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This publication was made possible with support from Friends of the Braithwaite Fine Arts Gallery First Edition Copyright © 2014 Southern Utah Museum of Art All rights reserved Published by Paragon Press Inc. 2532 South 3270 West, Salt Lake City, UT 84119 ISBN: 9780935615470 Layout & Design by Stephanie Hammer SUU The College of Performing and Visual Arts Marketing Department
Frontispiece Pitcher with Falling Letters, 2014 Soda-fired porcelain, thrown and altered, cone 6 14”×8”×8” iv
Curator’s Remarks It is an honor to have been asked to curate the Braithwaite Gallery’s fall 2014 invitational exhibition, 50 from 6: Contemporary Ceramic Art from Six Rocky Mountain States. This exhibition depicts the depth and breadth of ceramics represented in the region and illustrates the rich tradition and history of the medium. Fired clay objects hold one of the longest places in history of man-made artifacts: over 30,000 years. Their importance to human culture is indisputable. Artists selected for this exhibition reconfigure standing ceramic traditions in outstanding ways, bridging the past and the future through their work. Included art works illustrate diverse ceramic traditions, from ornate sculpture to utilitarian tableware, with influences from across the world and the historical past right up to contemporary currents in ceramic art. Six states included in this exhibition are: Utah, Arizona, New Mexico, Colorado, Idaho, and Montana. With almost 10 years since the last regional ceramics exhibition in Utah, this is a unique opportunity for our community to view cutting-edge contemporary work. 50 from 6 cohesively demonstrates the limitless potential of clay through an engaging survey of this humble, ubiquitous and transmutable material. The success of any project of this magnitude always rests on the efforts and expertise of numerous individuals. I must first thank Reece Summers, Braithwaite Gallery Director and Curator for pitching the idea of this exhibition in 2012 and for his support and encouragement from day one. I am also extremely grateful for the assistance of Russell Wrankle, my co-curator who provided excellent advice all along the way, which enabled us to adapt the show to the inevitable changing circumstances in the ceramics world.
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I am especially grateful for the irreplaceable assistance of Rachelle Bonnett, MFA candidate in Arts Administration. Her determination in pursuing and organizing the artwork, in managing documentation and entries for this catalog and in the exhibition design itself, has led to our success. I owe very special thanks to the Friends of the Braithwaite for their enthusiasm and unwavering financial support for this exhibition. Without the Friends’ dedicated fund raising for this project through their annual Art Auction, this show and catalog would not be possible. It is my pleasure to thank the Utah Division of Arts & Museums for their ongoing support of the Braithwaite Gallery and it’s programs. To Rainbow Sign & Banner and Cedar City/Brian Head Tourism Bureau, thank you very much for your support. On behalf of my co-curator and myself, I would like to express my gratitude to the artists who have responded enthusiastically to our invitation, and for your part in making this show successful.
Susan Harris, Curator Professor of Art & Design
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Dean Adams
Joseph Bennion
Dyce Creek Column | 2013 Wood-fired local clay, cone 10, 22”×7”×7”
Fire: Death: Ritual: Fear: Birth: Tension: Space: Joy: Change: Penetration: Spirit: Beauty: All of these are things I think about when working on these pieces. I use elements of architecture to explore the relationship between vertical space and the horizon, the inside and the outside, and the object and the process of wood-firing. Each piece is constructed considering the kiln and the firing. I am interested in how the fire moves through the kiln, touches or passes through the piece, and its effect on the work. Comparatively, I am interested in how we are changed as we cross literal and metaphorical thresholds during our lives. What are the burned and destroyed or newly created aspects of us that result from our journey of life? Emotion is part of our sensual perception that we often ignore or suppress. There is a real difference in the emotion of looking down at a flower as opposed to looking up at the stars. My work encourages the
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Altered Vase | 2010 Wood-fired stoneware with local slip glaze, 11”×7”×5”
viewer to move their body to experience the work, to tap their foot to the rhythm of the line, and to allow their eye to become the flame moving through or across the piece. My inspiration comes from the architecture of wood-fired kilns and the process of loading and firing the kiln. I also am influenced by pre-historic Japanese kiln furniture, the landscape, and monumental architecture. Ultimately, these sculptures are indicative of the relationship between the space of the kiln, the other pieces in the kiln, and the clay materials and the fire. “In the bright crystal of your eyes Show the havoc of fire, show its inspired works, And the paradise of its ashes.” Paul Eluard quoted by Gaston Bachelard, The Psychoanalysis of Fire, 1938
I enjoy making pottery by hand on a foot-powered treadle wheel. The physical involvement places me deeper in the process. The gentle sound of the wheel and the soft resistance of the clay in my hand are at once comforting and pleasant. Pleasure is an important element of our life in this world. It gives meaning and balance to the confusion, pain, and sorrow we encounter here. I hope that as people experience my pottery they will recognize some of the experience I have had in making it, and will find pleasure of their own in that encounter. The household and family are the influences that most powerfully shape who we become. I want my pottery to be there and to promote and influence that growth, however small its part may be. I prefer domestic pottery that is plain, quiet, and understated. I try to make pots that will play in the background, that speak gently but carry a great deal of information to those willing to wait and listen. I love the kinds of surfaces derived from wood-firing and salt glazing processes. In the case of the
wood-fired kiln, I also enjoy the deeper involvement with process that the stoking of the kiln affords me. Because of my decision to make intentionally quiet pottery, I have had to leave the more public sales venues of street fairs, shops, and galleries; and sell my pottery at home where it is made. Somehow that environment shows my work to its best advantage. I live and work in a small Mormon farming village in the mountains of central Utah. Over the past ten years I have shifted my marketing to bring people to my door rather than sending the work out. This feels right to me. This piece was thrown without a bottom, altered and then fitted with a thrown bottom. The rope pattern is made with a wallpaper roll that has some rope glued to it. The glaze used is a local slip clay that has a very broad range of response in wood-fire and salt. The vase was fired in my salt chamber into which I gradually introduce about 1.5 lbs of table salt over the last hour of firing.
