Bethany Krull: Surrogate (Squirrel/Topiary), detail, 2011, porcelain, paper, polymer clay, wire, chain, 34”H x 17’Wx 17”D

Bethany Krull: Surrogate (Squirrel/Topiary), detail, 2011, porcelain, paper, polymer clay, wire, chain, 34”H x 17’Wx 17”D

Bethany Krull: Stucky, 2010, porcelain, wood, polymer clay, wire, chain, eyescrew,  Snail: 5”H x 8”W x 6”D

Bethany Krull: Stucky, 2010, porcelain, wood, polymer clay, wire, chain, eyescrew,  Snail: 5”H x 8”W x 6”D

Overthrown: Linda Sormin, Mine (i hear him unclip me / blood runs cold), detail, 2010–11.    Glazed ceramic; souvenir kitsch; and studio remnants from Tim Berg,    Gerit Grimm, Nathan Craven, Robyn Gray, and Ted Yoon. Photo by Jeff    Wells. #2

Overthrown: Linda Sormin, Mine (i hear him unclip me / blood runs cold), detail, 2010–11. Glazed ceramic; souvenir kitsch; and studio remnants from Tim Berg, Gerit Grimm, Nathan Craven, Robyn Gray, and Ted Yoon. Photo by Jeff Wells. #2

Overthrown:   Clare Twomey, Collecting the edges. 2011. Red clay dust. Site-specific   project for the Denver Art Museum supported by Jana and Fred Bartlit.   Photo by Jeff Wells. #6

Overthrown: Clare Twomey, Collecting the edges. 2011. Red clay dust. Site-specific project for the Denver Art Museum supported by Jana and Fred Bartlit. Photo by Jeff Wells. #6

Overthrown:   Clare Twomey, Collecting the edges. 2011. Red clay dust. Site-specific   project for the Denver Art Museum supported by Jana and Fred Bartlit.   Photo by Jeff Wells. #4

Overthrown: Clare Twomey, Collecting the edges. 2011. Red clay dust. Site-specific project for the Denver Art Museum supported by Jana and Fred Bartlit. Photo by Jeff Wells. #4

Interview with Del Harrow, exhibiting artist at the Overthrown: Clay Without Limits exhibition

Interview with Del Harrow, exhibiting artist at the Overthrown: Clay Without Limits exhibition, Denver Art Museum, July 2011

The special feature for the Overthrown: Clay Without Limits exhibition includes images from the exhibition and interviews with some of the exhibiting artists, plus with the curator. Subscribe.

Statement, Del Harrow : The Hamilton building at the Denver Art Museum responds to the natural landscape with carefully calibrated geometric volumes. I think of my installation as a kind of tapestry – or embroidery – embellishing this architecture with a more intricate structure.

Many of the qualities of ceramics make it ideal for large scale architectural applications: it is permanent, colorful, and relatively simple to form.

But clay also presents considerable challenges. It is fragile, heavy, and requires a kiln large enough to contain and carefully heat each component part.

For a thousand years architects have developed strategies for constructing large surfaces by connecting many clay pieces (The Sydney Opera House and the Alhambra are two of my personal favorites). Innovations in complex geometry have emerged from their solutions. Peter Lu, a Physicist and Harvard Professor, discovered the use of Penrose geometry in Medieval Iranian architecture. Penrose geometry – an idea not discovered in the west for another 500 years – is a series of non-repeating tessellating polygons – in this case a functional solution for aligning ceramic tiles on a wall, and also a revelation as a component of fractal geometry; a mathematical concept for reflecting on form in nature.

While more modest in scale and complexity the components of this installation are borne out of the same impulse. The Hamilton Building at the Denver Art Museum is an ideal site. The building responds to the natural landscape with carefully calibrated geometric shapes. My installation is a second layer – a more intricate structure for weaving together the geometries of nature with the volumes of this architecture. The scale of the building and the significance of this exhibition have provided the catalyst for my largest and most ambitious work to date.

