Steve Belz: Conflict of Purpose, 2010, Low fire ceramic, washes, rubber, stainless steel and acrylic paint, 11H x 40W x 17D inches
Steve Belz: Pulse, 2011, Ceramic, glaze, bronze and powder coating, 9H x 14W x 10D inches
Steve Belz: Emerging Tension, 2010, Low fire ceramic, slips, glazes, rubber cords and copper wires, 5H x 8W x 5D inches
Steve Belz: Twisted Synthesis, 2011, Low fire ceramic, washes, glazes, rubber cords and steel fasteners, 14H x 27W x 13D inches
Saint’s Sculptures between the XIX and the XX century / Casa Vestita, Grottaglie, Taranto, Italy
March 29 – April 15, 2012
Opening reception: Thursday, March 29th, 18.30 pm.
For the first time ever, there will be exhibited over 95 votive terracotta figurines representing some of the saints venerated in Puglia, a tangible sign of the widespread devotion to Southern home.
Fifteen photos by photographer Ciro Quaranta will open the exhibition, who in the last thirty years has been conducting a thorough research on the popular faith in Puglia, managing to put together a file that describes moments of faith and devotion that are cyclically repeated during the centuries.
The exhibition “Sacralità domestica”, maintained by the archaeologist Simone Mirto and ceramist Mimmo Vestita will open in Via Crispi 63/A on the 29th of March, and runs until 15 April, enriching the range of cultural offerings in regional during the Easter season when many tourists reach the Salento to enjoy the balmy spring temperatures or to attend the renowned Holy Week Rites in Taranto.
The votive statues accompanied by the photographs tell the intimate relationship between man and the sacred, an extraordinary exhibition which takes visitors through different eras of environments, all enclosed in the picturesque setting of Casa Vestita in the heart of the “City of ceramics”. Grottaglie is thus prepared to the first exhibition that puts a spotlight on an aspect of popular devotion, at a specific time such as Easter, in which the mystery of faith is particularly felt by the community.
"A recious and rare exhibition" - Simone Mirto, curator of the exhibition. Sacralità domestica is the first exhibition in Italy that traces the lower production of votive terracotta figurines made in Grottaglie.
Ruth Power: Cephalophilia (installation), 2011, 100cm wide x 100cm long x 40 cm high.
Ruth Power: Vulva 1 (Cephalophilia), 2010, 43cm wide x 37cm long x 14cm deep; 2011, porcelain, LED light, cord, plug, wooden box with black paint and flocked interior
Ruth Power: Breasts (Cephalophilia), 2011, 48cm wide x 42cm long x 14cm deep; porcelain, LED light, cord, plug, wooden box with black paint and flocked interior
Ruth Power: Masks (Cephalophilia), 2011, porcelain, wooden box with black paint and flocked interior.
Ruth Power: Breasts (Cephalophilia), 2011, 48cm wide x 42cm long x 14cm deep; porcelain, LED light, cord, plug, wooden box with black paint and flocked interior (Black and white image)
Turi Heisselberg Pedersen: My Garden / Copenhagen Ceramics, Denmark
March 29 - April 21, 2012
Opening reception with Garth Clark, New York-based critic, writer and gallerist: Thursday, March 29, 5–8 pm.
Artist Talk with Turi Heisselberg Pedersen: Saturday, March 31 at 2 pm.
"I love my garden, its plants and vigorous growths. Its potency of growth that within one season can produce an enormous plant from a tiny seed. It contains such a wealth of amazing and strange shapes, textures and colours. Furthermore it is a curious mix of nature and cultivation, of something dirty or beautiful, of poetry and ugliness. Certain things bloom and grow, some go wrong, unsuccessfully. It is a world of controlled nature, which is shaped, trimmed and reworked, not unlike the world of clay" Turi Heisselberg Pedersen explains on the inspiration for her show. Her garden can be experienced at Copenhagen Ceramics from 29 March through 21 April 2012.
For the exhibition My Garden Turi Hesisselberg Pedersen has created a new series of works inspired by the patterns, textures and structures in her garden. In the process of transforming this into ceramics works, two overall themes have emerged:
Vases inspired by buds and growths
On one hand you find a group of precise, simple and cultivated shapes. For example vases inspired by the tautness of swelling flower buds – formal expressions that may seem almost vulgar. Or abstract, simple vase-shapes miming the upward, rhythmic patterns of plant-growth. Both act as ceramic equivalents to the trimmed and cultivated nature of gardens and an interpretation of the underlying order.
The opposite theme renders visible the sprouting life under ground. Out of this, works in the shape of organic, bulbous forms and seed capsules emerge with coarse, expressive surfaces or fluted structures. Careless growths and root-like forms, testifying to the more unruly forces of the garden.
In her new exhibition, Turi Heisselberg Pedersen will be showing some all-new, expressive and asymmetric works, where she explores the inherent character and textural freshness of the clay. Other pieces are more typical of her and display her mastery of simplified sculptural vessels, where rhythm, lines and the interplay between forms are recurrent themes.
Richard Slee: Camp Futility / Studio Voltaire, London
April 25 – May 26, 2012
Opening reception: Tuesday, April 24, 7–9 pm
Studio Voltaire presents a new commission by Richard Slee, comprising of a series of objects and installations made specifically for the exhibition. Slee is an important figure within contemporary ceramics and the exhibition will be his first presentation in a public gallery since From Utility to Futility, a solo exhibition at the Victoria and Albert Museum in 2010.
Central to Slee’s exhibition at Studio Voltaire is a number of works based on vernacular objects such as wood saws, hammers, pick axes and camping equipment. Inspired by a recent residency at Alfred University, in upstate New York, the works investigate particular myths and the symbolism of our ideas of America such as the great outdoors and the pioneer spirit. Lashed together workbenches that refer to old mining equipment, various scattered tools and an abandoned camp-fire can be read as an allegory to abandoned industries where whole communities move on to find employment elsewhere.
Ideas challenging the economy of productive labor are implicit in Slee’s combination of the hand-made and the found object. The uncanny hybrid of the de-skilled ready-made and the crafted object convey a subversive humourous vision that playfully investigates the limits of the ceramic tradition. Mass produced, everyday objects are meticulously realized with highly glazed, bright colors. These seductive surfaces recall a Pop or post-modern aesthetic that belies the more psychological, underlying cultural references of an object’s utility.
Slee (born 1946, Carlisle) works and lives in London. He studied Ceramics at Central School of Art & Design and the Royal College of Art. Until last year, he was a senior Professor at the University of the Arts in London. His work has been shown in London and internationally since the late 1970s and recent exhibitions include Postmodernism: Style and Subversion 1970 – 1990, V&A Museum, London (2011-12), The Peir Arts Centre, Stromness (Solo, 2004) and Tate St Ives (Solo, 2003). Slee is represented by Hales Gallery, London.
Sponsored by SIMONE.
Supported by The Henry Moore Foundation.
Jenni Ward: Branch Series (installation), 2011, ceramic & high temperature, wire, variable dimensions
Jenni Ward: Branch Series IV, 2011, ceramic & high temperature, wire, 54” x 8” x 8”
Jenni Ward: Branch Series I, 2011, ceramic & high temperature, wire, 47” x 4” x 4”