Ceramic artists list
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glass

Matthew Szösz: Complications / Zane Bennett Gallery, Sante Fe

Matthew Szosz Glass exhibition at Zane Bennett Galery

Matthew Szösz: Complications / Zane Bennett Gallery, Sante Fe
June 27 - July 19, 2014

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. Szösz has an extremely impressive resume for an artist of such a young age.

Szösz’s creative process involves investigation of his chosen materials, resulting in a dance or a dialogue between artist and material. His interest lies in the moment of transformation which is what fuels his impulse to create.

Szösz’s interest is focused on what glass can do and will do when exposed to a variety of conditions inflicted by the artist, resulting in a state of controlled chaos. Of this, Szösz states "The work produced is left deliberately unmodified as much as possible after the shaping so that the connection of the finished form to the process is emphasized to the viewer, as this relationship illustrates the central thrust of the work, that form is the result of physics, rather than the artist, and that the work itself is creator of its own identity." The invention of new techniques and processes not only keep Szösz interested in his medium, the results inform him and push his process further.

Matthew Szösz’s latest works consist of several separate bodies of work including Inflatables, Expandables, and Rigging pieces. The Rigging pieces appear as delicate strands of rope fused together into different shapes. The viewer does not, at first realize the works in this series are glass. The minute detail in each of the Rigging works are a wonder to behold. With the Inflatables compressed air is added to fused pieces of glass while still hot, creating forms that are full and at times pillow-like.

The Expandables are created by pulling glass apart. Inflatables and Expandables compliment each other in their opposition to each other, one feeling more solid while the other appears almost stretched and pulled to its limit, showing strength in its delicate construction. These works clearly prove Szösz’s statement: "Much of my work is an effort to achieve a synergy between opposites- order and chaos, craft and experimentation, the deliberate and the accidental, allowing two opposites to come together and complement and enhance each other."

Matthew Szosz’s work incorporates science and art. Both the process and the outcome are equally intriguing. His work embodies, as American physician and NASA astronaut, Mae Carol Jemison so eloquently stated: "The difference between science and the arts is not that they are different sides of the same coin, or even different parts of the same continuum, but rather, they are manifestations of the same thing. The arts and sciences are avatars of human creativity."

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  • Emma Woffenden: Falling Hard / Marsden Woo Gallery, London

    Emma Woffenden: Falling Hard at Marsden Woo Gallery, London

    Emma Woffenden: Falling Hard / Marsden Woo Gallery, London
    May 15 - June 21, 2014

    Emma Woffenden continues to explore the figure and the fragmented body in her latest sculpture series, ‘Falling Hard’.

    Using a variety of mixed materials including glass, jesmonite, polystyrene, clay and metal, Woffenden creates a discourse around the interconnectivity of the body as a physical and psychological site and the impact of what the body – whole or fragmentary – expresses. The influences of social structures and the dynamics of power relations on the individual imbue her sculpture with a palpable sense of internal conflict.

    Interpretation of contradictions and opposites is a pervasive theme in this new series of work; how internal emotional experience is expressed through theexternal action of the figure, the aesthetics of symmetry and asymmetry, the erotic and fetishistic power of religious sculpture, culminating in the unsettling yet exquisite appearance of her sculptures. The dualities Woffenden confronts in the ‘Baby Hammer’ hybrid object - corporeal and material, playful and brutal, fragile and resilient - hint at violence both real and symbolic.

    Woffenden’s uncanny forms trespass upon the viewer’s imagination, casting an oblique light on the human condition.

    Emma Woffenden (b. 1962) studied at West Surrey College of Art & Design (1981-1984) and the Royal College of Art (1991-1993). She employs a full range of complex glass and mixed media techniques to make works that explore the power of myth and archetypes, and the human condition.
    Widely recognised as one of Britain’s leading glass artists, her work is included in a number of international public collections, including the Victoria & Albert Museum, Wellcome Trust and the Crafts Council, London; Ernsting Glass Museum; Broadfield House Glass Museum, West Midlands. Her award winning designs for Transglass can be found in the collection of the Museum of Modern Art, New York. She was appointed North Lands Creative Glass Artistic Director in October 2013. She lives and works in London and France.

