Owner of a Cramic Studio in Jaffa, Israel, Shamai Gibsh’s activities include wheel throwing, hand building and sculpturing.
My ceramic works are focused on esthetic designs. Techniques include: Saggar firings of objects covered with terra sigillata and terra sigillata printing, reduction, Raku and oxidation.
I get inspiration from my environment and surrounding. Jaffa, an 10,000 years old port city a part of Tel-Aviv in Israel - a very old and full of history with its colors and textures, unique architecture and multinational has a big influence on me.
Typically I burnish and cover with terra sigilata, at times I use copper and soluble salts (Metal chlorides like silver, gold, cobalt), and saggar fired inside clay vessels with organic materials typically pine needles.
For the last 11 years I’ve worked every summer at the Harvard ceramic Studio. My sculptural work an been inspired by the life in israel, the political situation in Israel, as well as my recent traveling to China and Korea. There I took a path of a single 3 dimensional object instead of using multiple objects like in my “wall” Aestela exhibition. Each one of these sculpture represents a wall-barrier.
Owner of a Cramic Studio in Jaffa, Israel, Shamai Gibsh’s activities include wheel throwing, hand building and sculpturing.
Susan Meyer: Vinyl, 2011, Laser cut acrylic, H-O scale figures, aluminum, 35” x 10” x 10”
Simcha Even-Chen: Inside Outside
Dark, somber and foreboding, Arthur Gonzalez’s works encourage serious deliberation and reflection on the relationship between personal concerns and world issues. Raw in form, lacking in smoothness and rough in finish, the ceramic sculptures give glimpses of a conversation or a contemplation in progress. Gonzalez’s creations of ceramic and found objects reveal visions and feelings that are not polished but ongoing processes of gyrating thoughts and churning emotions that threaten to erupt into reality and consciousness to defy the fantasy of a peaceful experience.
Aesthetically, his work balances between painting and sculpture, clay figures with blown glass, and horsehair and natural sponges. The understanding that these elements are not “found objects” or even mixed media but closer to the ideas of “material” by Joseph Beays. The figures are a devise to trigger our need to see “narrative” which is a support system for the symbols and the material. These pieces are constructed in such a manner that some pieces are literally and metaphorically in balance with a degree of fulcrum-like equation. Consequently, there is a symbiotic relationship, the sculpture becomes a metaphor for the dialogue and the dialogue is ushered in by the sculpture.
Arthur Gonzalez received his MFA degree at the University of California at Davis. He studied under Robert Arneson. Manuel Neri and Wayne Thiebaud. He is an internationally exhibited artist with over 35 one-person shows in the last 25 years. He has received many awards, including two Virginia Groot Foundation awards,and an unprecedented four-time recipient of the National Endowment of the Arts award. He is a tenured professor at the California College of the Arts in Oakland, He also has been awarded many residencies including the Pilchuck Glass School, and the Tainan University of Art in Taiwan. Gonzalez advises his students to rid themselves of the process normally associated with ceramics, get past things that are supposedly bad technique (like epoxy in cracks), colve problems creatively and remember spirit when making work.
Chris Riccardo received his BFA in sculpture from the College of Fine Arts at Boston University.
In 1995, Chris opened his own commercial bronze casting foundry, RDK Studios in West Palm Beach, FL. A few years later, he began teaching figurative sculpture at the Armory Art Center. Shortly after he decided to sell his foundry and concentrate on his work and teaching. In 2007, Chris was named the Director of the Sculpture Department and Foundry Manager. He set up a small foundry at the Armory and began teaching the fine art of bronze casting.
For a number of year his work dealt with the figure in bronze. Recently, he has started to work less in bronze and more in clay. His figures are one of a kind, fired clay with underglazes. For years his color palette was that of the limited bronze patina finishes. Working in clay has opened up new doors to his work with the unlimited color palette available with glazes.
He is currently represented by the Mindy Solomon gallery in St. Petersburg, FL.
