William Holman Gallery is pleased to present Everyday Weapons by Gail Goldsmith and Times and Places by Richard Barnet, two concurrent solo exhibitions that are installed at the gallery through mid-March.
Featuring eight clay sculptures, Gail Goldsmith’s Everyday Weapons series reflects on death and mourning. Made in the aftermath of her husband’s suicide twenty-five years ago, the sculptures are cathartic, revealing how his death altered everyday objects in Goldsmith’s life. From a series of broken bottles to an ominous corkscrew lying next to a pair of women’s shoes, these quotidian objects reverberate with pain and anger, seeming ominous as thinly-veiled weapons. With the distance of time since their creation, Goldsmith has come to see these sculptures as theatrical; each work is an archetype, both personal and universal.
The National Centre for Craft & Design confirms that Alexis Rago: Chaos Contained will begin its life as a touring show in Farnham. Originally curated by Laura Mabbutt for the NCCD, the exhibition opens at the Crafts Study Centre on 7 January 2014 continuing until 1 March. Touring Manager, Liz Cooper says “During its 70 day run at NCCD, over 4,600 people of all ages viewed Chaos Contained, making it one of the most successful exhibitions we have held in our Roof Gallery. We hope to repeat that success in Farnham.”
1. “Natural Great Piece” is an intricate, intimate, communal performance in the medium of clay. Like a dance or a concert, it is more overtly bound to time than most sculptural artwork, and it ends dissolved into the past.
2. Cybele Rowe and Lauren Ari make a large and detailed clay sculpture. It emerges from an improvisational score fed by their combined 60 years of art making experience. Passersby are invited to create self-portraits in clay to be incorporated into the artwork. Its surfaces become covered with these figures, which are painted with underglaze.
“I have always been interested in the ability of a ceramic vessel to point to something beyond itself—to function as metaphor. Ceramic vessels, physically structured with necks, shoulders, bellies, and feet, can evoke the gesture and anthropomorphized stance of the human body; they also reveal deep aspects of human experience and of the natural world.
My fervent interest in clay vessels has led me to explore new territories in form and surface. Recent work explores three variations on the ceramic vessel form:
The ceramic vessel as a Wellspring or Womb, with possibilities of both fecundity and barrenness; The vessel as Bottle, whose forms evoke the elongated posture of Cycladic idols and the scarified texture of Yoruba terracotta heads; The Planet Series explores swirling colored surfaces on rounded orbs, suggesting planets and depths of earthly strata.
These series represent different but related expressive interests. Each piece in a series is part of a continually evolving solution to a set of questions or parameters I have chosen to work within. The parameters, themselves, may change as the series evolve.
Through spontaneous handling of inanimate clay, I attempt to find and breathe life into form. My creative process is grounded in reflective practice—imposing ideas on and listening to the material in cycles of learning. The material directs me as I direct it. We are in a reciprocal relationship.” Ellen Schon