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  • Living Glass / Musée de design et d’arts appliqués contemporains, Lausanne, Switzerland
    December 11, 2013 - November 16, 2014

    Images © Arnaud Conne, Marie Humair – atelier de numérisation de la Ville de Lausanne.

    > More exhibitions / View the list of exhibitions

  • Ceramics/Glass / Ukrainian Institute of Modern Art, Chicago

    Ceramics/Glass exhibition, Ukrainian Institute of Modern Art Chicago

    Ceramics/Glass / Ukrainian Institute of Modern Art, Chicago
    December 6, 2013 - February 2, 2014

    Ukrainian Institute of Modern Art in Chicago (UIMA) presents the exhibition Ceramics / Glass. This exhibit focuses on the medium of ceramic or glass in contemporary art – mediums that require high temperatures, special tools, kilns and specialized studios. UIMA has selected some distinctive personal styles from numerous glass / ceramics studios in Chicago and from artists working in national and international cities.

    Brent Rogers, Alex Trommler and Aaron Wolf-Boze are from Chicago, showcasing art glass that was created in Ignite Glass Studios. Ignite Glass Studios (founded 2012) is already building reputation as a ‘hot’ art glass studio in the U.S.. Eric Bladholm is from Chicago Glassworks, a state of the art glass blowing facility and artist’s studio, custom built into a former iron foundry. He will present glass works combined with various metals. Nikki Renee Anderson will present multiple piece ceramic installation and Robert Pulley will exhibit one of his larger ceramic garden sculptures. Both artists are from Chicago Sculpture International and focus on the sculptural aspect of working with ceramics. Michael Janis, an ex-Chicago artist (now Co-Director of the Washington Glass School in Washington, DC) will present fused glass with glass powder imagery. Xavier Monsalvatje lives in Spain and works in traditional ceramic techniques which reflect industrial aesthetic designs reminiscent of the works of Mexican Muralists. Yurij Musatov and Anna Lypko, both from Ukraine, are two contemporary artists working in ceramics.

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  • David Gallagher: Specific Ubiquity (Green Space), 2010, Portland Cement, Lab Glass, Miracle Grow, Unfired Iron Rich Clay, Grass

  • Craft Spoken Here / Philadelphia Museum of Art

    Craft Spoken Here exhibition at Philadelphia Museum of Art, Philadelphia, USA

    Craft Spoken Here / Philadelphia Museum of Art, Philadelphia, USA
    May 5 - August 12, 2012

    Crafts were prominent among the first works of art to enter the collections of the Philadelphia Museum of Art when it was founded in 1876, and the Museum has continued to collect and exhibit crafts. Today, thanks in large part to the Women’s Committee and gifts from individuals, the Museum is particularly well-known for its holdings of twentieth-and twenty-first-century American, European, and Asian craft.

    With Craft Spoken Here, the Museum seizes the opportunity to experiment with its collection and to understand craft in an international context. Some forty contemporary works from 1960 to the present in ceramic, glass, metal, wood, lacquer, paper, and fiber—some by living, acclaimed artists and others by lesser-known creators—are on view. Representing the Americas, Africa, Asia, and Europe, the works highlight formal qualities that cross cultures, time, and media.

    Craft Spoken Here features an array of engaging education programs and interpretive materials, including on-site artist demonstrations and hands-on craftmaking activities for the public.

    The exhibition is divided into three sections. Essential Element looks at continuing importance of line—the graphic gesture—as an expressive and compositional element in the work of artists. Rebecca Medel’s The One (1985) uses a network of lines to form a dense cube of knotted cotton and linen threads, dark on its fringes and progressively lighter towards the center, which creates the illusion of a luminous sphere floating in an atmospheric haze. The second section, Shape Shifting, includes works in clay, glass, wood, metal, paper, and fiber materials that have been fashioned into sculptural forms. Motoko Maio’s Kotodama (2008) is a folding screen in silk and linen that can be adjusted to divide a room, provide privacy, or rest decoratively in a corner. The final section is Gesture, which includes works that offer visual and emotional cues, such as the chaotic, seemingly uncontrollable framework of Jessica Jane Julius’s Static (c. 2008), in which hundreds of black glass flameworked threads combine in a sculptural evocation of the artist’s reoccurring dream.