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Gina Bobrowski
Birdie Boone
Dear... | 2009 Porcelain, stoneware, terra cotta and found object mosaic, 17”×18”×12”
I am a full-time studio artist and community arts practitioner born in New Orleans, where the semi-tropical landscape of South Louisiana supports diverse cultures and belief systems. This provides a unique creative expressiveness that can be found in most aspects of everyday life. I now live in central New Mexico, its unique culture and distinctive natural beauty resonates in similar ways. My work celebrates materials and processes with endless invention. Formats include pottery and functional objects made for daily use, large ceramics and mixed media sculpture, works-on-paper, murals, and community art. A loose narrative and playful approach connects these ideas. Recurrent themes are the resiliency of the spirit, animal manners, music-as-language, societal concerns, and the relationships between nature and culture, intuition and logic, transformation and regeneration.
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My formal training includes the Penland School of Crafts, Louisiana State University (BFA Ceramics), and the University of Georgia Athens (MFA Ceramics). In addition, I am currently enrolled in the New Mexico Center for Montessori Education Teacher Certificate program. A devoted educator, I teach national and international artist workshops, Pre K–12 programs, and arts facilitations in underserved communities. Full-time academic appointments include the Ohio State University, Columbus, OH, the University of Georgia Studies Abroad Program, Cortona Italy and the University of New Mexico, Albuquerque (1994–present). My work can be seen in the permanent collections of the American Museum of Art and Design, New York, Kutani International Ceramics Fair, Ishikawa, Japan, Laumeier Sculpture Park and Museum, St. Louis, MO, San Angelo Museum of Art, San Angelo, TX and WOCEF, Kyonggi–do, Incheon, South Korea.
Ready to Use | 2014 Press molded red micaceous clay, electric fired to cone 01. Dishes: slab built chocolate stoneware with bisque crackle slip and glazes, electric fired to cone 6, 13”×12”×8”
Ready to Use is a piece from my current body of conceptual work which is an amalgamation of ideas regarding awareness and clarity. While this assemblage universally creates a thoughtful context for
dishes as beautiful objects, the dish drainer is elected as a formal metaphor through which personal knowledge may be perceptively strained, stored, drained, or carried away.
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Joe Bova
Jim Budde
GMO Amok | 2014 Stoneware, repoussé modeled from slabs, atmospheric ash and injected soda, wood-fired, 20”×16”×16”
The subject of my art is figural imagery. Sometimes I depict animals more than the human figure, though often I combine them. Occasionally, social and political commentary, sometimes involving eroticism, is the content. Decoration, for its own sake, has never interested me. Vitality of gesture in the clay does. My influences are diverse and include the Moche of pre-Columbian Peru, the Californian Bob Arneson, the New Yorker Mary Frank, Etruscan terra cottas, and Han dynasty Chinese ceramics. I greatly admire the work of Giacomo Manzú, particularly his handling of clay as an expressive material. So, for many years, I worked to exploit the plastic quality of clay in such a way that were there a word analogous to “painterly,” then my work would be “clayerly.”
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The I Ching says, “the most perfect grace consists not in external ornamentation but in allowing the original material to stand forth, beautified by being given form.” Usually I work in high-fire ceramics, but don’t limit myself by particular ceramic materials or processes. Sometimes I have combined different clays and firing temperatures in the same piece, as well as different forming techniques. Recently, after many years of working at mid-range and low-fire, I have returned to high-fire and wood-firing I believe that making art and understanding art requires intellectual rigor, yet is fundamentally a somatic experience. I want the clay to “stand forth” recognized for itself while it also conveys other realities.
Along for the Ride | 2013 Ceramic, 16”×12”×6”
I consider my work to be essentially combines, or three-dimensional collages that speak poetically through analogy and metaphor. The work takes shape as an assemblage of associative imagery that addresses all kinds of connected psychological abstractions such as affect, desire, need, impulse, control, dejection, joy, etc. I often combine human and animal imagery within the context of a teapot structure, adding another layer of animated associations. In “Along for the Ride,” right off the bat, another layer exists in reference to Aesop’s Fables’
tortoise and hare analogy. The tortoise slowly carries the hare whose imminent desire is represented by a huge carrot (think of Moche sex pots)—another layer. Both carry a human (the dominating species and a self-portrait) who appears to just be along for the ride—more layers. The handle is represented by a stick referring to the carrot and stick analogy with a frog (an environmentally indicative species) who’s also along for the ride—more layers. “Along for the Ride” is slab built cone 5 stoneware with low fire glazes.
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Doug Casebeer
Aurore Chabot
Vase | 2013 Stoneware, wood-fired, 12.5”×9”×9”
My work looks at issues that honor the spirit of human existence. Within my artwork I search for meaning in the relationships between the ideas of storage, shelter, and nourishment. My artwork is influenced by rural archetypal forms
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Eye Catcher | 2000 Earthenware, underglazes, terra sigillata slip, copper oxide stain, and stained, laminated redwood, 56”×20”×24”
of the western landscape and from many years of experiencing different global cultures. Look for beauty, balance, and grace in my artwork. Through my artwork I try to come to an understanding of myself and the world around me.
