Ruth Power: Masks (Cephalophilia), 2011, porcelain, wooden box with black paint and flocked interior.
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: Sprout Series II, 2010, ceramic & high temperature, wire, 12” x 12” x 12” each
Jenni Ward: Nest Series IV, 2010, ceramic & high temperature, wire, 12” x 10” 8”
Liliana Folta: An Abstract Poem of Freedom, 2009, (on going) traveling/interaction/installation: ceramic chain, bullets & bowl; white gesso, ink, wooden chair, white sheets, rug, soldier boots, paper, high temp wire, 3x7x2 ft.
Liliana Folta: An Abstract Poem of Freedom, detail 2. The ceramic bullets are signed by soldiers, veterans, and/or their families from different wars throughout history: WWI, WWII, Vietnam War, Islas Malvinas War, etc.
“My work has a sculptural yet functional element to it and encompasses a sense of traditional ceramic techniques. Within this tradition is the art of storytelling and symbols which evoke certain sentiments and nostalgia but also a sense of the present environment. This environment is psychological and therefore each piece points to emotions within the narrative.
My present work is currently narrated by the symbol of the chair.
How does one define a simple thing like the chair? What makes the chair, a chair? As James Joyce says in A Portrait of a young man, “Is a chair conceived as a work of tragic or comic art?”
No other object forcefully shapes the physical, social and emotional dimensions of our lives. On the chair seats only one person at a time and responds to the body through comfort. It has a communicative function and offers a glimpse into our collective ideas about that sense of comfort and order.
One can imagine the world from a persons’ perspective as it communicates compassion. Just as its absence communicates disrespect, lack of empathy and loss, whether this loss is a physical or emotional one.” Kira O’Brien
Annie Woodford: Piercing Rim, 2007, Porcelain, copper, stainless steel, 28x18x16 cm.
Annie Woodford: Piercing Rim, detail, 2007
Annie Woodford: Splinter 2, 2010, Porcelain, copper, stainless steel, 30x25x30 cm.
Annie Woodford: Encapsulator, alternative view, 2009
Annie Woodford: Slice, 2010, Porcelain nylon monofilament, 16x12x20cm.
“The concept of my recent work is about form, and it grows from my curiosity about space; it investigates the relationship between two objects and it questions how we should make the landscape to react to man-made object. In my work I aim to explore that joyful, interesting, and mysterious relationship between objects and to create compositions with complex configurations though simple and unexpected components.
It is my intention to trigger the viewer to look closer and rediscover the ordinary, yet unfamiliar relationships that exists everywhere within all objects and human beings. Through sensations, communication and exploration, both objects and humans are able to obtain appropriate space and attention. I hope my work is able to look into this perception of the relationships, but more importantly - to enrich this relationship and establish a sense of place.” Kwok-Pong Tso
Kwok-Pong ‘Bobby’ Tso: Qoppa, Industrial landscape Series, 2011, White earthenware, wood, hobby paper, latex paint, H 18, W 20, D 15