13 Ways of Looking at “Natural Great Piece” - Meditations on a performance in clay by Cybele Rowe and Lauren Ari / REVIEW

REVIEW, November 2012:

13 Ways of Looking at “Natural Great Piece”
Meditations on a performance in clay by Cybele Rowe and Lauren Ari

Review by Daniel Fleischmann for Ceramics Now Magazine - Issue Two

1. “Natural Great Piece” is an intricate, intimate, communal performance in the medium of clay. Like a dance or a concert, it is more overtly bound to time than most sculptural artwork, and it ends dissolved into the past.

2. Cybele Rowe and Lauren Ari make a large and detailed clay sculpture. It emerges from an improvisational score fed by their combined 60 years of art making experience. Passersby are invited to create self-portraits in clay to be incorporated into the artwork. Its surfaces become covered with these figures, which are painted with underglaze.

At a certain point, the construction is complete. Its size is such that it can easily conceal a large adult from view. The words of Tibetan lama Nyoshul Khen Rinpoche are carved into the unfired clay:
Rest in natural great peace this exhausted mind,
Beaten helpless by karma and neurotic thoughts
Like the relentless fury of the pounding waves
In the infinite ocean of samsara.
Rest in natural great peace.

A brief performance marks the culmination of the process. Then the Natural Great Piece is dismantled.

3. Rowe and Ari first manifested “Natural Great Piece” at the 2nd Ceramics Annual of America in San Francisco, October 5-9, 2011. They were joined by singer Bridget O’Keeffe and dancer Juliet Lin. In addition, roughly 250 fellow artists, ceramics aficionados, art students, and visitors contributed small figurative moments to the sculpture.

Circumnavigating its concave exterior or squatting in its embrace, you could see a red dragon, a female figure growing from yellow coral, a gnome pouring a jug of water over a balcony, a bloody ghoul, a colony of barnacles, a waiter bringing a head on a tray, a cluster of pink faces on a blue man’s torso, and countless more visual poems and paragraphs.

The chaotic and fascinating fresco captured the essence of the eternal cycle of birth, differentiation, suffering, death and rebirth—in short, samsara. Yet as varied as the details were, all came together in the single, curved wall. Reminiscent of both cave and womb, it described approximately three quarters of a circle and measured about 3m in circumference, 2.5m in height at its apex, and 900 kg in weight.



4. There is no reason to believe that “Natural Great Piece” has a quintessential appearance. Rowe notes, for example, that the moisture in the air at Fort Mason, which sits on a pier above San Francisco Bay, forced her to build a stockier wall. One wing of the sculpture even threatened to collapse on Saturday, calling for quick reinforcement. In a drier clime, the taller shape could easily emerge given Rowe’s gift for stretching the proportions of clay.

For another example, because the venue was a ceramic conference, many participants were artists themselves. Rowe and Ari conceive of this work having an expression in a space where most passersby would not have artistic training. It would yield something quite different and perhaps more compelling to Ari, who says, “The point is that art is for everyone. Everyone gets to express. For me, it’s very powerful to invite people to art making in a way that makes them say yes to the process.”

5. “How do you fire it?” is the number one FAQ. The answer is simple, but few can hear it without questioning further.
“So you’re not going to save it?”
“Then what are you going to do with it?”
“Are you going to take it apart and then fire it?”

You have to have compassion toward these reactions because it’s clear that great effort has gone into building this mother cave. The structural ingenuity, the input of so many people, even the cost of the clay—surely it must be saved.

But when a saxophonist stops blowing, or a monk rises from a meditation of pure surrender, or a trick pilot pivots a plane like a beached fish in midair and then recovers, nobody questions why the transcendent emergence has to end. Nobody asks the pilot, “How will you save that moment?” And even fired clay is only a pause in this fluid reality.
(The second most common question is asked by people who have given Rowe and Ari their clay self-portrait: “Where is the piece I contributed?”)

6. Last summer, Ari and Rowe got together at Rowe’s studio in the hills southeast of L.A. Together, they built two small structures to explore the way their languages combine. They also painted two large drop cloths in prismatic colors to serve as a foundation for the sculpture. Their daughters, Galatea and Mirabai, fast friends, played together while their mothers worked.

The artists first met the previous year at the First Ceramics Annual, but even before that, Ari had seen Rowe’s work and recognized a kindred spirit. “When I saw [it], I thought to myself, ‘If I were to make something big, I’d want it to look like that.”

Rowe had also been instantly attracted to Ari’s work, and had actually set one of Ari’s images as her computer’s desktop graphic before the two ever met.

“So when we met, we quickly started talking about collaboration,” Ari relates. “We had similar energy and ideas.” Over the year, these ideas coalesced, leading them to Fort Mason on October 5, 2011, where they spread the canvases, poured a ring of sand for a base, and began to grow the artwork from the ground up.

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Residence of Growth, Allison Luce at the Zentrum für Keramik-Berlin / Review

REVIEW, April 2012:

Residence of Growth, Allison Luce at the Zentrum für Keramik-Berlin
by James Romaine

/ Read the full review in Ceramics Now - Issue Two

Since its inception in 2005, the Zentrum für Keramik-Berlin has been an oasis of cultural exchange for ceramic artists in one of Europe’s principal artistic centers. Founded by Thomas Hirschler and Kaja Witt, the residency program provides a creative sanctuary in the midst of an exhilarating city where artists from around the world can create artwork stimulated by their surroundings and experiences. Developed after the couple spent time at the Archie Bray foundation in Helena, Montana, the Zentrum für Keramik-Berlin welcomes artists to a city that is, at once, standing in history and bursting into the future.

Ceramicist Allison Luce, who lives and works in Charlotte, North Carolina (USA), participated in a residence at the Zentrum für Keramik-Berlin between May and July 2010. Inspired by a city with such a tumultuous past, Luce was amazed at the beauty and resiliency of life that was Berlin. This residence allowed her to experience the city in a different way than previous trips that were characterized by quick visits to the main tourist sights. By taking bike rides along the Mauer Weg, following the path of the Berlin Wall, she was able to weave between the former East and West Berlin in a way that was impossible for 30 years and experience where the wall divided the city. Since Luce was there during the spring, she saw the quiet garden of the residency transformed into a blossom of life. As the weather warmed, she also went to various monuments and landmarks around the city, such as the Soviet War memorial, which is tucked away in a quiet residential neighborhood. Luce was amazed to experience a city’s metamorphosis woven from a web of history into something thriving and beautiful.


Evaporate, 2010, 14.5” x 13” x 5.5”, Fired Clay with oxides, watercolor, mixed media. Photo by Allison Luce.

In Berlin, Luce developed a body of sculpture, collectively entitled “The Serpent Tree”. Referencing nature as well as the body, “The Serpent Tree” works, such as Mandrake and Echo, as vessels of birth, growth, death and, even, life through death. The theme of residence has been a central theme of Luce’s ceramics for many years. Her work materializes the twisted processes of organic growth. One of the advantages of clay ceramics, born of earth and fire, is its potential material affinity with the viewer. Luce’s work takes full advantage of this affinity. Working in clay, the material out of which all of humanity was created, her sculptures explore the ephemeral nature of our existence and the belief in the promise of life. Just as the body is the residence of the soul, Luce’s sculptures are residences of presence and meaning.

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