I am constantly striving to discover and expose the inner workings of my mind or subconscious as I manipulate clay into forms. To that end I have developed a range of processes during which a kind of mindlessness—to avoid self-consciousness and allow my subconscious free rein—occurs in the initial stages of construction. The relationships and meaning
within and without my work become more apparent over time, after the piece is completed. My goal is to create sculptures that are distinct in form, yet ambiguous in origin and meaning, as often are our dreams, the elusive stories from our subconscious. I view my creative process as an ongoing journey of discernment and revelation.
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Sam Chung
Sharbani Das Gupta
Cloud Bottles | 2013 Porcelain, China paint, 14”×19”×9”
I work within the context of traditional pottery and the language of form, function, and design. The ceramic vessel has its own identity throughout most cultures, and I am interested in its universal familiarity to provide an accessible entry point into my work. Aside from utilitarian function, my work explores relationships between aspects of art, identity, traditional craft, contemporary design, and architecture. Over the last several years, I have become increasingly interested in using the cultural identity in
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Seaward | 2013 Terra cotta and porcelain, 11”×8”×13”
ceramic objects to not only specify a sense of origin, but also push up against it. My recent work references cloud imagery and pottery forms originating from traditional Korean art and design. These references serve as the anchor to point towards my own ethnic lineage, but also question my sense of belonging within or outside of it. The clouds are a surrogate for this floating sense of belonging, and also represent a source of aesthetic, formal and personal freedom within these timeless, traditional pottery forms.
I have been described as an activist artist. Yet I have more than one motivation; to explore the invisible links of life, to voice a concern for the human state, to delight in the earth. I draw freely from the mythology of the world combining visual and literary idioms to inform my sculpture. Living between India and the US gives me a valued perspective and a cross-cultural platform. Paradoxically, distance also allows me to gain a deeper understanding of what being Indian means to me. Consciously eschewing overt ‘Indian’ symbolism I choose instead to draw from the spirit of eastern philosophy: balance, a reverence for the earth, the natural world, and karma are fundamental concepts. I find that my work returns repeatedly to the universal idea of karma, that as one sows so one reaps; as we are with the earth so shall the earth be with us.
Lately, the theme of water has featured more and more in my work. In Lifeline open hands cup a meandering river, running through arid lands, bringing life, precious and fragile. In Cloud Catchers, an installation of pillars of clay rake fingerlike through the skies capturing the clouds. I often ‘play’ with ideas and work. Water is both sacred and joyful and my sojourn in Greece last year was an exercise in pure delight. Seaward reflects this joy. The ocean pebbles and climbing crystalline villages reflecting the visual treat that are the Greek islands. It is my hope that art, with its ability to reveal reality, breach boundaries and disclose the unseen, may yet make a difference. The Native Americans have said: “We do not inherit the Earth from our Ancestors, we borrow it from our Children.” It is with this consciousness that I try to create and communicate.
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Josh DeWeese
Kim Dickey
Oil Cruet and Saucer | 2013 Wood-fired salt/soda glazed stoneware, 6.5”×6.75”×6.25”
I am inspired and challenged by the art of pottery and strive to make work that is successful on multiple levels. I want my pots to be well-designed and comfortable to use; to be rich with ceramic wonder, and seductive to behold; and to have reference to history to spark the imagination. The oil cruet Is designed for use, with a funnel top that is easy to fill and a well balanced form that is enjoyable to pour. The glaze is formulated with local diorite granite that produces a rich deep surface when fired in the wood-soda kiln. The small pouring vessel has been made throughout time by cultures
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To the Fullness of the Day (and Pale Illuminations of the Night) | 2014 Glazed white stoneware, 26”×15”×15”
around the world, referencing the playful wine ewers of China and Korea Perhaps pottery’s greatest power lies in its association with the human body. Pouring vessels have a way of becoming animated with the addition of the spout and handle. With the oil cruet I saw an opportunity to inhabit the domestic space, the kitchen counter, with another character. The intimate relationship that develops with use strengthens the association, and the personality develops with time. The character becomes our friend and contributes to our sense of home.
My work has consistently explored how we construct our environments. Rather than treat this problem exclusively in material terms, one of my primary interests lies in the imaginary or psychological. In other words, how do we create meaning with the objects with which we surround ourselves? I view my studio as an arena to address the dynamic processes of what Roland Barthes dubs “naturalization,” asking how we define what is natural versus cultural, interior versus exterior. Recently, the surfaces and structures of my works have become less gestural and increasingly ordered, thereby heightening a sense of artifice and theatricality, while exploring ideas about distance: physical, art historical, geographical, and psychological. My interest is in creating a space akin to a stage set, where suspended disbelief enables the viewer to be transported to a place of reverie.
This bottle is part of my exploration of the landscape of the table and that of the still-life, complex and paradoxical arrangements with which I have long been engaged. The pinched and folded surfaces exemplify my ongoing search for forms that define and illuminate the realm between the real and the ideal. This particular piece, To the Fullness of the Day (and Pale Illuminations of the Night), was made as a gift to my mother for her garden of 35 years. While it was designed for a specific site, it may never be seen there, as the garden is soon to be left behind. The roundness of the form was inspired by the fullness of this place and my mother’s influence on it, but in light of its leaving behind, the vessel stands as a silvery blue moon or dream, inhabiting the garden in one’s imagination alone.