“They point and laugh, tease and ridicule all the while unaware of the consequences.
As important as play is to our development as adults, what effect does play have on those who cannot participate in the traditional sense of the word?
Consequences comments on the epidemic of childhood obesity in our country and how the disease affects our children’s ability to play, leading to low-self esteem, inability to interact and work with others and possible future psychological abnormalities.
It is these abnormalities that have been the focus of my recent work, starting with my series entitled: Mugz: American Heroes. The pieces in Mugz are taken from police blotter mug shots and the accused crimes are woven into their portraits. Consequences takes this idea one step further and explores the idea of how these people end up in front of the authority’s camera.” Chris Riccardo
“If my work is to speak I want it to whisper. In this my aim is to create unique pieces for contemplation and enjoyment. Nature is my source of inspiration and delight and it plays a significant role in my work.
The shadows cast by the interplay of light are an integral part of each piece and through this I want to give my work a contemporary feel whilst enhancing the quality of the clay. Paper porcelain is versatile and allows me to constantly push the boundaries of my work.
I worked with glass initially before turning my full attention to clay, first as a hobbyist and then full-time from my studio which I opened in September, 2003. During this time I have worked tentatively and experimentally with porcelain and felt it possessed the very qualities I needed to create the desired texture.
Porcelain is a difficult medium in which to work, but I found it a very rewarding challenge. It has a welcome degree of unpredictability but when the results are good, I feel that our partnership is a successful one.
My work was exhibited at various CSA Regional and National Exhibitions and also showcased at Decorex 2009 in the SA Handmade Collection where I was selected as one of the Ikons and tribute was paid in the field of South African Ceramics. In October 2010 a piece called “Singing Trees” was awarded BEST PORCELAIN PIECE at the biannual CSA National Exhibition. In April 2011 a piece called “Sickel Bush” was selected for the 9th International Ceramics competition Mino, Japan which will be held in September 2011. In June 2011 a piece called “Deep forest” was selected as a finalist in the Gyeonggi International CeraMIX Biennale 2011 International Competition in Korea.” Rika Herbst
Rafa Pérez: Untitled #22
Although her work has been devoted to drawing, she first encountered the medium of ceramic in 2007. Ceramic has ever since given the artist an opportunity to explore new possibilities of representation. It has provided a means to re-examine and reassess the artist’s ongoing concerns on the role and nature of the work of art as an artefact.
Cathy Coëz’s three-dimensional ’Clay drawings’ and ’Porcelain drawings’ explore the compositional element of aesthetic and the nature of the ceramic medium. These drawings are organized geometrically (a circle, a disk or a square), and are made out of hundreds of pieces carefully arranged. The clay and porcelain material is tirelessly thrown on a ceramic wheel to form hundreds of unique pieces that are created to form a species of its kind. The substance of the clay, together with the inexhaustible possibility of forms and shapes it offers, has fascinated the artist ever since she started to explore the medium in 2007.
The creative process of these museums-sized pieces are initially conceived through a computer Vector Drawing Program, then each piece is methodically arranged and placed next to each other with painstaking precision. The end result is a response to an ongoing research into the nature of minimalist aesthetic and the sophisticated character of macrocosm and microcosm blend.
“In my previous silkscreen drawings, I used to work with a vast selection of colours. With my ceramic work, I am interested in the monochromatic and minimalist approach to colour, tones and shades. I focus instead on the individuality and uniqueness of each piece. For me, throwing clay is like drawing a shape. I start the process by establishing a form, then gradually organise its volume, rearrange its proportions and finalise its character. The shapes and forms I create seem to organically emerge from between my fingers.” Cathy Coëz
Cathy Coëz is a French Multi-disciplinary artist. She lives and works in Brussels, Belgium. Her artwork has been internationally exhibited in galleries and museums and is part of public and private collections.