Del Harrow, Wedgewood Black Hive/Hole, 2011. Slip-cast black porcelain. / Links, 2011. Earthenware, glaze, and platinum luster. / Copper Fade, 2011. Earthenware and glaze. Photo by Jeff Wells.

Ceramics Now Magazine: Tell us about your works exhibited at the Overthrown: Clay Without Limits exhibition. What do they represent and what message do you want to deliver?

Del Harrow :The work in this show was partly a response to the architecture of this building.  The pieces deal with pattern, repetition, geometry, and difference. The textures and patterns that come from the many stages and layers of the process of making something with clay. I don’t have a particular message that I want to deliver.

Ceramics Now Magazine: Have you ever attempted to create a new material or to replicate a texture of a material in order to make your installations more exclusive?

Del Harrow : I do think a lot about the qualities and textures of materials but I don’t think I’m trying to make the installations more “exclusive”. I think of my use of materials as pretty inclusive or democratic. My installations are compositions, there are a lot of different metaphors I use to think about their structure - music and cooking are a couple - so I’m thinking about creating an experience that comes out of a play with repetition and difference. Material qualities are one layer of the composition.

There is a chapter in Baudrillard’s book “The System of Objects” called “Natural Wood and Cutural Wood” where he discusses the cultural hierarchies of various materials.  For example vinyl siding imprinted with a wood grain is typically assigned a lower position in the hierarchy of materials that natural wood siding even though the vinyl siding probably performs it’s function better (of course Baudrillard also wrote this book in the 1960‘s before we were aware of some of the health risks of “off gassing” from too much plastic in building materials). We also have an aesthetic experience of material qualities.  Man made materials tend to have more uniformity in their pattern and texture. I don’t see one type of material - synthetic or natural - as inherently superior and I think that even the line between the two categories is pretty fuzzy. Ceramic materials have a long history of borrowing qualities and textures and even mimicking other materials. For example Terra Cotta Building cladding made to imitate stone, or pots that borrow texture from basketry or metal work. Certain ceramic materials also have very strong - and sometimes paradoxical - cultural associations. “Porcelain” still has associations with ideas of quality, purity, exclusivity, and at the same time it can feel nostalgic, kitsch, and low brow. I’m very interested in these ideas and I see my work as playing within this territory.

Del Harrow, Copper Fade, 2011. Earthenware and glaze. Photo by Jeff Wells.


Ceramics Now Magazine: How much have you been influenced by the Aboriginal Art and your time spent in Australia?

Del Harrow: Not consciously.

Ceramics Now Magazine: What is your reaction towards using plastic plates and cutlery in our daily life?

Del Harrow: I don’t know if I’ve ever come a across a plastic knife and fork and thought: “this is a really nice thing to use”. I wish I would. Cheap, disposable knives and forks certainly serve a function. I don’t use them very often but at picnics they are pretty handy. I wish the knives didn’t always break when you’re trying to cut your steak. They should also be biodegradable.

Ceramics Now Magazine: If you would have to recreate the nomadic Brancusi exhibition, what other object would you add that could empathize with the philosophy of the famous Romanian sculptor?

Del Harrow: When I made that piece it started out as an idea about reproduction of objects and authorship. As I was working and started doing more research I became more interested in Brancusi’s ideas about his sculptures being dependent on specific spatial relationships to each other and on the architecture of his studio space.  Along with his work making discreet forms/sculptures Brancusi had a parallel practice of photographing the work within the space/context of the studio. The composition of objects in my piece was based on a specific arrangement from one of his photographs. I chose a picture that contained several very iconic forms: bird in space, endless column… I think if I made this piece again it might be interesting to chose a photograph with less well known forms. Some of his photographs are just piles of molds and raw materials in a corner of the room. In some ways these types of photographs make more space for thinking about his objects as provisional and contingent on qualities of light, context, and arrangement.

Del Harrow, Wedgewood Black Hive/Hole, 2011. Slip-cast black porcelain. / Links, 2011. Earthenware, glaze, and platinum luster. / Copper Fade, 2011. Earthenware and glaze. Photo by Jeff Wells.

