Exhibition at Blum & Poe, September 10 - October 22, 2011
Ian F. Thomas: Di-analytic Variables, Wheel-thrown, altered, hand-built, earthenware, electric fired cone 02, steel, paint, gold leaf / 38x37x30 inches, 40 lbs
Ian F. Thomas: Di-analytic Variables, detail, Slab-built earthenware, electric fired cone 02, gold leaf
Ian F. Thomas: The Eagle and the Arrow, interior detail, Plastic army men, arrows, paint, 4 inches thick
Ian F. Thomas: The Eagle and the Arrow, Wheel-thrown porcelain, slip, gas fired cone 6, graphite, image transfer, arrows, elementary school chair, gilded brick kiln stilt, paint / 40x16x16 inches, 45 lbs
Ian F. Thomas: Buttoning Buttons and Loosening Teeth, Wheel-thrown platter, solid-carved/hollowed tooth, earthenware, electric fired cone 02, paint, graphite, string, vintage doorknob / 50x20x8 inches, 12lbs
Ian F. Thomas: Turbulent Continuity, detail, Slab-built earthenware, string, paint
Ian F. Thomas: Turbulent Continuity, Digital Projection of a slip-cast Chinese vase (American made mold), 18 out-of-date educational books, slab-built earthenware, string, paint
NCECA 2012 Projects Space: On the Edge
ENTRY DEADLINE: Friday, November 4th, 2011 (midnight MDT)
To be “On the Edge” is to be balancing yet changing, openly vulnerable and possibly ephemeral, about to plunge into a place that is undefined, unconventional and unexpected. “On the Edge” can be applied to virtually anything, from an impeding natural force to a chemical process, to a human emotion, memory, or condition. The dynamic and ever-changing landscape of the Pacific Northwest is a geographical manifestation of this concept and is at its most vigorous along the shores of Seattle and the Puget Sound-the site of NCECA’s 2012 Conference.
“On the Edge” can also easily be applied to the medium of clay. Of all the materials that artists reach for, it can be argued that clay holds the most fundamental potential: able to immediately respond to the force of a touch, constantly changing and moving on to the next edge of expression.
For the 2012 Projects Space in Seattle, artists are invited to consider the possibilities that lie within the medium of clay and submit works that consider the concept of “On the Edge.” Now in it’s third year, NCECA’s Projects Space is a platform for ceramic artists to present works that embrace the medium not as an end, but as a means of embracing the material as a physical metaphor, allowing it to communicate beyond the expected. Jurors Linda Ganstrom, Marianne McGrath, and Jeffry Mitchell are looking for submissions that not only actively embrace the concept of “On the Edge” using the medium of clay as a central focus, but also engage their materials, processes, and audience in unique and unconventional ways. Artists should keep in mind that the Projects Space Exhibition lies in the Central Hall at the heart of the NCECA Conference, and works are meant to grow and change throughout the duration of the conference.
Five juried and invited artists will be assigned a 10’ x 19’ raw space in the Central Hall of the Seattle Convention Center to create their works during the week of the 2012 NCECA Conference. Artists will have from 9am to 4:30pm Tuesday, March 27th to install their materials and begin their piece. The artists will be featured guests at a reception Tuesday evening. Artists will continue to interact with their materials and piece throughout the conference ending Friday, March 30th at 5pm. Artists will de-install and clean their spaces from 5-9pm that evening.
Selected and invited artists will receive a 2012 Conference Pass and a $500 stipend. The stipend is all-inclusive and is meant to aid in the purchasing of materials for the work, and in the shipping of the work to and from Seattle. Artists will be responsible for all shipping costs and ensuring all their materials are available for the installation to begin at 9am on Tuesday, March 27th. Artists shipping directly to and from the WSCC will make arrangements with NCECA staff, and will incur an additional fee for signing. Artists will receive approval for payment of their stipend based on the condition that their space is left clean, without debris, or leftover materials of any kind. There should be no evidence of the piece remaining in any form. Plastic sheeting will be available for the floor, and the spaces will be clearly delineated.
“I make sculptures that are inspired by utopian, experimental communities. The pieces suggest architectural models for utopian experiments. My curiosity stems from the ways in which these communities reflect optimism and, the ways in which they simultaneously reflect failure. Modernist ties to the utopic and Modernist architecture also come into play; recent sculptures in layered acrylic are examples of this interest.
Currently, I am also working on hexagonal structures made of concrete covered cardboard. These pieces are influenced by Brutalist architecture, Corbusier’s machines for living and, most strongly, by Robert Smithson’s slide lecture (1972) on Hotel Palenque to the architectural faculty at the University of Utah.
I’ve been visiting the sites of a number of utopian communities (Drop City (CO), Libre (CO), New Buffalo (NM), the Oneida Community (NY), Fruitlands (MA)…) and I’ve videotaped what remains there. Compiling this video footage and adding off-hand, stop-action animated figurative elements is a related current project. I envision clusters of these various works – the sparkling city, the concrete ruins and the small screen video – creating an environment both visually rich and suggestive of societal energy and entropy.” Susan Meyer
→ Susan Meyer is a special featured artist on Ceramics Now Magazine.