Paula Bellacera: BullDog Begs, 13” x 18” x 12”, 2012, handbuilt, low-fire clay, glaze, underglaze
Paula Bellacera: Bee with Purple Head, 4” high, 2011, handbuilt, low-fire clay, glaze, underglaze, paint
Art should come from the heart of the artist, it should engage the audience, it should connect with the community, it should start a dialog, a debate. It should get people to look at things in a way they have not thought of, or to see what they have looked at but not really seen. Art has to come deeply from the artist, there has to be raw emotion and honesty in the work if it is to connect with people. An Artist paints and sculpts what they know. These are all the reasons I wanted to do a show about Alzheimer’s disease. To start a dialog, to connect, to get people to understand what it is like to have the disease, it is a part of my life, so it is what I know, what I am around. I took those thoughts and feelings and transformed them into visuals to engage my audience.
I speak through paint and clay. Art is a look inside the artist, what I am feeling is transferred into the clay while I am sculpting, Those feelings have to go somewhere. I wanted to tell a story, I wanted you to feel how it is, the frustrations, humor, the compassion and the heartache of having Alzheimer’s disease and for the ones caring for one with this disease.
William Faulkner said it best ~ The aim of every artist is to arrest motion, which is life, by artificial means and hold it fixed so that a hundred years later, when a stranger looks at it it moves again since it is life.
Cindy Billingsley: Meerkats Alert, 2008, 25” x 24” x 15”, raku clay, hand built solid, hollowed for firing, low fired, cold finish acrylic and wax
Cindy Billingsley: Gorilla, 2008, 22” x 20” 21”, raku clay, hand built solid, hollowed for firing, low fired, cold finish acrylic and wax
Cindy Billingsley: Panda, 2008, 25” x 28” x 15”, raku clay, hand built solid, hollowed for firing, low fired, cold finish acrylic and wax
Cindy Billingsley: Tapir, 2007, 15” 15” x 9”, raku clay, hand built solid, hollowed for firing, low fired, cold finish acrylic and wax
Cindy Billingsley: Lemur and baby, 2008, 15” x 8” 9”, raku clay, hand built solid, hollowed for firing, low fired, cold finish acrylic and wax
Kathy Pallie: The Unsung Hero. Stoneware, glazes, 14”H x 17”L x 13”D, 2011
“I am currently using ceramics and mixed media. My work is characterized by a reflection of contemporary society with a subtle humor and a tendency to idealize. I make works that stand alone, as well as installations.
The ceramic figures of ‘Sisyphus Work’ are condemned to an inevitable and senseless action. The titles that I use are referring to an existentialism in which an absurd figure plays the main role, extending far beyond the limits of vanity. They perform actions, although they realize that life is without meaning, but they stubbornly refuse to take the escape routes of death or faith. Spraying grass green, air exchange systems which are much too small to have any effect, machines that suck volatile odors, trying with mental control to move a vehicle. Again, and again, and again. Acceptance of the fundamental emptiness is the only thing that’s left.
The “Human Hybrids” installation is about the possible consequences of genome manipulation and malleable man. Genetic engineering, also called genetic modification, is the direct human manipulation of an organism’s genome using modern DNA technology. In examining the effect of specific genes, scientists have already made a fish that glows under UV light, pork with spinach genes, goats which produce spider’s web and there is also a Genmouse with super muscles that is protected against obesity.” Els Wenselaers
Els Wenselaers: The Mausoleum, 2008, 16 x 34 x 50 cm, Ceramics, used materials
Els Wenselaers: The sleepwalker, 2010, 17 x 60 x 18 cm, Ceramics