Ceramics Now Magazine: Where can we find you and your works in the next future?

Del Harrow : I have a couple of exhibitions coming up, one in November at Vox Populi Gallery in Philadelphia. This show will be the result of a collaboration with Chadwick Augustine. I also have a solo show opening in February at Texas State University in San Marcos, Texas.

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"My current studio practice consists of two activities: the production/fabrication of objects from a range of materials, and then, a sustained investigation of these objects by way of successive experiments with strategies for placement, arrangement, and organization.

Individual objects emerge from a confluence of form, material and process. Many sculptures begin as digital models – employing computer software as a tool for generating abstract form. As material culture an objects’ subtle textures and marks contain and reveal information about methods of fabrication – manual or mechanized production – and by extension the scale of economy, culture, and the objects meaning within it.

Objects within an installation are built on a range of scales – of objects, furniture, architectural fragments – creating a composite scale/space, shifting between the miniature, the architectural interior, and the landscape.

Installations borrow organizational strategies from both art historical compositions and vernacular spaces: game fields, farms, domestic interiors, forests. These spaces share abstract forms: planes, mesh-works, surfaces, and hierarchies. Like a mathematical model or interior architecture, the installation is a diagrammatic construction built within the gallery.” Del Harrow

Visit Del Harrow’s website.

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→ Read more interviews with ceramic artists and search through our featured artists.

Interview by Iunia Ratiu with help from Vasi Hirdo - Editor of Ceramics Now Magazine.

Interview with Linda Sormin, exhibiting artist at the Overthrown: Clay Without Limits exhibition

Interview with Linda Sormin, exhibiting artist at the Overthrown: Clay Without Limits exhibition, Denver Art Museum, July 2011

The special feature for the Overthrown: Clay Without Limits exhibition includes images from the exhibition and interviews with some of the exhibiting artists, plus with the curator. Subscribe.

Ceramics Now Magazine: Tell us about your work exhibited in the Overthrown: Clay Without Limits exhibition.

Linda Sormin : This installation, Mine: i hear him unclip me, explores forms and structures of uncertainty height, and depth. I am curious about the sites and processes of mining. Two years ago in my installation “Rift” at the Middlesbrough Museum of Modern Art in the UK, I invited the curator, James Beighton, to crawl through a Plexiglas tube high in the air, wearing a mining hat and safety goggles. I asked him to “mine” the tunnels of the work by breaking open my hand-built porcelain pieces with a wooden hammer and chisel. 

For this current installation in Denver, I scavenged and borrowed materials and objects from the Colorado School of Mines and Geological Museum in Golden, CO, and the Edgar Experimental Mines in Idaho Springs, CO. Boulder ReSource and thrift shops in the area were also sources of materials and forms, including a stained glass door picturing a coyote and flowers, and a large brown ear-less plastic bear head.

Linda Sormin, Mine (i hear him unclip me / blood runs cold), 2010–11. Glazed ceramic; souvenir kitsch. Photo by Jeff Wells.

With the extraordinary technical assistance of my partner Seth Hisiger, I worked at my studio in Providence, RI for 4 months to create the ceramic components for the work.  With extruded stoneware tubes and hand-pinched grids of red earthenware clay, we created linear drawings in space with fired and glazed ceramics. Because the installation was sited on a large slanting wall in the museum (it leans 110 degrees away from the viewer), we needed to build a mock wall at this exact angle in my studio. After Seth built this wall and developed a system of steel pipe to be mounted to it, we were able to test the structure by threading sections of the ceramic grids through the pipe. I’ve been interested in “skewering” ceramics (like meat!) in this way for a few years now. Final installation at the Denver Art Museum took 12 days. For the first three days we worked closely with John Lupe’s outstanding installation team of eight, two motorized lifts and (for me at least) high levels of adrenaline. At first, I felt quite daunted by the large number of heavy, super-fragile objects we needed to mount to and balance on that wall – and I’m a little scared of heights. Maybe more than a little.  While hand-pinching raw clay into the piece at 25 feet up, my knees went weak and I had to sit down. So I worked that way in the gallery space – harnessed and clipped into a metal basket, legs dangling down.

