Ceramic artists list
> Ceramic artists list 100. Tim Rowan 99. Graciela Olio 98. Michal Fargo 97. Ryan Blackwell 96. Ellen Schön 95. Francesco Ardini 94. David Gallagher 93. Elizabeth Shriver 92. Jason Hackett 91. Patricia Sannit 90. Bente Skjøttgaard 89. Steve Belz 88. Ruth Power 87. Jenni Ward 86. Liliana Folta 85. Kira O'Brien 84. Annie Woodford 83. Kwok-Pong Bobby Tso 82. Bogdan Teodorescu 81. Kimberly Cook 80. Paula Bellacera 79. Debra Fleury 78. Cindy Billingsley 77. David Gilbaugh 76. Teresa & Helena Jané 75. Marianne McGrath 74. Suzanne Stumpf 73. Deborah Britt 72. Kathy Pallie 71. Els Wenselaers 70. Kjersti Lunde 69. Brian Kakas 68. Marie T. Hermann 67. Mark Goudy 66. Susan Meyer 65. Simcha Even-Chen 64. Barbara Fehrs 63. Shamai Gibsh 62. Natalia Dias 61. Bethany Krull 60. Amanda Simmons 59. Arthur Gonzalez 58. Chris Riccardo 57. Akiko Hirai W 56. Johannes Nagel 55. Rika Herbst 54. Liza Riddle 53. Chang Hyun Bang 52. Virginie Besengez 51. Jasmin Rowlandson 50. Chris Wight 49. Wim Borst 48. Rafael Peréz 47. Guðný Hafsteinsdóttir 46. Cathy Coëz 45. Merete Rasmussen 44. Carol Gouthro 43. JoAnn Axford 42. David Carlsson 41. Margrieta Jeltema 40. David Roberts 39. Patrick Colhoun 38. Abigail Simpson 37. Signe Schjøth 36. Katharine Morling 35. Dryden Wells 34. Antonella Cimatti 33. Cynthia Lahti 32. Carole Epp 31. Blaine Avery 30. Ian Shelly 29. Jim Kraft 28. Wesley Anderegg 27. Connie Norman 26. Arlene Shechet 25. Young Mi Kim 24. Jason Walker 23. Peter Meanley 22. Shane Porter 21. Jennifer McCurdy 20. Yoichiro Kamei 19. Debbie Quick 18. Ian F Thomas 17. John Shirley 16. Grayson Perry 15. Vivika & Otto Heino 14. Georges Jeanclos 13. Daniel Kavanagh 12. Nagae Shigekazu 11. Matthew Chambers 10. Tim Andrews 9. Claire Muckian 8. Adam Frew 7. Maciej Kasperski 6. Roxanne Jackson 5. Keith Schneider 4. Celeste Bouvier 3. Tim Scull 2. Kim Westad 1. Sara Paloma

installation art

Interview with Mia Mulvey, exhibiting artist at the Overthrown: Clay Without Limits exhibition

Interview with Mia Mulvey, exhibiting artist at the Overthrown: Clay Without Limits exhibition, Denver Art Museum, July 2011

The special feature for the Overthrown: Clay Without Limits exhibition includes images from the exhibition and interviews with some of the exhibiting artists, plus with the curator. Subscribe.

Ceramics Now Magazine: Tell us about Mast Year, your work exhibited at the Overthrown: Clay Without Limits exhibition.

Mia Mulvey : I chose the Oak, America’s National Tree, because it has long been a symbol of endurance and strength. The title, Mast Year, refers to the phenomenon in which Oak trees produce a prodigious abundance of fruit. This proliferation has been recreated with emblems of beauty and nature: birds, butterflies and moths.  Lacking life and using forms present in death such as bird “skins” and insect mounts, the connection between the tree and the fauna (pins and cable ties) highlight the forced, unnatural attempts to recreate the sublime by using synthetic, man made modes of connection. Historically, swarms and flocks and have been viewed as omens of both luck and death and such sights in nature are rare if not completely absent. The ultimate goal of Mast Year is to invoke something beautiful yet dark that speaks to the fragility of nature as well as the more poetic and undefined feelings of loss and the desire to exert control despite its futility.

Mia Mulvey, Mast Year, 2011. Stoneware, porcelain, cable ties, and pins. Photo by Jeff Wells.

Ceramics Now Magazine: Your works have a very strong connection with nature, and you can almost say that they are indeed natural. How come you are exhibiting them in museums? Shouldn’t they be part of a free, wild space?

Mia Mulvey: I am interested in creating sculptures that, while realistic in form, are models or copies. Like plaster casts found in both art and science museums they stand in for the original that exists someplace else. They are re-creations that reveal and highlight our misconceptions, viewpoints and our “understanding” of the world.


Ceramics Now Magazine: Why did you take this challenge of exploring the nature in a scientific way? Are you trying to replicate the nature?

Mia Mulvey : The idea of replication and recreation is central to this piece. It is both integral to the concept as well as technically significant. In my work I spend a great deal of time making sure my work is real and factual. I spend a great deal of researching and manipulating my forms so that they are as realistic as possible.I want my work to correlate to a nature “out there” that exists in one form or another. In Mast Year, it exemplifies a nature that we are trying to put back together.

As to why am I exploring nature in a scientific way? I am continually inspired by science, specifically the ideas of discovery and wonder. Albertus Magnus defined wonder as: “Wonder is the movement of the man who does not know on his way to finding out, to get at the bottom of that which he wonders and to determine its cause.” 
Under this definition, wonder is not a static moment; it is the moment of inspiration through the act of learning and discovering the truth. These ideas are present both as concepts in my work as well as guides for my studio process and research.

