Ian F. Thomas: Di-analytic Variables, Wheel-thrown, altered, hand-built, earthenware, electric fired cone 02, steel, paint, gold leaf / 38x37x30 inches, 40 lbs
Ian F. Thomas: The Eagle and the Arrow, interior detail, Plastic army men, arrows, paint, 4 inches thick
Ian F. Thomas: The Eagle and the Arrow, Wheel-thrown porcelain, slip, gas fired cone 6, graphite, image transfer, arrows, elementary school chair, gilded brick kiln stilt, paint / 40x16x16 inches, 45 lbs
Ian F. Thomas: Buttoning Buttons and Loosening Teeth, Wheel-thrown platter, solid-carved/hollowed tooth, earthenware, electric fired cone 02, paint, graphite, string, vintage doorknob / 50x20x8 inches, 12lbs
Susan Meyer: unité d’habitation, 2009, laser cut acrylic, H-O scale figures, aluminum, wood, video and sound, dimensions variable
Susan Meyer: Vinyl, 2011, Laser cut acrylic, H-O scale figures, aluminum, 35” x 10” x 10”
Susan Meyer: work in progress (detail), 2011, concrete, cardboard, acrylic, H-O scale figures, lights and succulent plants, dimensions variable
Susan Meyer: Swimming Hole, detail #2
Susan Meyer: Together, alternative view, 2008, Laser cut acrylic, H-O scale figures, wood, video and sound, dimensions variable
Susan Meyer: Together, detail
Susan Meyer: Shaft, 2010, laser cut acrylic, H-O scale figures and aluminum, 50” x 14” x 14”
Modern Art Oxford presents Teacher of Dance, the first major UK exhibition of the Seoul- and Berlin-based artist Haegue Yang. Yang has developed a distinctive practice of colourful and sensorial installations and sculptures that seek to occupy the spaces where public and private meet and contend with one another. Through her work, Yang discloses narratives, individual portraits and her own sentiments, reflecting the balance of research and intuitive enquiry that underlies her practice. She predominantly uses materials drawn from the domestic realm, yet employs an abstract language to free the work from any narratives that influenced her production process. (via)
Arlene Shechet’s modeled surfaces demonstrate how clay mirrors the artist’s touch. Her objects bear the mark and memory of her hands. The sculpture’s bulges, hollows, spouts, and holes evoke bodily features, and as the artist notes, are “suggestive of the curving forms found in classical Indian sculpture.” By coating the clay with eccentric color combinations and metallic glazes—created with an experimental disregard for traditional firing temperatures—Shechet not only fractures the objects’ surfaces but also undermines any single association with nature. Seeming to expand and deflate like a breath, Shechet’s dynamic works continually transform, as they reappear anew moment by moment.
Born in New York City, Arlene Shechet received her BA from New York University and her MFA from Rhode Island School of Design. Her work has been exhibited at numerous venues, including the Museum of Contemporary Art Denver (2009), the Walker Art Center (2009), the Institute of Contemporary Art, Philadelphia (2008), the Scottsdale Museum of Contemporary Art (2008), the Rubin Museum of Art, New York (2007), Real Art Ways, Hartford (2005), and Henry Art Gallery, Seattle (2003). She has created on-site installations at the United States Embassy, Beijing (2008), Byrdcliffe Arts Colony, Woodstock (2007), the Cathedral of St. John the Divine, New York (2001), and elsewhere.
Natalia Dias: Transfiguration III, 2011, porcelain, 58x100x35cm