Ceramics Now Magazine: Do you find it challenging to construct your works with objects from different places? You can also tell us what it’s like to work with recycled materials.

Linda Sormin : I am always grateful for the opportunity to work with objects from different places, with different histories of function and use in specific cultures. It’s a challenge that whets my appetite for making. I hope to tell stories with these things, to weave together abstract real-time narratives that invent or re-establish connections between objects, situations, people and places. Recycled objects are used objects with a past life. Their lack of innocence prevents them from being predictable to me, and their idiosyncrasies help to shape my installations. Their flaws resonate in the work, and in my imagination.

Linda Sormin, Mine (i hear him unclip me / blood runs cold), detail, 2010–11. Glazed ceramic; souvenir kitsch. Photo by Jeff Wells.


Ceramics Now Magazine: People described you as being extreme. How far do you agree with this?

Linda Sormin : In some ways, I think this could be true. On the other hand, I question if we can consider anyone working in a craft-based art profession to be extreme. In comparison to what? is what I’d ask.

I imagine that being balanced and moderate would lead to a steadier, more peaceful way of life.  I do often feel compelled to explore the edges of experiences, and feel that it is necessary to push boundaries and takes risks in order to comprehend the situations and behaviors of materials, things and people.  This is the normal task of the artist, however – so it’s not extreme, just a choice – a research methodology perhaps. If I were less “extreme” I might not get into the messes that I often find myself in.  And then where would I be?  These messes keep me alert and attentive to the work.


Ceramics Now Magazine: Where do you get inspiration for your works, do you have any hobbies?

Linda Sormin: I enjoy learning about objects and how they seem to behave in the world.  From tools to clothing, domestic interiors to trash, digital technology to hands-on processes, I draw ideas and narratives from how people interact with things. Recently, I’ve been interested in the powerful machinery and risky methods used by people in so-called “manly” professions such as mining and marine work.  When I visited the Edgar Experimental Mines in Idaho Springs, CO this past spring, I met miners who were studying outer space mining, as well as working with the military to develop approaches for underground operations. I’ve often used “mining” and un-grounding” as metaphors in writing and making – so it was humbling and enlightening to witness the real thing, and get to know the people actually working in these fields.


Ceramics Now Magazine: You tend to take adventurous tasks and use all kinds of materials. Do you think that one day you will be able to interfere with fashion to create pret-a-porter clothing from recycled materials?

Linda Sormin: There seems to be a growing number of people practicing apparel design in this way. I absolutely love clothes and am always excited by garments that offer material or social meaning from unexpected places. I would be thrilled to collaborate with a fashion designer or textile artist someday. Do you know anyone who’d be interested in working with someone like me who can’t sew a straight line?


Ceramics Now Magazine: Where can we find you and your works in the next future?

Linda Sormin : From August 4 - September 17 of this year, I will be in Norway making new work in the studios of the National Fine Art Academy in Bergen. My partner Seth Hisiger and I will be installing the work in the context of the China Collection at the West Norway Museum of Decorative Arts. From October 7-10 I’ll be giving a workshop at the Haystack Mountain School of Craft on Deer Isle, Maine. From October 27-29, I’ll be back in Bergen to speak at the Thing Tang Trash: Upcycling in Contemporary Ceramic Art Symposium.

Linda Sormin, Mine (i hear him unclip me / blood runs cold), detail, 2010–11. Glazed ceramic; souvenir kitsch; and studio remnants from Tim Berg, Gerit Grimm, Nathan Craven, Robyn Gray, and Ted Yoon. Photo by Jeff Wells.