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Adam Field
Debra Fritts
Stopper Bottle | 2014 Porcelain with carved pattern and celadon glazes, high-fire reduction, 14.5”×4.5”×4.5”
I am fascinated with antique artifacts, the way they can speak of mastery of lost peoples, places, and cultures. This inspires me to create works that both radiate history and capture my own place and time. I work toward a clean aesthetic that celebrates the masterful simplicity of antique Far-Eastern pottery, while retaining the modest utility of colonial
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American wares. The surface of my pottery is meticulously carved with intricate designs that borrow from nature and incorporate the human touch. Much of the carving on my work is informed by pattern languages found in indigenous fiber art, such as Hawaiian tapa, Incan cordage, and Zulu basketry.
Coverings | 2013 Ceramic, 25”×16”×15”
As a child, I had dirt under my fingernails and spent hours playing in the mud. Today I continue to allow the earth to feed me information for my art. Working intuitively from pounds of wet red clay, forms appear and stories develop. I may be questioning an occurrence or celebrating a relationship or just being aware of the precious environment. The search continues until I reach the core: the spiritual level of the sculpture. Then the work can speak. At the present, I am exploring new territory in Abiquiu, New Mexico while embracing my southern heritage. Often,
symbols are used in the work such as the color red, or three dots to honor my mother or the raven as a symbol for my new life in the west. I am “touching ground,” getting to the basics, listening, and learning. Each sculpture is hand built, using thick coils, and fired three to five times depending on the color and surface I am trying to achieve. I approach the color on the clay as a painter. My palette is a combination of oxides, slips, underglazes, and glazes. The form of the piece informs the type of surface treatment.
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Lauren Gallaspy
Julia Galloway
Headcase | 2008 Porcelain, underglaze, glaze, gouache, oil, varnish, 4.5”×5.5”×14”
The things that I love and the things that I fear refuse to balance out. They scrap like cats, cloak and conceal like kudzu, terrify and delight, like a large, shaky lake or a dog swimming hard towards a floating ball. My work is about that imbalance: the vulnerability of living things and the sometimes violent, sometimes pleasurable, almost always complex conse-
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Pitcher with Falling Letters | 2014 Soda-fired porcelain, thrown and altered, cone 6, 14”×8”×8”
quences that occur when bodies and objects in the world come into contact with one another. Clay is utilized in this activity as a covert material: a wilderness in which animals of association may hide, a co-operative contradiction both molecularly and metaphorically.
Handmade pottery is naturally rich in ideas and metaphor; pottery seeps into our houses, our kitchens, and enriches our lives. Pottery weaves into our days through use, and decorates our living spaces with character and elegance; pottery is joyous. Pottery is a reflection of our reality, our fantasy, our sense of beauty and our own selves. I make pottery out of porcelain clay. It is extremely sensitive and responsive to the human touch when it’s soft; when fired it becomes dense and strong. It is this responsive nature of clay that continues to interest me. It responds
to your touch, then you respond to it. The same happens in the firing process with glaze materials and the atmosphere of the kiln. Clay is a supportive and demanding medium for the creative journey of making. I am insistent about making things with my hands. The need for beautiful domestic objects and the instinctual drive to create things are tremendous dance partners for idea and desire. I find utilitarian pottery the best method to express my ideas. Utilitarian pottery supports and represents our intimate rituals of nourishment and celebration.
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Martha Grover
Susan Harris
Tulipere | 2012 Thrown and altered porcelain, 15”×13”×13”
I seek to enhance the experience of interacting with functional objects. I work toward creating a sense of elegance for the user while in contact with each porcelain piece. Reminiscent of orchids, flowing dresses, and the body, the work has a sense of familiarity and preciousness. Direct curves are taken from the female figure, as well as the fluidity of a dancer moving weightlessly across the floor. The space between elements is electrified with anticipation and tension. I think of the fluid visual movement around a piece, as a choreographer would move dancers across a stage. Trans-
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Phyrnosoma Ding | 2014 Black stoneware, laterite wash, reduction cooled, 11.5”×10”×8”
mitting desire—there is a sense of revealing and concealing, a layering of details that serves to catch our attention immediately and then the details draw us in, to make a closer inspection. In our lives, we often move past the objects surrounding us at a very quick pace. My work generates a moment to pause. My goal is create an undeniable presence, one that acts as an invitation to explore the work thoroughly, taking time to know all of its many facets. Only through sustained interaction can we truly know and appreciate someone or something.
My ceramic work evolves from my long-held fascination with artifacts, most notably ancient oriental and Etruscan bronze ritual vessels. I am preoccupied with the mysterious purposes, intricate surface details and mythological symbols that characterize these objects. Using clay instead of metal, not to mention a contemporary rather than ancient temperament, I challenge myself to re-interpret their forms and meanings. The tripod lidded Phyrnosoma Ding em-
ploys making and firing techniques I have explored for many years in a process called reduction cooling, where no glaze is applied to the external surface in order to retain crisp and intricate textural details. The appearance is reminiscent of wrought iron. I enjoy the fact that my pieces do not speak of this time and place in history, but could exist any time in the past or future as well.