“I divide my time between teaching and working in my studio. I am a teacher and I’ve emphasised on texile and history in my profession. I believe my current works are inspired by and reflect my educational backdrop. My objects often carry a historical and ethnical connotation.
My inspirations are gathered from all over; my environment, the newspapers, books, fashion and the people around me. My students too are a source of inspiration because of their joyful and ingenuous worldview.
As a ceramist I have specialised in casted forms and the recycling of glass. I especially use old bottles, for which I create a new context and give a new usage. The glides is a design serie I’ve been developing the last few years. I gather their basic structure from gutter- and drainpipes. The serie consists of cups, small containers, candleholders and wall/table vases in various forms and sizes.” Guðný Hafsteinsdóttir
“Guðný Hafsteinsdóttir is a ceramic artist whose medium is not limited to clay. As her works show, her background is first and foremost Icelandic, but in addition to her studies at the Icelandic School of Art and Craft, Guðný has also studied and experienced ceramics in Denmark, Finland and Hungary.
Iceland has a great story-telling tradition and the works of Icelandic artists are often characterised by story-telling features. This also applies to Guðný’s work. Motifs of ancient traditional beliefs are reborn in her beautifully formed freedom stones. Such stones were traditionally used to help women during childbirth. Poems sometimes accompany her works, which make them more personal and add a level of sincerity. Heads of characters from the Viking era appear from glass bottles that have been given a new costume, and in similar works, Guðný flies the flag for Icelandic women. Contemporary recycling gets a new role through Guðný’s works.
But the feeling is far from one where the weight of history rests on the works. On the contrary, her newest works are characterised by lightness and gaiety. Guðný often looks to form in everyday life for inspiration for her craft works. So for example, roof gutters and raindrops are the inspiration for her newest line in cups, trays and breadboards. Here one can find both the form of raindrops and the colour of blue skies. Guðný’s work is characterised by imagination, variety, an awareness of the past and a sensitive perception of the present. Together, these qualities create colourful and thought-provoking art.” Ragna Sigurðardóttir
“I work with abstract sculptural form. I am interested in the idea of one continuous surface, with one connected edge or line running through the whole form. Clear, clean shapes; soft smooth curves in contrast to sharp edges; concave and convex surfaces; the discovery and strength of an inner/negative space - these are all form expressions that appeal to me and results in my continuous exploration and expression in many different variations.
My sculptures are either asymmetrical or with a repetition of form:
- Asymmetrical where I mainly work with the idea of continuous surface. The form has only one side and one edge connected throughout the shape.
- Repetition of form with three symmetrical parts that are connected; three being both a strong number and a balanced repetition of form. The negative space - the shape of the space in between, is equally important.
My work is hand built in coiling technique. Stoneware is my chosen material for its qualities - I like to challenge the material and my own skills by building complicated shapes; fragile in the building, drying and firing process which upon firing attain the strength to be handled and positioned without support.
I often get an idea for a new form while working on another. I also find my inspiration in form I see in nature as well as architecture and design; clean curves, sparse decoration, simplicity. To emphasize the form I use a matt surface and monochrome colours.
I was born in Denmark but grew up in Sweden. I returned to Denmark to study at Design School Kolding in 2000, and moved to London in 2005 after graduating. I have since then predominately worked with sculptural forms.” Merete Rasmussen
Merete Rasmussen: Yellow wall loop #2
“I have a strong interest in natural forms, cultural artifacts and personal mementos. I am drawn to ornament, embellishment, pattern, and texture. For the last ten years the vessel forms in my ceramic work have slowly been evolving into botanically inspired hybrid sculptural forms. In working on these pieces I have become more involved with the details, the close ups, the abstract, the peering into. My interest in detail, layers and encrustations has been heightened by repeated travels to India and China. I am fascinated by the complexity, diversity, beauty and danger of the natural world and this leads to thoughts about growth, nourishment, attraction, and sexuality. Built into these hybrids are some of the artifacts and mementos that form my DNA.” Carol Gouthro