Michael Boroniec (b. 1983) is an American sculptor who resides and works in Berkshire County, Massachusetts for its culturally rich history, natural surroundings, and family.
Boroniec received a BFA from Rhode Island School of Design in 2006 with a concentration in ceramic material. His work focuses on ceramic as a dialog between the historical and contemporary implications of clay as a fine art material.
Erskine, Hall & Coe are pleased to announce the exhibition of the celebrated contemporary sculptor, Ruth Duckworth.
The exhibition includes 22 artworks in bronze, porcelain and stoneware. The earliest dates from 1965 but the majority of pieces are from the period of late 1980s through to work completed in the final year of Duckworth’s life. The gallery has been working closely with Thea Burger, who represents the Duckworth Estate.
Writing in her essay to accompany the exhibition Thea Burger states: “Duckworth was a modernist sculptor who loved form. She was not about colour, but was about the subtle shape of her pieces. Her forms are typically created in porcelain, stoneware, or bronze. Much admired, she has art works in most of the world’s most prestigious museums, including the Metropolitan Museum in New York, the Los Angeles Country Museum, the Victoria and Albert, the Stedelijk Museum, and the Tokyo Museum of Art.”
In Ruth Duckworth, Modernist Sculptor written by Jo Lauria and Tony Birks, Duckworth talks of her process of creating a sculpture: Ruth Duckworth Porcelain.
“Play is the essence of creativity. Creative play and gut reaction, instinct. When I work on a piece, I play. I have a whole huge section of the studio where I have an inventory of sculptural forms, simple, abstract, non-specific shapes that I find beautiful and enjoy making. Then I start building these shapes together. And when I find myself smiling, I say “hello!” I think I’ve got something. The process is intuitive, not intellectual. You have to learn to be spontaneous and trust yourself.”
Andrew Barton: Final Frontier / SODA, Istanbul, Turkey March 1 - April 14, 2012
SODA is pleased to announce “Final Frontier”, the first solo show of internationally renowned sculptor Andrew Barton. The exhibit consists of space helmets from three major religions. The expanse of religion to our final frontier, space. Expressing a dystopian future of possible religious conflict in the heavens.
Andrew Barton was born in 1970 London, England. MFA from The Oslo National Academy of the Arts (KHiO). Male fertility, non-loving sex, violence and cannibalism were reoccurring themes in Barton`s work from the end of the 90`s. Barton`s work then took a new direction focusing on the torso or body fragment in combination with a foreign object or abstract shape, dealing with bodily transformations and meditative states of being. His current work deals with industrial products from dystopian futures; space helmets designed for religious expansion in space, and bomb suits tailored for the mundane acts of shopping and child`s play in a future society gone bad.
SODA is a contemporary art and design space founded in Istanbul in January 2010. SODA focuses on artists and designers using different materials and medias from various disciplines and supports contemporary art jewellery, which is a globally rising trend. SODA presents artists and designers distinctive in their field and examples of contemporary movements to audiences that are open to innovation and aims to introduce a new perspective to collectors.
Gallery Hours: Monday to Saturday between 11am and 7pm.
Brian Kakas: Tectonic Perceptions #9, alternative view, 2010. White stoneware, slab built, 31”H x23”W x 33”L, Cone 9 Reduction
Barry Flanagan was one of the most radical sculptors of his generation. Though best known for his statues of bronze hares, his earlier work, in materials as varied as cloth, plaster, and sand, show how he challenged the very idea of what sculpture could be. Fellow artist Peter Randall-Page shares his memories of his close friend. Download this video.
Barry Flanagan was one of Britain’s most original and inventive artists and a key figure in the development of British and international sculpture. He is best known for the large-scale bronze hare sculptures that he began producing in the early 1980s and that can be seen in many galleries and public spaces around the world. The success of these pieces has tended to obscure the equally important and very different work that characterised his early period. Made from materials as varied as cloth, plaster, sand, hessian and rope, these works highlight a concern with material properties and processes - a concern that is at the heart of his practice.
A contemporary of Gilbert & George, Flanagan studied sculpture at St Martin’s School of Art from 1964 to 1966. The exhibition takes this period as a starting point and reveals the impact of this early work on his later development towards casting in bronze, which he began in 1979. This is the first major retrospective of Flanagan’s work in London since 1983, and by focusing on his early works, shows how this radical and imaginative artist challenged the very nature of sculpture in his time.
Georges Jeanclos (1933-1997) is one of France’s great twentieth-century sculptors. His œuvre is rooted in the traumatic events of the Second World War. To escape the round-ups that threatened French Jews, his family was forced to hide in the woods ; Jeanclos, barely ten at the time, had several close brushes with death. When the country was liberated, he saw the corpses of former collaborationists strung up from lampposts ; shortly thereafter, he discovered the skeletal bodies of camp survivors. Decades later, Jeanclos would respond to these seminal events : not by locking himself away in his own experience but by opening up to universality and paying attention to all forms of suffering, past and present ; not by representing horror, but by finding within himself the strength to create beauty.
Jeanclos’ choice medium was clay. He transformed it into thin sheets with which he then shaped human figures. Simultaneously children and adults, men and women, their faces are almost identical. Some are dormeurs resting beneath a coverlet of clay ; others are hidden within urns bearing Hebrew letters drawn from the Kaddish; others are boat travellers bound for the Beyond; still others are kamakuras, meditating bonzes lost in contemplation of the soul’s gardens. To all these, Jeanclos would later add Pietas, amorous Adams and Eves, couples tenderly grazing or stroking one another other. His images reveal both the undeniable weakness of human beings and the invincible strengh of love ; by the simple fact of their existence, they help us to live.
The present show consists of some sixty works in clay and bronze, representing all the periods of Jeanclos’ career. (Tzvetan Todorov)
19 March - 26 June 2011 Galerie Capazza / Nançay / France
Capazza Gallery, a superbly restored place of historic interest (from the XVIIth century), connected with the castle of Nançay, is located in the heart of the Sologne, about 90 minutes from Paris and close to the Loire Valley. In exceptional surroundings of 2000 m², you can admire the works of 80 artists with international reputation. These artist represent contemporary art in the most important fields of Fine Arts.