    Curator
    Elisabeth Agro, The Nancy M. McNeil Associate Curator of American Modern and Contemporary Crafts and Decorative Arts

    The exhibition is made possible by The Leonard and Norma Klorfine Foundation Fund for Modern and Contemporary Craft. Additional support is provided by the Windgate Charitable Foundation and the Center for American Art at the Philadelphia Museum of Art. In-kind support is provided courtesy of Lion Brand Yarn.

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  • ACGA National Clay & Glass Exhibition: Call for entry

    ACGA National Clay & Glass Exhibition: Call for entry

    ACGA National Clay & Glass Exhibition: Call for entry
    Entry Deadline: October 31, 2012

    Dates: January 26 - March 1, 2013

    The ACGA National Clay & Glass Exhibition will take place January 26 – March 1, 2013 near Los Angeles at the City of Brea Art Gallery. The exhibition will showcase a wide range of handmade ceramic and glass artwork from across the United States.

    The juror is Carol Sauvion, Executive Director of Craft in America, Inc., a non-profit organization dedicated to presenting the history, practitioners and techniques of craft in the United States, and their impact on our nation’s cultural heritage. The centerpiece of the Craft in America effort is its production of a nationally broadcast documentary series celebrating American craft and the artists who bring it to life. The Peabody Award winning Craft in America series airs nationwide on PBS.

    The competition is open to all forms of handmade clay and glass: functional, decorative and sculptural. The deadline for submission is October 31th. The entry fee is $30 for three pieces of artwork. Awards will be given. The online entry form is available at www.acga.net.

    The Association of Clay and Glass Artists of California (ACGA) is a non-profit membership organization begun in 1945. It is dedicated to establishing and maintaining high standards of craftsmanship and design in clay and glass.

    Eligibility
    This competition is open to artists residing in the United States, 18 years or older. Artwork must be composed of at least 75% clay, glass, or a combination of the two, and may be functional or sculptural. All entries must be original and executed by the artist within the past two years. Works may not have been previously shown at the City of Brea Art Gallery.

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  • Debra Fleury

    Debra Fleury Contemporary Ceramics

    Debra Fleury's profile on Ceramics Now Magazine - View her works

    “While growing up near the ocean, I spent many hours peering at tiny creatures and looking for clues to their secret lives. This began a lifelong passion for the the minute details, the battered fragments, and the myriad patterns of organic life. The smallest bits of bone or shell would ignite intense curiosity and imaginative leaps; What was this creature? What did it look like? How did it die? Did it have a family, a home, or friends? Did it feel or think? What would it have thought of me? I create sculptural objects in an empathetic attempt to gain insight into the inner life of creatures and I seek to spark curiosity and imaginative leaps in the viewer.

    Clay is critical to exploring these ideas. Touching clay and responding to its organic properties are key aspects of my largely exploratory and intuitive creative process. Risk taking and pushing materials to their limits is also important. I experiment with the forces used to shape clay, glaze, and glass as a process for imagining and exploring the effects of natural forces. I combine clays with glass or other materials to see what they reveal about their individual properties when they are fused together.” Debra Fleury

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  • Debra Fleury: Tidal 2011. Dark Stoneware, Porcelain and glass. Fired to cone 6 (neutral atmosphere), (wall installation). Dimensions variable, average size per individual piece is approximately 10 cm x 10 cm x  8 cm

  • Debra Fleury: Tidal (detail), 2011. Dark Stoneware, Porcelain, and glass.

  • Debra Fleury: Limpid, 2011. Dark Stoneware, Porcelain and glass. Fired to cone 6 (neutral atmosphere), (wall or surface installation). Dimensions variable, average size per individual piece is approximately 11 cm x 11 cm x  5 cm

  • Debra Fleury: Ice, 2011. Dark Stoneware, Porcelain and glass. Fired to cone 6 (neutral atmosphere), (wall installation). Dimensions variable, average size per individual piece is approximately 5 cm x 5 cm x  7 cm

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