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The site looms above and veers past, willing me to compromise, to give ground. I roll and pinch the thing into place, I collect and lay offerings at its feet. This architecture melts and leans, hoarding objects in its folds. It lurches and dares you to approach, it tears cloth and flesh, it collapses with the brush of a hand.

Nothing is thrown away. This immigrant lives in fear of waste. Old yogurt is used to jumpstart the new batch. What is worth risking for things to get juicy, rare, ripe? What might be discovered on the verge of things going bad?

Linda Sormin is a Canadian sculptor based in Providence, Rhode Island. Through objects and site-specific installations, Sormin’s work explores issues of fragility and aggression, mobility and survival. Born in Bangkok, Sormin has a BA in English Literature and worked in community development for four years in Thailand and Lao PDR. She studied ceramics at Andrews University, Sheridan School of Crafts & Design (Grad 2001) and Alfred University (MFA 2003).

Sormin’s work has been exhibited nationally and internationally, most recently at the Denver Art Museum (Denver, USA), gl Holtegaard (Denmark), Vallauris (France), Middlesbrough (UK), Providence, Philadelphia and New Orleans. From 2003-06, Sormin taught ceramics at Emily Carr Institute in Vancouver, BC. For 5 years, she taught at the Rhode Island School of Design in Providence, RI, first as Assistant Professor (2006-09) then as Associate Professor (2009-11) and Head of Ceramics (2010-11).

Visit Linda Sormin’s website.

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→ Read more interviews with ceramic artists and search through our featured artists.

Interview by Iunia Ratiu with help from Vasi Hirdo - Editor of Ceramics Now Magazine.

Interview with Katie Caron and Martha Russo, exhibiting artists at the Overthrown: Clay Without Limits exhibition

Interview with Katie Caron and Martha Russo, exhibiting artists at the Overthrown: Clay Without Limits exhibition, Denver Art Museum, July 2011

The special feature for the Overthrown: Clay Without Limits exhibition includes images from the exhibition and interviews with some of the exhibiting artists, plus with the curator. Subscribe.

Katie Caron:

Ceramics Now Magazine: Your collaboration transformed into an outstanding piece of contemporary art, Apoptosis. What can you tell us about this collaborative work?

Working in collaboration with Martha Russo was such a positive and inspiring experience.  We have known each other’s work for years, and always seem to be following similar paths and forms.  It was exciting to work with someone who is so on the same page as you.  For example, the day I did my preliminary sketch of the work on an airplane ride to Detroit, Martha created a small model of the work.  We were shocked to discover, that separate from each other, we both sketched pretty much the same piece.  It was quite eerie! 

Artist Statement for Apoptosis:
The site-specific installation connects the museum’s own architecture to a floating swirl of motivated chaos made from a host of ceramic and mixed media materials.  Apoptosis references the genetically directed process of cell self-destruction that makes way for new growth to occur.

Evoking growth and development, lightness and weight, the work suggests both biological membranes and intertwining industrial lines, conjuring up a tangle of beauty, grotesquerie, buoyancy, and energy.

The suspended composition has a brace of vantages: the first, a treasure-mesh conceals from the viewer the cryptic viscera of this complex organism, while the second vantage unfolds and unfurls, being pulled by gravity and holding the viewer in a state of suspended wonder.

Ceramics Now Magazine: Apoptosis looks powerful, twisted, and somehow embrace you to look further. Maybe it’s because of Katie’s previous works that experience illusions, or because of Martha’s work with the physical nature of sculpture?

Katie Caron : Both of our goals were to engage the viewer to look further, but in different ways. My previous work, as you mentioned, involves the creation of illusions where the viewer is asked to question: what’s real and what’s fabrication?  I am fascinated with our cultures need for escapism, and how we have become addicted to the virtual windows of social media and entertainment.  I hope to tap into this obsession, using theatrical effects to create objects and environments that entice the viewer to look closer and longer.  Asking how virtual objects may compete with virtual media?

Martha Russo and Katie Caron, Apoptosis (detail), 2010–11. Photo by Jeff Wells.

