Animals have been used in stories as metaphors and analogues for human experiences and feelings for ages. Their representations are a source of comfort, protection, wisdom, tragedy, and sorrow. In reality, we manipulate, control, use, and abuse these very same animals for our own benefit. The sculptures I create stem from this dichotomy.
This series encompasses several different types of relationships and varies from piece to piece. Some of the sculptures in this series focus on the relationship between people and the environment. For example, our general disconnect with nature, excessive consumption, and the earths’ retaliation. Other sculptures focus on the relationships we can form with objects or an accumulation of material goods. This can, but does not always relate back to our connection to the environment.
In this series, works depicting physical aging and a gendered issue surrounding dementia are engaged from a female point of view. Questions surrounding social responsibility are visited through an intimate look at a mother’s dilemma. My focus shifted to my mother after a few years of observing and caring for her while she navigated her days living with Alzheimer’s disease. My mother’s countenance emerges in the work through clay figures over a period of time and through multiplicity. By investigating concrete representations and creating situations that the viewer will identify with, I hope to engage the viewer in a deeper way.
“Up until two years ago, my father, Yaakov, had an agricultural mechanization workshop. Every time I visited the workshop, I found myself entranced by the power of the iron boards and the pile of black and rust colored iron pipes of different diameters, waiting to be used”, Simcha Even-Chen reminisces.
“When I saw the call for entries for the contest and exhibition at Kapfenberg, Austria, entitled “At the Moment”, I decided to use these memories of my father’s workshop. This was the birth of “A Moment Before…” a work I created in 2009, which has since led to the growth of a whole body of works”.1
The memories that awakened this body are the evolution of the artistic research Even-Chen had been immersed in during the period of 2006-2009. This group of sculptures, entitled “Illusion”, was exhibited at The Fifth Israeli Ceramics Biennale at The Eretz Israel Museum (2008), among other places, and even received the Gold Coast International Ceramic Art Award.
Zane Bennett Contemporary Art is pleased to announce Complications, an exhibition of works in glass by Matthew Szösz. The opening is Friday, June 27, at the gallery, from 5-7 pm as part of the Railyard Arts District Last Friday Artwalk.
Matthew Szösz, born in Providence Rhode Island, resides and practices in northern California. He holds a Bachelor’s of Fine Arts, a Bachelor’s of Industrial Design and a Master of Fine Arts in Glass all from Rhode Island School of Design (RISD), and has been awarded grants by prestigious institutions in his field such as the L.C. Tiffany Foundation. Szösz has held numerous artist residencies all over the world including the Danish Royal Academy.
I have developed a process utilizing my knowledge of various casting methods and glaze, chemistry to create forms made entirely glaze. The color and texture is appealing and repulsive at the same time. When viewed through a magnifying glass the surface resembles Scanning Electron Micrographs of cancer cells. The fragile and fleeting appearance of these pieces symbolizes the transient nature of human life. This series of glaze, casted hands represent the genetic passing of disease from generation to generation. It is my fear that my family’s history with cancer is somehow genetic.
Watt’s Up? explores the relationship between ceramics and light by presenting some thirty works of art from all over the world, all created in recent years. Oddly enough, this relationship seems to inspire artists more than designers, trained to create objects such as lamps. Perhaps that’s because light transcends objects and gives us a whole new take on the world. Light affects our vision by modifying our perception of space and movement. In addition, there is a symbolic, poetic and mysterious element to it. As the French author Jean Giono once put it, very clever mysteries hide in the light. If light and ceramics go hand in hand, it’s mainly courtesy of porcelain’s unique properties of translucency, which can give light – produced by a candle or a tungsten filament – a soft, poetic aura and elicit a feeling of wonder. Ceramics offers a broad palette of sensations to play with. Faience is heavy, glossy and sensual in its interaction with light. Pottery absorbs lux units and asserts its own material plasticity to counter the intangible nature of light. Porcelain is lightweight and translucent, and the matte aspect of unglazed biscuit forms a striking contrast with the gloss of the glaze. Watt’s Up? is an unprecedented investigation of the latest innovations and know-how, both sensorial and intellectual in scope.
While researching North St. Louis I have uncovered a history of production and self-sufficiency pushed to the periphery, which today is so prevalent in American society that we barely notice. In the early 1800’s the area just North of downtown St. Louis was a communal farmland for residents. There was also a 15-acre plot along the Mississippi river open to residents to use as they wanted. Both ideas were very progressive for their time and still are, although neither is still in place today. European immigrants once flocked to this area due to failed farming in their homeland. In the case of Henry Overstolz, originally from Germany, once in America his fortune changed when he opened grocery stores. Since then the rapid development of infrastructure has led to a society of convenience. And once again, like in Overstolz’ time of the mid 1800’s, people have fled, as the site cannot meet the needs of the people. My works are inspired by and situated on sites like these.
The exhibition was born from the sensations that were aroused to a group of artists from La Plata after the perception of what happened during the terrible flood that hit their city last April 2nd of 2013. The artworks of Marcela Cabutti, Mariela Cantú, Gabriel Fino, Graciela Olio and Paula Massarutti display a diverse set of poetics that allows us to think about how the construction of images and artistic devices participates in the process of building a collective memory.
Jason Jacques Gallery is pleased to announce its second contemporary exhibition with contemporary ceramic master Michael Geertsen. Following a ceramic installation at the Victoria and Albert Museum in London and a show at Puls Ceramics in his native Denmark, Michael Geertsen has come back to show in New York. Geertsen is known for sleek ceramic works with alien-like sculptural bodies, and stacked sculptures of utilitarian objects like plates and cups. His whimsical and animated forms are executed with machine-like precision, thanks to his background in industrial ceramics. Michael claims American streamline design and Italian Futurism as his primary influences.
Cross MacKenzie Gallery is pleased to present “SCORES” an exhibition of new ceramic sculpture and photographs by three artists whose work is based on repeating dozens or “scores” of elements to create something greater than the sum of their individual parts. Each artist’s work is full of repetitions, multiples, and variations of a seemingly simple form, built up to a greater whole, creating order out of disorder. Together, the pieces are in conversation with one another.