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Sam Harvey
Todd Hayes
Grey Orb | 2014 Earthenware, slips, glaze; with wooden wedge, 17”×15”×7”
I am attracted to beautiful objects, to those which convey the thought process, sensibility, and history of their maker. Whether an object of art is constructed of clay, molded styrofoam, steel, or canvass and paint, it conveys an idea, an intent to communicate. Out of cognition and the creative thinking process comes the desire to construct and make visible our individual stories, questions, and desires. My intent is to build pieces that connote that a story is being written, a narrative that takes the reader on a journey one sentence or paragraph at a time. I strive to create a map which is interpreted metaphorically rather than literally. Throughout each piece, within the body of the form, are areas that expand and contract, places of rest and transition. These shifts of volumes and planes allow an investigation to allusions of anatomy. The clay is coaxed into bulbous swellings suggestive of shoulders or a rounded belly or cantilevered out like an arm reaching or grounded like the solid foundation of a body in akimbo posture.
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Bowl | 2014 Stoneware, 10”×7”×7”
As part of the sensory dialogue I want the viewer to be involved in, I leave the record of my making process visible. The viewers gaze is encouraged to traverse the landscape of the object, following finger print after successive finger print. Pinching and coiling are the tracks and evidence of the journey. My desire is to establish a kinesthetic conversation between the person viewing the work and myself. The tactility of the coils bridges a gap between idea and physicality. Perception becomes dialogue. Consequently, the viewer becomes an active participant in a conversation regarding architecture, scale, beauty, and use. Building with clay is an attempt at conveying an abstract idea. How I create the work is an organic process of discovery buttressed by historical references and a commitment to contemporary art awareness. My work proposes a journey, composed of amalgamations of various places I’ve traveled to or imagined. The job of the sculpture is to exist as a visual trigger for sensory perception.
This serving bowl came out of a series of pots that were designed to be fired in a wood kiln within a specific atmosphere. During the cooling process, the kiln is forced into a heavy reduction of oxygen, where surfaces that develop are reminiscent of objects that have slowly achieved new characteristics through the oxidation and corrosion of materials. I’m interested in how events often enhance objects through material transformation, giving them a sense of history and an untold story, allowing us to imagine the connection between the maker and the objects themselves.
As the design process evolved for this series of work, the forms became increasingly simplified in an attempt to create refined objects that entice the observer to engage with the pots. The design process came down to a few simple requirements. The pieces needed to be poised, elegant and striking in their appearance, thus accentuating the firing process and form. This was the main focus of this body of work, and this piece exemplifies that effort.
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Jason Hess
Sarah Jaeger
Seven Tall Bottles | 2014 Wood-fired stoneware and porcelain, reduction cooled, 24”×3.5”×3.5”
A desire to have objects that fulfill specific purposes inspires me to make functional pots. The infinite and elusive variety of texture and color attainable through the various making and firing processes that I use has generated an interest in presentation. I enjoy presenting my work so that a viewer might
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Teapot | 2013 Porcelain, reed handle, wheel thrown, gas oxidation fired to cone 10, wax resist glaze decoration, 9”×8”×6.5”
notice and appreciate subtle differences in form and surface. By grouping similar forms of differing size and color I hope to compose a visually dynamic display, which invites the viewer to enjoy the tactile nature of each individual piece and how they relate to one another.
Functional pots co-habit our intimate domestic spaces. We experience them without bodies—our hands and lips as well as our eyes. They can insinuate themselves into our consciousness by many different avenues even when we are not paying attention, and over time pots we use can accrue layers of meaning association. Through the quiet roles they play they can bring the experience of beauty or unexpected pleasure to everyday life. Despite the material abundance of our culture, it seems to me that we have been impoverished by the disjunction of beauty and handwork from utility that accompanied the industrial revolution and the hourly wage. When time became a commodity, it no longer made sense to make mere dishes by hand, and yet, as the jeweler and writer Bruce Metcalf has said,
“handwork makes meaning, not physical things.” I am obsessed with making pots that convey a sense of volume, that speak of the capacity to contain and also offer their contents, that express their potential to be useful, generous, and, in a way, luxurious. I choose to work with porcelain, thought to be the most precious of clays, but which is also the most durable. Its whiteness and translucency lend a luminous depth to the glazed surfaces. I use them loosely and with variation as they wrap themselves like skins around the volumes of the pots. Whether decorated or not, I want the lustrous surfaces of my pots to attract the hand and well as the eye. I want the pots to be both elegant and easy, beautiful and friendly, capable of providing abundant nourishment to our daily lives.
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Diane Kenney
Steven Young Lee
Black Dotted/Leafy Jar | 2013 Terra cotta, wheel thrown, slips/glaze, electric-fired to cone 04, 10”×7.5”×8.5”
My clay work has been evolving over the years. I am intensely interested in exploring the huge range of surface treatments discovered only in terra cotta. As I work in this medium, I try not to smother the clay: I want the organic raw beauty of this material to show even after glazing! However, I am always interested first in creating strong forms. Working in terra cotta demands that I make choices and decisions about surface finish even as I work with the wet clay. The pieces in this exhibit reflect my recent exploration of black terra sigillata as a grounding background and/or an underlying layer for an uneven
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application of white slip. Before the bisque firing, I apply slip and terra sigillata as the piece dries, and I do all surface drawing on the piece. Color and glaze come after the bisque. My intention was to simplify the whole process and not have to make all glazing decisions after the first firing. I succeeded in the latter goal, but I seem to have managed to complicate the first steps because of layering materials and choosing imagery, etc. I do not want my work to be “cute” or whimsical…using black helps me avoid that. I am seeking depth, texture, and variety in the surface. The search continues.