Ceramics Now Magazine: Is this a site-project? Did you experience any challenges? (here you can tell us when did you start working on it, or how was the process, if you had any difficulties with the space, etc.)

Katie Caron : Selection of the space came first, and then the concepts for the work.  We were interested in using a space that had never been used to show work, a space that was unusual.  The architecture of the Denver Art Museum is so powerfully unique, and so we chose a 30 foot slanted wall as our catalyst.

I began drawing concept sketches for forms, materials, and use of the space.  I wanted to create an installation that looked like it was co-dependant, both foreign to the space, but dependent on the space for survival.  I compare it to animal architecture; the way some insects parasitically transform man-made spaces to suit their needs. 

The Denver Art Museum was a huge technical support to our installation.  They provided us with the necessary lifts, equipment, and assistance to stage such a complex work.  Mounting the utility poles took some serious preparation and support.  There are over 200 lit porcelain and paper forms, plus another 3,000 other components mounted to the 30 foot slanted wall with steel rods.  The installation was quite labor intensive to say the least.

Ceramics Now Magazine: What do you think about the Overthrown: Clay Without Limits exhibition?

Katie Caron: It has been an honor to exhibit with such a prominent group of artists.  Gwen Chanzit, curator for Overthrown: Clay Without Limits, has done an admirable job of selecting and encouraging artists to be ambitious.  The scale of the space has pushed all the artists to think big, both physically and conceptually.  The exhibition, technically demonstrates the inventive use of such an ancient material, while raising contemporary issues.   The works in the exhibition challenge traditional notions of “objectness”, providing a depth of content, and creating a diverse dialogue.

Ceramics Now Magazine: Where do you get your inspiration from and what motivates you, what do you want to discover through your works?

Katie Caron: We started off with the idea of a chaotic tangle, which led us to look at all kinds of forms, both from biology and industry.  My personal interest was in power lines.  For years, I have looked upward at utility poles, and found their functional aesthetic inspiring.  After undergoing major spinal surgery in 2009, and looking at x-rays of all the hardware in my back, I began to draw connections between the aesthetics of my hardware and the power lines.  Both aesthetics were determined by utility and appeared parasitic to their host forms. 

While creating the work, I discovered I was pregnant.  I believe this change in my biology positively affected the work to create an illusion that the work was alive, and powered by an external energy force.  Creating cell-like forms with illuminated interiors became my focus for the work.


Martha Russo and Katie Caron, Apoptosis (detail), 2010–11. Photo by Jeff Wells.

Ceramics Now Magazine: Where can we find you and your works in the next future?

Katie Caron : We are currently looking for another site for the work on both east and west coasts.  I have two solo shows in 2012 in Denver, at Ice Cube Gallery and Hinterland Gallery, where I look to explore the progression of these ideas and materials further.  You can find my work online at http://www.icecubegallery.com/ , and http://www.katiecaron.com/


Ceramics Now Magazine: Please give an advice to young ceramic artists.

Katie Caron: My advice to young ceramic artist is two fold:  First, make, make, make!  Ceramics is such a challenging material, so practice exploring all the ways to manipulate the clay is very important.  Don’t be afraid to fail or let the work lead you.  Too often ceramic artists try to control the clay, rather then using it as a guide.  Second, explore other materials as well!  Do not limit yourself to just clay, but build confidence with other materials, processes and concepts.  The more interdisciplinary your work becomes the more questions it can raise.

Martha Russo:

Ceramics Now Magazine: Your collaboration transformed into an outstanding piece of contemporary art, Apoptosis. What can you tell us about this collaborative work?
 
