READY TO WARE: CONTEMPORARY PLACE SETTINGS
Ready to Ware: Contemporary Place Settings Belger Crane Yard Studios presents a curated exhibition of contemporary studio potters whose work focuses on dinnerware sets. The exhibit features a variety of styles and techniques suitable for every occasion. Join us for the opening reception to view the artists interpretations of presentation and dining rituals. Featured Artists: Agnes Stark, Baucum Pottery, Jake and Julie Bond, Paul Donnelly, Chandra DeBuse, Lauren Smith, Meredith Host, Alex Watson, and Erica Iman
Located at Belger Crane Yard Studios 2011 Tracy Avenue Kansas City, MO 64108
Agnes Stark
“Pots are made of clay, but the hollow space in them makes the essence of the pot. And this essence comes from an intangible something in the spirit of the potter which he is able to fuse into the shape of his work, which he blends into his knowledge of the throwing, the glazing, and the firing, so that every piece from his hand is as much his own as his signature and heartbeat. Only then will the two be good, that is, alive.�
Dale and Brin Baucum
“Through all the years we have discovered that making pots is much like a dance; much like a song; always with new gestures to add to the tune. And as is often the case with art, the more graceful, the more aware, the more in rhythm with nature one is, then wonderful paths of discovery start to unfold. Every different pot has its own space, own time, and unique life.�
Jake Bond
“Function determines form. Refining that form to create a piece that is both utilitarian and beautiful is my goal. Each shape is rooted in that functionality, how it will be used determines the size and weight of the finished pot. The feel of a mug in your hand as you sip your morning coffee is as important to me as the way looks. This is why form always comes first in the process.”
Julie Bond “I consider my materials to be a driving force in what I create as a ceramic artist. The clay provides a functionality that I find important in my work. When I make a piece of pottery, I like to imagine how it will be used or what it will feel like in the hands of my customers. I like to think that there is an emotion created when my work is being used.”
Paul Donnelly
“The home is sincere because it is an environment where we can be ourselves. It is the place where how we live is a reflection of who we are. We create domestic values through the objects we choose to collect and how we decorate our surroundings. Functional pottery is important to me as a vehicle for expression because it operates within this landscape.�
Chandra DeBuse “Only through using the piece: holding and exploring it, can the whole image or pattern be seen. When someone laughs at a character I've drawn, spills their drink because they were investigating the bottom of a cup, or finds joy in discovering a plump spoon nestled inside a pocket, I know the pots are successful. Through the language of pottery, I aim to tickle the imagination and spark light-hearted behavior, resulting in an enriched life.�
Lauren Smith
“I love making functional pottery. I want to share my work and create daily rituals amongst my collectors and admirers. I am constantly fulfilled every day that I can turn a ball of clay into something that someone can treasure. My inspiration comes from nature, specifically flowers and the way their petals unfold and the infinite patterns they make.�
Meredith Host
“I am a collector of overlooked patterns, patterns you see on a daily basis. I obsess about these found ubiquitous domestic patterns contained in the paper products we see, use, and throwaway every day. In this body of work, I reinterpret these motifs and transform them from something ephemeral into something permanent. Ultimately, I give these patterns greater visibility and celebrate their presence in the context of other domestic objects meant for daily use.�
Alex Watson
“My goal is to make a simple well-designed object, a pot that is modern and elegant, yet still very utilitarian and user friendly. The details of the pottery are key to its success. From the surface, to the weight of the pot, I try to consider every aspect of each functional object. I choose to use terra cotta because of its warm tones, and when paired with slip, its warmth softens the colors. The red detail found in most of my pots is there for visual stimulation.�
Erica Iman
“I am drawn to geological formations and extreme landscapes that remind me of my own solitude and impermanence. I am interested in exploring these ideas through my work by creating solitary, abstracted or fragmented forms that are reflective of the land, processes, and materials from which they are derived, while simultaneously having a visceral and metaphysical connection to the viewer.�
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