Jar with Octopus | 2013 Porcelain, white slip, 14”×13”×18” (On loan from the collection of Jon Satre and Paulette Etchart)
The pieces I create appropriate and incorporate elements of form, decoration, color, image and material that are distinct to particular cultures or historical periods. They are also a reflection of my love for historical ceramic objects and their ability to provide a unique view of the past. I am fascinated with how environment, tradition, and experience have played a role in the evolution of these objects as much as with their influence on the cultures in which they were created. Through my work, I enjoy challenging preconceptions of identity and systems of belief, leaving the viewer to construct the context and/or narrative of the object based on their own perspective and experience.
Jar with Octopus was inspired by multiple sources. The form is reminiscent of a Korean Joseon dynasty (1392–1897AD) storage vessel with an octopus motif that was prominent in Minoan culture (2700–1450BC). Similar jar forms from the Joseon period were often asymmetrical as a result of natural slumping and warping during the forming process, leaving each with a distinct character. The octopus image in Minoan pottery was an almost perfect marriage of form and decoration with the image often having to navigate the boundaries of the vessel it was drawn on. My interpretation of these elements seeks to integrate similar considerations from very distinct origins.
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Max Lehman
Courtney Leonard
Dawn in the House of Knives | 2014 Low-fired earthenware with glaze, underglaze, paint, wire, 60”×26”×24”
The Mayan creation myth recorded in the Popul Vuh tells the tale of two twin warriors who set out on a journey through the watery underworld of the Maya on a quest to avenge the death of their father at the hands of the lord of the dead, Mictlantecuhtli. Dawn in the House of Knives is a recreation of parts of the story plus some additional images from my own personal mythology. In the first Tier the Moon Goddess resides in the House of the Jaguar receiving the gift of an albino
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carrot from her companions, the white rabbits that accompany her on her nightly journey across the sky. The second tier shows the Lord of the underworld, Mictlantecuhtli, sitting in his house of Knives surrounded by personified flint blades. These are the blades that he uses to judge the souls of the dead. The third tier depicts the Warrior Twins who, surviving the tasks set to them by the Lord of the Underworld, return to the surface of the earth being greeted by the rising sun.
BREACH: sustenance | 2014 Micaceous clay, steel, birch and coal, 36”×36”×12”
Courtney Michele Leonard is an artist and filmmaker from the Shinnecock Nation of Long Island, New York. She currently lives in Santa Fe, New Mexico and works as a professional artist, lecturer, and teacher at the Institute of American Indian Arts. “Breach” is an exploration of historical ties to water and whale;
imposed law; and a current relationship of material sustainability. Navigation lies within visual translation, acceptance, and pursuit of process. Charting exists as a logging of record; documentation and mapping of each point where the surface breaks.
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Beth Lo Collectible | 2013 Porcelain, 9”×24”×3”
Marilyn Lysohir Flower Girls | 2013 Ceramics, metal, enameled iron tiles, 20”×20”×26”
This piece is about racial stereotyping of Asians, and kitsch collectible ceramic renditions of Asians.
Flower Girls, the most recent work I have completed, came from a past experience that my husband and I had in India. We were in a taxi and stopped at a light when all of a sudden a beautiful woman reached into the taxi trying to sell us freshly-picked flowers. At the
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exact same moment hands appeared in the other window… a leper begging for money. Flower Girls seems to me to relate to those clues of joy or pain or creativity and celebrate life.
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Tony Martin
Lorna Meaden
Teapot Form #3 | 2013 Low fire clay and low fire glazes, 14”×12”×4”
The adage, “find something you love to do and you will never work a day in your life” holds especially true for me. During the early 60’s, I enrolled in my first college ceramic class at Kent State University located in the basement of the art department. Little did I know then that some 48 years later I would still have an addictive passion for clay. My earliest training and influence dealt with Eastern functional forms born from the potters wheel, the norm for that time. Hand building had yet to reveal itself as a
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Watering Can | 2014 Wood, soda-fired porcelain, 8”×4”×6”
legitimate technique for making an artistic statement, so I avoided this foreign approach. Many things have changed over the years to the point where my ideas are now totally dedicated to off-wheel, constructed forms. It has been a complete transformation from the familiar, but that’s what continues to make it fun. As with life, everyday in the studio reveals something new and exciting and I am continually reminded of how much more I have to learn.
My work is soda-fired porcelain. It begins with the consideration of function, and the goal is for the form and surface of the pots to be interdependent. Making the work starts with a three dimensional division of space, continues with drawing on the surface, and finishes with the addition of color. New ideas are gradually incorporated into previous bodies of work through making. Source information for my work can be as simple as looking at the patterns in the stacked bricks of my kiln, to something as complex as forms from 18th century European manufactured silver. I experience the evolution of my work through creative repetition in the studio. I am interested in having my work display both
practical and extravagant attributes. I am drawn to work that is rich in ornamentation, with lavish use of materials—both scarce in a culture of mass production. Functional pottery, in its connection to sustenance, closely relates to the human body, revealing what it means to be human. Handmade pots are potent in their power to reveal the extraordinary, within the ordinary. I am driven by the insatiable pursuit of the “good pot”. Successful in terms of tactile, visual, and functional attributes; lastingly significant when packed with the passion of the maker- reflecting humanity, and contributing to the craft.