We both started with something that we wanted to investigate from previous works. For Katie is was light and translucent porcelain and paper and for me it was clay combined with metal. We would work independently in our studios and then show each other what we had done and then make more work off of what each other responded to. Conceptually, we started with the word “tangle” and sent each other a flurry of images of any kind of tangle.  Our “image swap” generated a rolling progression of ideas and possibilities. What began to resonate with both of us were notions of electricity and wires, morphing cell production, masses of jumbled objects, and much more. We tested different groupings of the pieces in our studios and got a sense of how to make them physically cling to the wall.  With time our ideas began to coalesce into a hazy notion of what the thousands and thousands of pieces would form.  Because of the enormous scale (30 feet high and 25 feet wide) we really did not know how the installation would work until we put it up in the museum. I think the most important thing about our collaboration is that Katie and I gave each other complete freedom. We deeply trusted each other.  Working with Katie has and continues to be a complete joy and one of incessant wonder and possibility.  I feel infinitely fortunate to know and work with her.  The future is BIG.
 
Ceramics Now Magazine: Apoptosis looks powerful, twisted, and somehow embraces you to look further. Maybe it’s because of Katie’s previous works that experience illusions, or because of Martha’s work with the physical nature of sculpture?
 
Martha Russo : I think Apoptosis is a wonderful hybrid of our aesthetics, ways of working, trust in the unknown, and ideas about art.
 
I just learned of a new word, phototaxis, which means that light compels one to move closer to an object.  I think the mystery and lure of the glowing porcelain forms and the hovering translucent paper spheres draws the viewer in closer to decipher the mass and weight of the cascade of objects, the jumble of metal burned into the clay coupled with the odd beauty and decisive scale of the utility poles. I think Katie and I share the fascination and try to mind the psychology of what intrigues someone to stay with a work of art.


 
Ceramics Now Magazine: Is this a site-project? Did you experienced any challenges? (here you can tell us when did you start working on it, or how was the process, if you had any difficulties with the space, etc.).
 
Martha Russo : Because of so many conceptual crossovers and interests in experimenting with materials, Katie and I toyed with the idea of some day doing some work together. When we were invited to the show, separately, the thought of having such a huge gallery space seemed like a great opportunity to collaborate.  After we decided to work together, we picked the space, which had not been used before to exhibit work. The prospects of such an unusual space set us in motion. I was most interested in creating some kind of wave of objects that would appear to have tumbled down the slanted thirty foot wall and Katie had the brilliant idea to connect an existing free-standing gallery wall to the slanted wall with some sort of floating forms.

The turn-around time for the show was about eleven months, so we had no time to waste. The time pressure really made us work quickly and intuitively while also solving a plethora of technical challenges like using translucent porcelain, learning how to cast and create forms with paper, and coaxing the clay to co-mingle with lots of different kinds of metal. The process was all about discovery - brilliant fun and incessant challenges.  With a very carefully orchestrated plan, full support from the Denver Art Museum every step of the way, and an extremely smart, professional, and adventurous installation crew, the knitting together of the thousands of forms went off really well. Each day brought different challenges and unknowns and after two solid weeks of installing, Apoptosis came into focus.
 
Ceramics Now Magazine: What do you think about the Overthrown: Clay Without Limits exhibition?
 
Martha Russo: The exhibit, curated by Dr. Gwen Chanzit, is smart, diverse, beautiful, and eye-opening. With every turn in the gallery, there is something really compelling to experience and to ponder.  The show gives a fresh look into the contemporary art world at artists who use the clay process in some innovative and inventive ways.  Being included in the exhibit has not only been and continues to be a great honor but has opened up a breath of possibilities for the future.
 
Ceramics Now Magazine: Where do you get your inspiration from and what motivates you, what do you want to discover through your works?
 
Martha Russo: Here is the short list:
 
not knowing
cellular complexity and simplicity
a burl on a tree
logs jammed in a river bend
the odd hardware and connective gear on utility poles
the periodic table
the miracle of systems in the body
how my kids explore things
goo and glue and Dragon Skin
my husband, Joe, the scientist telling me about how chemicals interact
how to negotiate with the water content of clay
being a pyro
the light of the moon eking out behind the clouds

Martha Russo and Katie Caron, Apoptosis, 2010–11. Photo by Jeff Wells.
 
Ceramics Now Magazine: Where can we find you and your works in the next future?
 
