, I wanted you to feel how it is, the frustrations, humor, the compassion and the heartache of having Alzheimer’s disease and for the ones caring for one with this disease.
William Faulkner said it best ~ The aim of every artist is to arrest motion, which is life, by artificial means and hold it fixed so that a hundred years later, when a stranger looks at it it moves again since it is life.
David Gilbaugh: Driftwood Fountain, 2008, sculpted fountain, 12”(W) x 22”(H), hand-built slab and coil, B-mix stoneware with grog, cone 10 reduction, iron, rutile, and cobalt oxide stains, Winokur Yellow, Temmoku
David Gilbaugh: The Imaginist, 2009, sculpture, 21”(W) x 33”(H) x 23”(D), hand-built coil, B-mix stoneware, cone 8, black stain brushed in crevices, water washed iron and rutile stain throughout, interior - red engobe.
Marianne McGrath: Fenced (detail), 2011
Suzanne Stumpf: Diatoms, detail
Suzanne Stumpf: Whale Sounds, 2007, 8” h x 29” w x 20”d, porcelain or porcelain paperclay; handbuilt with thrown necks; reduction fired to cone 10.
Whale Sounds is a multi-component, interactive sculptures. The shapes were inspired by listening to a recording of whales in which the whales’ calls ballooned rapidly and diminished into fine, thin, high endings. (Although some of the objects can elicit tones when blown, this was not my intention.)
“My work mainly consists of salt-fired Porcelain and Stoneware. The salt-firing process is unique in that salt is introduced into the kiln when it reaches the proper temperature (2345 degrees F for my work). Inside the kiln, the salt vaporizes and settles onto the pieces, forming its own glaze over the clay body. I also use various slips and glazes to further decorate the pots.
In my functional work, my goal is to make the pieces “special”. I hope that everyday users will appreciate being “in the moment” as they sip from their hand-made cup or enjoy soup from their favorite bowl.
My sculptural pieces all have specific meaning for me, but sometimes are just fun! I don’t wish to impose my views of the work upon others, but would rather viewers lend their own interpretation to the pieces within their own contexts and ideas. Most importantly, I hope the sculptures will inspire viewers to pause and consider how the piece relates to their lives.” Deborah Britt
"As a commercial artist designing products for retail store windows and interior displays, trade show booths and special events, I worked with many different materials to create three-dimensional objects. When I retired and started working with clay, I realized that clay was an exciting and wonderfully tactile material which I had to explore in depth.
I’m intrigued with the concept that the artist’s hand can manipulate clay into a work of art which expresses an emotion, tells a story, can be functional or is purely visually appealing. At times, the clay seems to have a life of its own as it leads me, morphing from one form and concept to another. On other occasions, I can envision the completed piece before even touching the clay.
Inspired by Nature, my work reflects the unlimited variety of textures, patterns, and energy I find in my natural surroundings. Texture and the tactile sense have always been an important part of my work. I hand build with clay slabs, coils, and extruded shapes and use various clay bodies, firing processes, glazes and cold finishes for making different forms and surface textures.
I enjoy creating artworks which not only express my love of Nature, but which also allow me to bring the essence of the outdoors into interior spaces.” Kathy Pallie
Kathy Pallie: Fire – Passion. Earthenware, glazes, 20”H x 13”L x 11”D, 2011
Kathy Pallie: Earth – stability. Earthenware, glazes, 18”H x 18” Diameter, 2011
Kathy Pallie: Birch Still Life. Earthenware, acrylic cold finish, 13”H x 19”L x 12”D, 2010
Els Wenselaers: Mrs Odeur, 2009, 16 x 33 x 24cm, Ceramics, metal, rubber, glass
Els Wenselaers: Racemouse, 2009, 38 x 40 x 38 cm, Ceramics, leather, metal, wood, leather case with painted text on it
Els Wenselaers: Human Hybrid #2, 2009, 20 x 39 x 24 cm, Ceramics, white glaze