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Courtney Murphy
Jerome Dan Murphy
Jar | 2014 Earthenware, 8.5”×7”×7”
My designs are influenced by simplified abstractions of nature, children’s artwork, folk art, mid-century modern objects and textiles, books, thoughts, and conversations. More recently I have been looking at pattern and interactions of color. I tend to work slowly, and I’m attracted to clean, simple forms. I pay careful attention to line, both in my drawing, and in the profiles or outlines of the forms themselves. I am intrigued by the details and imperfections found in hand-made objects, and the ways in which these marks reflect the maker of the piece. A slight change in the profile or image on a cup determines whether a person will be drawn to one over another. Bringing a new piece of pottery into my home brings a small clue into the life of the maker, what they were interested in, and perhaps what they were thinking at the time. Subtle details that you might not notice
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Bottle | 2013 Wood-fired porcelain type clay with stone inclusions, natural ash glaze, 10”×4”×16”
right away become evident through the passage of time and continued daily interaction. I love creating functional work because of the personal connection created when the work leaves my studio to become a part of somebody else’s routine. So many important moments in life are centered around the table. Cooking and preparing food can bring people together in celebration. The presentation of food can be enhanced and complemented by a beautiful serving piece. Handmade pots can also play a large role in quieter times, when you share a cup of coffee or glass of wine with a friend. When I look in my kitchen cabinets, I am reconnected to experiences of the past few years. Each handmade dish holds it’s own history and connection to a particular time and place.
My ceramic vessels are created swiftly and directly on a slow spinning potter’s wheel. I usually work in series, developing one body of work at a time. My goal is to make gestural vessels that reflect my presence in the finished form. This results in families of pots that are inevitably related, yet each piece stands as a unique one-of-a-kind vessel. After the pieces are made, most are fired without applied glazes to stone-
ware temperatures in wood-burning kilns. Colors and textures on the ceramics result from the interaction of wood, fire, and clay. My hope is that each successive generation produces a better piece. I feel a connection to contemporary as well as ancient ceramics, and strive to create objects that will withstand the test of time.
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Andy Nasisse
John Neely
Tricksters of Triple Butte | 2014 Multi-fired ceramics, 18”×18”×26”
This arid environment is a land of shadows, of extreme contrasts of light and dark, hot and cold, of parched dry desert and sudden flash floods. A land of fantastical forms sculpted over millions of years by wind and rain, creating hoodoos, mesas, gulches, draws, arches, towers, canyons, and buttes. We live
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Teapot | 2014 Stoneware, 7”×6”×4.5”
in a hostile landscape where plant life has a tenuous existence, but a place where the animistic imagination can thrive in the suggestive, eroded shapes that emerge. As an artist who uses earth materials, I have seen my forms, surfaces, and glazes take on a similar feel to this unique place.
I first traveled to Japan when I was nineteen years old, and spent the better part of the next eleven or twelve years there. Although my initial interest in Japan was sparked by some awareness of medieval stonewares and the writings of Bernard Leach about the modern folk art movement, what captured my attention as a resident was quite different. Wrapped up in the ordinary details of day-to-day life (nichijo-sahanji, literally “everyday rice and tea”), my focus shifted to the needs of the contemporary kitchen and table top. Tea in Japan, good and bad, is ubiquitous; and for a potter, impossible to ignore. While I found myself resisting and rejecting the pretense and artificiality of much of “tea culture,” and all that surrounds the “tea ceremony,” I also drank a lot of tea. Most of the tea consumed in Japan is not the powdered tea of the tea ceremony, but rather green, leaf tea brewed in
fashion quite similar to tea in Taiwan and many parts of mainland China. As a potter, then, I found myself inexorably involved in the business of making teapots—teapots for tea as it is brewed in the modern world. While the teapots I make are invariably functional, I am certainly not dogmatic about utility. I think of utility as a kind of continuum, with the generic or universal idea of containment at one end, and specific, focused, single purpose tools at the other. The teapot, a “machine” for brewing and serving tea, would be found at the specific end, but it also serves as a vehicle for my explorations into the materials and processes of ceramics. My approach lies somewhere between that of the alchemist and that of the scientist; discovery, rather than expression, is my primary motivation.
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Farraday Newsome
Jill Oberman
Darkness is a Garden | 2013 Glazed terra cotta, 9”×12.5”×9”
I have found that working in black and white helps me more directly enter the place of metaphor and contemplation. Perhaps because black and white is completely recognizable but not how we actually perceive the world, it is already one step removed from waking reality. I often find a black and white palette to be more conducive to introspection and greater emotional clarity. I worked for many years using very colorful, glossy glazes. About ten years ago I took a holiday from color and began glazing my work with stiffer, lower sheen, black and white glazes. Technically, I found that working with a stiffer glaze
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Remembering | 2014 Ceramic, 14”×22”×3”
allowed me to further develop the surface with fine sgraffito (scratch-work) drawn into my brushed imagery that wouldn’t melt out in the firing. For the past few years, I have been alternating between using the brightly colorful glazes of daytime and the black and white glazes of nighttime on my work. This piece, a teapot entitled Darkness is a Garden, is laden with the high relief imagery of life in a moonlit garden. Birds and their eggs, as well as fruit and pinecones laden with seeds, cover the surface. I want to evoke the peaceful rustle and activity of a lively garden at night, with the garden being a metaphor for abundance and love.
