Elizabeth Black and White, porcelain, 14 inch tall
After Vizner, detail 
After Vizner, reverse 
After Vizner, translucent porcelain, 6 inches diam 
Acretions, porcleain, 2 inches each 
Alan, detail 
Alan, glazed stoneware, 22 inches wide 
Audrey Hepburn, Hand with Bi glazed porcelain, 12 inches tall 
Centaur, 20 inches 
Centaur, verso 
Chrysalis, detail 
Dark Side of the Moon, 17 inches
Dark Side of the Moon, 2019, ceramic, 13 inches diam. Photo by Eva Heyd
Ecstacy of St Theresa, glazed earthenware, 31 inches wide 
Ecstacy of St Theresa, detail 
Ecstacy of St Theresa, detail 
Impeach, 2019, ceramic, 20 inches. Photo by Eva Heyd 
Dragon Claws, 9 inches 
Four Dragon Claws, 9 inches 
Inge (Taiwan) at Throckmorton 
Intersection, porcelain, 15 inches 
Market, glazed stoneware, 14 inches diam 
Evelyne, marblized stoneware and porcelain, 20 inches wide 
Nike, wood fired ceramic, 30 wide 
Pagoda interior, porcelain 
Olsen Bi, wood fired porcelain, 6 inches diam 
Peach Tree, detail 
Peach Tree, glazed porcelain, 6 inches tall
Red and Green, glazed ceramic, 8 inches tall 
Red and Green, glazed ceramic, 8 inches tall, verso 
Smoke, glazed, porcelain, 18 inches tall 
Smoke, glazed, porcelain, reverse 
Split Bowl, detail 
Split Bowl, glazed porcelain, 7 inches diam 
Split Bowl, glazed porcelain, 7 inches diam 
Tangle 3, jade porcelain, 3 inches 
Tangles, jade porcelain 
Tangles orange and green for Throckmorton, 3 inches each
Three Waves, handmade paper, 10 inches tall 
Toast, detail 
Toast, wood fired ceramic, 18 inches wide 
Translucence, porcelain, 8 inches diam 
Translucence, reverse
Marc Leuthold: Selected works, 2016-2020
Most often, I make sculptures from clay, discrete objects that I exhibit sometimes singularly and sometimes in dialogue with one another in installation environments. In these environments, I often incorporate other media such as wood, glass, paper, bronze, and literary texts. The installations are the more overtly conceptual works often referencing social justice concerns – sometimes within a context of relational aesthetics.
Many of the sculptures refuse to plainly identify themselves. While their identities may be unnamable, they are distinct, composite forms suggesting transition: temporal, cultural, male and female, nature, and artifice.
Through the medium and processes of clay, there is a play between the soft and hard, fluid, and crystalline. An element of surprise occurs in the studio, sometimes yielding unexpected forms, surfaces, and colors. This leads to re-invention, experimentation, and openness. By harnessing this sense of chance within the practice, I explore new directions. Even when repeated, forms are inherently unrepeatable.