Mia Mulvey, Mast Year, detail, 2011. Stoneware, porcelain, cable ties, and pins. Photo by Jeff Wells.

Ceramics Now Magazine: You are inspired by an environment that is eternal - the natural world, but unfortunately, your works (or anybody’s works), are ephemeral. Are you disturbed by this, or are you happy with the fact that some day your works will be taken away by nature?

Mia Mulvey: I view this as opposite really. For me, nature is ephemeral and our understanding of the natural world and science is always changing. Part of the reason I work with ceramics (porcelain specifically) is that is has a history of delicacy and beauty in tandem with strength and longevity. Ceramics hold up remarkably well while many other things decay. For Mast Year I wanted to juxtapose fragility with strength both physically and conceptually.


Ceramics Now Magazine: What will you be working on in the near future?

Mia Mulvey : I am very excited to spend the rest of the year back in the studio. I have long been interested in digital tools and how I can use them with ceramics.  For Mast Year, I worked with a material called porcelain tape (Keraflex).  I experimented with a laser cutter and developed a process for cutting and handling the material to achieve pieces more delicate and exact than I could create by hand (the butterflies and moths).  I plan on starting on a series of works which explore these new possibilities and also incorporates 3-dimensional printing. 

——————————————————————-

"The scientific and museum context identifies a system based on order, fact and discovery. It is within this system of scientific display, process and ideology that my work exists. Museums of Science and Natural History evolved from the curiosity cabinets of the 16th and 17th centuries. These collections were displays of specimens, oddities, art and inventions. They permitted the viewer to relive the moment of discovery and to inspire ‘wonder’. In the 18th century there began a shift, instead of poetic spectatorship objects began to be classified and ordered. Taxonomy gave way to the museums of natural history and the museums of art. I am utilizing the scientific/ museum context to explore the notions of ‘wonder’ and the ‘real’. . In my work I am inspired by science and in it our ability to discover wonder. In nature, we are faced with a familiar but superficially understood natural world. It is through such discoveries of wonder and beauty that we deepen our understanding of the inner workings of nature and how they may be applied to our lives.

In Commentary on the Metaphysics of Aristotle, Albertus Magnus wrote:
”Wonder is the movement of the man who does not know on his way to finding out, to get at the bottom of that which he wonders and to determine its cause.”
Under this definition, wonder is not a static moment; it is the process from the unfamiliar towards understanding. I am interested in the illustrative, educational representation of objects that reflect the notions of wonder and natural beauty. Nature is an infinite spectrum of such ideas. Through science and mathematics this world can be delved into and discoveries of wonder can be made. Through the investigation of scientific processes and contexts I can present real and imaginary objects that hint at the multi-layered discoveries of wonder, innovation and beauty found in nature. I seek to present the unknown and make the irrational rational.” Mia Mulvey

Visit Mia Mulvey’s website.

Subscribe to our monthly newsletter and like our Facebook page if you want to stay in touch with us.
→ Read more interviews with ceramic artists and search through our featured artists.

Interview by Vasi Hirdo - Editor of Ceramics Now Magazine

  • Overthrown: Martha Russo and Katie Caron, Apoptosis (detail), 2010–11

  • Overthrown: Martha Russo and Katie Caron, Apoptosis (detail), 2010–11.

  • » Overthrown: Clay Without Limits exhibition feature

    This month we’re making a special feature for the Overthrown: Clay Without Limits exhibition, which is on view June 11 through September 18, 2011 at the Denver Art Museum.

    It’s the first feature made by Ceramics Now Magazine, and includes images from the Overthrown exhibition and interviews with 10 of the exhibiting artists, plus with the curator of the exhibition. At the end of July, we will also send a special newsletter. Subscribe here to our monthly newsletter.

    NAVIGATION (HOW TO):

    About Overthrown - About the Overthrown feature on Ceramics Now Magazine
    /Overthrown - Images from the exhibition (in High Quality).
    /Overthrown_Interviews - Interviews with 10 of the exhibiting artists.
    /nameofthe_artist (ex: /Linda_Sormin) - Images with the works of the artist you’re looking for.

    Interviews (many will be published at the end of July):

    Gwen F. Chanzit - The curator of the exhibition.

  • Overthrown: Mia Mulvey, Mast Year, 2011. Stoneware, porcelain, cable ties, and pins. Photo by Jeff Wells.

  • Overthrown: Paul Sacaridiz, An Incomplete Articulation, 2011. Porcelain, powder-coated aluminum, steel, paper, cut vinyl, and wood. Photo by Jeff Wells.

  • Chang Hyun Bang: Installation view

  • Chang Hyun Bang: Installation View

  • Roxanne Jackson: We believe in Something (installation)

  • Nick van Woert: Untitled (2010) Plaster bust and polyurethane plastic / 25.5 x 20 x 9 inches (via)

    Nick van Woert: Untitled (2010)
    Plaster bust and polyurethane plastic / 25.5 x 20 x 9 inches (via)

    (via floure-deactivated20110830)

  • Signe Schjøth: Seeping, Creeping, Breeding No. 5 - Installation (Royal College of Art) #2

  • Signe Schjøth: Seeping, Creeping, Breeding No. 5 - Installation (Royal College of Art)

  • All work is copyright of respective owner, otherwise © 2014 Ceramics Now. Website design by Thomas Cullen. Powered by Tumblr.