Martha Russo: In the upcoming year, I may be in exhibitions in Seattle, Denver, and Aspen. I am in an art collective, called “Artnauts, which is a group of artist put together by Dr. George Rivera and Garrison Roots, from University of Colorado, Boulder. This year we have shows in Chile, Cuba, Brazil, and two venues in the Middle East.  To see more of my work please go to: http://www.martharussostudio.com/
 
Ceramics Now Magazine: Please give an advice to young ceramic artists.

Martha Russo : WORK WORK WORK and WORK SOME MORE. Making anything takes a long time. Staying in the studio and staying with a new idea or process simply takes time, concentration, and focus. Avoid editing away ideas too early. Give everything a long incubation period with unfettered flurries of making and then look at the work carefully.  And lastly, be open to every possible material and process in order to bring an idea to fruition.  Plus have fun.

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Apoptosis
2010-2011
Porcelain, paper clay, glaze materials, colored pigments, assorted tools, steel and hardware, silicone, LED Lights, compact fluorescents, electrical cables, wires and conductors, utility poles, abaca paper, beeswax.

Apoptosis is a floating swirl of motivated chaos that inhabits the museum’s architecture.  The cascading mass of morphing cell-like forms evokes growth and development, lightness and weight, and connects biological membranes with intertwining industrial lines. With a cacophony of sculptural forms, colors, textures, cables, utility poles, and lights it conjures up a tangle of beauty, grotesquerie, buoyancy, and energy.  Our goal is to create a state of suspended wonder.


Katie Caron
Born 1978 in Manchester, Connecticut; lives in Lafayette and works in Lakewood, Colorado

Katie Caron graduated summa cum laude from Boston University in 2000, and received an MFA in ceramics from Cranbrook Academy of Art in 2009. Her work has been in national exhibitions such as Breakdown at Guggenheim Gallery: Chapman University, California, Reinventing Beauty at the Museum of New Art: MONA, Michigan, and Elastic Authenticity at the Morean Art Center in St. Petersburg, Florida.   Caron is presently an Assistant Professor in Fine Arts & Art Education at Rocky Mountain College of Art & Design, and a member of Ice Cube Gallery.   She lives with her husband in Lafayette, CO.

I am fascinated by escapism: how and why our senses transport us to imaginary worlds, how electronic media change the way we feel the present moment and how it can mediate our lives. Through film and theatrical effects, I immerse viewers in the experience of an illusion—what’s real and what’s fabrication?
These new worlds are uncanny and mysterious. I explore how unconscious reactions shape emotion; how certain spaces, sounds, and objects may provoke fear or incite wonder.


Martha Russo
Born 1962 in Milford, Connecticut; lives in Ward and works in Lakewood, Colorado

Martha Russo earned a BA in developmental biology and psychology from Princeton University,1985.  Formerly a world-class athlete, she suffered a career-ending injury in 1984 while preparing for the Los Angeles Olympic Games.  After her recovery from surgery, attracted to the physical nature of sculpture, Russo studied studio arts in Florence, Italy, and continued at Princeton University.  In 1995 she earned her MFA at the University of Colorado, Boulder.  Martha is represented by Allan Stone Gallery, New York, New York and Ron Judish, Denver, Colorado.  Martha also teaches at Rocky Mountain College of Art and Design, Lakewood, Colorado.

Before children have the language and cognitive skills to name an object, they explore the world with all of their senses.  For instance, a chair is not a “chair” but rather something to climb on, to crawl under, and, perhaps, even to lick.  With the acquisition of language and the awareness of the purpose of something, the investigations dwindle and the senses simmer. My hope is that people approach my work and stay with it because they are not quite sure what it is:  What are the forms?  What are they made out of?  How are they suspended in space?  I make abstract organic sculptures to give people a place to let language and purpose slip away and to allow the senses to frolic, to delight, to muse.

Visit Katie Caron and Martha Russo's websites.

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Interview by Vasi Hirdo - Editor of Ceramics Now Magazine with help from Miruna Pria.