Overthrown: Clay Without Limits, on view until September 18

The Overthrown: Clay Without Limits exhibition at the Denver Art Museum is on view until September 18, 2011.

"The scale of the space has pushed all the artists to think big, both physically and conceptually. The exhibition, technically demonstrates the inventive use of such an ancient material, while raising contemporary issues. The works in the exhibition challenge traditional notions of “objectness”, providing a depth of content, and creating a diverse dialogue." Katie Caron

Location: Anschutz Gallery, Level Two, Hamilton Building / Denver Art Museum

→ View images from the exhibition (in High Quality) - /Overthrown
→ Read interviews we’ve made with some of the exhibiting artists -  /Overthrown_Interviews

Interview with Gwen F. Chanzit - The curator of the exhibition.
Interview with Katie Caron and Martha Russo
Interview with John Roloff
Interview with Clare Twomey
Interview with Paul Sacaridiz
Interview with Linda Sormin
Interview with Del Harrow
Interview with Mia Mulvey
Interview with Benjamin DeMott

* The Overthrown: Clay Without Limits exhibition will have an extended feature in the first printed issue of Ceramics Now Magazine (November 2011).

Ian Shelly

Ian Shelly's profile on Ceramics Now Magazine - View his profile

“In my work, a tangible place exists where the fields of art making, weapons manufacturing and scientific research converge. This latest work is composed of these subjects existing in the same atmosphere, constantly crossing and colliding with one another as if part of the same charged electron cloud. This work as an endless equation of variables, values, formulae and solutions. Like the system and language of chemistry, these subjects are always around us and the characters, materials and scenarios of this equation and chain reaction are in constant motion.

In an effort to reflect on the early presence that these subjects have in our lives, this connectivity is expressed through a language specific to childhood and is punctuated with objects that reference my early education and play. The childish language in this work comments on two conclusions that stoke the fires of my work; the omnipresent nature of science in our daily lives and the similarity between objects used to discover and nurture and those used to destroy and capitalize.

I see this work as a mechanism to evaluate conflict as the direct result of two kinds of perennial human activities: misunderstanding – willful or otherwise – and the heroic yet flawed effort to understand through research and classification. The activities in my work show the nature of human relationships as seen through the lenses of our societies researchers and artists.” Ian Shelly

 

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Shamai Gibsh: Installation “Stelae 2011”, 235x213x55 cm. Stoneware, Terra sigillata, Saggar firing.

Shamai Gibsh: Installation “Stelae 2011”, 235x213x55 cm. Stoneware, Terra sigillata, Saggar firing.

Shamai Gibsh: Installation “Stelae 2011”, detail, 235x213x55 cm. Stoneware, Terra sigillata, Saggar firing.

Shamai Gibsh: Installation “Stelae 2011”, detail, 235x213x55 cm. Stoneware, Terra sigillata, Saggar firing.

Natalia Dias: Waterfall, detail of installation over 70 Ox tongues, 2010, porcelain, 250x350x27cm

Natalia Dias: Waterfall, detail of installation over 70 Ox tongues, 2010, porcelain, 250x350x27cm

Natalia Dias: Autumn Forest, 2010, detail of installation 16 hearts, porcelain, aprox 30x23x13cm

Natalia Dias: Autumn Forest, 2010, detail of installation 16 hearts, porcelain, aprox 30x23x13cm

Bethany Krull: Game, 2010, porcelain wood, Target Size; 48”H x 48”W, Hedgehoglets: 6”H x 5”W x 5”D

Bethany Krull: Game, 2010, porcelain wood, Target Size; 48”H x 48”W, Hedgehoglets: 6”H x 5”W x 5”D

Overthrown: Linda Sormin, Mine (i hear him unclip me / blood runs cold), detail, 2010–11.    Glazed ceramic; souvenir kitsch; and studio remnants from Tim Berg,    Gerit Grimm, Nathan Craven, Robyn Gray, and Ted Yoon. Photo by Jeff    Wells. #3

Overthrown: Linda Sormin, Mine (i hear him unclip me / blood runs cold), detail, 2010–11. Glazed ceramic; souvenir kitsch; and studio remnants from Tim Berg, Gerit Grimm, Nathan Craven, Robyn Gray, and Ted Yoon. Photo by Jeff Wells. #3

Overthrown: Linda Sormin, Mine (i hear him unclip me / blood runs cold), detail, 2010–11.    Glazed ceramic; souvenir kitsch; and studio remnants from Tim Berg,    Gerit Grimm, Nathan Craven, Robyn Gray, and Ted Yoon. Photo by Jeff    Wells. #2

Overthrown: Linda Sormin, Mine (i hear him unclip me / blood runs cold), detail, 2010–11. Glazed ceramic; souvenir kitsch; and studio remnants from Tim Berg, Gerit Grimm, Nathan Craven, Robyn Gray, and Ted Yoon. Photo by Jeff Wells. #2

Overthrown: Linda Sormin, Mine (i hear him unclip me / blood runs cold), detail, 2010–11.    Glazed ceramic; souvenir kitsch; and studio remnants from Tim Berg,    Gerit Grimm, Nathan Craven, Robyn Gray, and Ted Yoon. Photo by Jeff    Wells.

Overthrown: Linda Sormin, Mine (i hear him unclip me / blood runs cold), detail, 2010–11. Glazed ceramic; souvenir kitsch; and studio remnants from Tim Berg, Gerit Grimm, Nathan Craven, Robyn Gray, and Ted Yoon. Photo by Jeff Wells.