Jill Oberman is currently the Executive Director of the Carbondale Clay Center in Carbondale, Colorado. She has worked as the Executive Director of the Clay Studio of Missoula, the Programs and Administration Director at the Archie Bray Foundation, and the studio manager of the ceramics program at the Anderson Ranch Art Center. Jill earned her MFA from the Rochester Institute of Technology School for American Crafts, and her BA from Hamilton College. She has been a resident artist at numerous art institutions, notably the Anderson Ranch, the Archie Bray Foundation, and Arrowmont School for Arts and Crafts. While in her studio Jill focuses on creating minimal, architectural ceramic sculptures, as well as sharing her passion of ceramics through conversa-
tion with anyone and everyone who will listen. Her most recent work highlights the natural world, and the elusive space of the horizon: the contact point where the earth meets the sky, or the sky meets the water. This work explores the idea of an “absent presence,” where what is most important is perhaps that which is no longer there. Using the imagery of the cherry blossom and other symbolic plants and flowers, she hopes to express a feeling of optimism and hope through inevitable absence and loss. Jill’s sculptures attempt to convey a sense that the horizon might be a point of restoration: a space where there is a convergence between expectation, destiny, desire, hopelessness, distance, and vision.
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David Peters
Jeff Reich
Crucible | 2013 Wood-fired local clay, 10”×10”×10”
My perpetual instinct is to return to the earliest principle of ceramics, the forming and heating of clay. For me, this means clay mined directly from the earth and heat produced from burning wood. This is simple in idea, but not in application. Natural materials and their transformations are inexplicably complex. I
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Allthorn | 2012 Stoneware, 23”×18”×18”
welcome this character, for with chaos comes serendipity. I create conditions that I judge likely to cause the desirable to happen. My art is to pay attention, to discover, to harvest the beautiful, and absorb the disappointment.
The clay sculptures I create are inspired by natural formations, such as boulders fallen upon each other, or a tree’s erratic growth during drought. Geometric forms allude to the manmade. Leaning forms conjure images of tentative balance. My glaze compositions consist of two-dimensional fields superimposed on the three-dimensional surface of the clay. Windows of glaze drawings bring glimpses of repetitive plant forms. Thorny, some-
times leafless plants, like Allthorn, adorn the surface by means of glaze sgraffitto. Textural glazes invoke thoughts of clay cracking on dry river beds. Black reminds me of night when the desert is cooler. I grew up in Michigan surrounded by water. Later, when I moved to Arizona, I was surrounded by mountains. My choice of colors, glazes and form convey my interpretation of nature’s presence around us.
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Paula Rice
Kathleen Royster
The Big Bang | 2012 Low-fire ceramic and Chinese porcelain, oxidation fired and smoked, 28”×22”×14”
New images from the Hubble Telescope and new space science reveal to us a universe incomprehensibly vast, behaving strangely, and having emerged from a point smaller than the tip of a pencil.
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The Big Bang is our new creation story. We look out at our new knowledge as astonished beginners, as cavemen peering at the dawn.
Sitka Moss | 2003 Porcelaineous stoneware, 9”×8”×8”
My use of thorns, leaves, and pears are images from different life experiences. Individually, they speak of pain, vulnerability, and pleasure. Sometimes they overlap in such a way that one is the other and vice versa. Current research and interests lie in twentieth-century art, architecture and design, digital technology, material innovation, and manufacturing practices. My interest in modern design and the relationship between man examines the cultural concept of design determined by the social, economic, political, and technological forces that have shaped it. I am the oldest of a very large family who valued hard work, education, and music. Family is very important to me. My earliest memories of being creative were hours spent with my grandmother building dollhouses out of scraps of materials and drawing with crayons on every wall of my parents’ house. It was my grandmother that taught me the little song, “I am a little teapot…” including posing as a teapot with
left hand on hip and right hand waving in the air. The first part of my adult life was spent traveling around the world to remote places in the mountains and skiing the backcountry of Alaska and Utah. I worked as a commercial fisherman in Alaska for fifteen years in a time when very few women worked in the field. I loved the excitement and hard work of being in the outdoors. Dubbed as a ‘late-bloomer’ I started my art career at the age of thirty and found my passion in clay. I went back to college to receive my MFA from the University of Utah. I have had a successful career as an artist; have taught for Scripps College and the Metropolitan State College of Denver, directing both Ceramics programs. Today I live in a small artist community in historic Helper, Utah, two hours south of Salt Lake City where I have a studio on Main Street. My interests include 20th Century Art, Architecture and Design, objects of beauty, gardening, and am a self-proclaimed “motor-head.”
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Steven Schaeffer
Triesch Voelker
Desert Trumpets: A Vessel that Hosts | 2013 Clay, decals, steel, concrete, plexi glass, rubber, 7”×4”×4”
The Four Corners region of the Southwest has influenced my work for the last twenty years; landscape has been the predominant force in creating the majority of my ceramic sculptures. Recently I’ve developed an interest in particular flora of our area. One specific plant being Erigonum Inflatum is indigenous
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Held Silent | 2013 Ceramic with underglaze drawing, 15”×12”×12”
to the southwest US and has been a focal point in my work over the last year. I am drawn to its swelling shape and its ability to be captivating alive or dormant. Particular insects utilize this fascinating plant as a host for larva incubation. Previous cultures have used it medicinally and as a pipe to some from.
Desire is both the elixir and the snake oil of appetite. It is transformative in how I see myself and what motivates my impulses. My work is about trying to see past the smoke and mirrors of desire and what is true. What is my movement through life really motivated by and what are the detours along the way? I have followed a route that is open to all possibilities and have let myself be led, as well as having chosen purposely. All have taken me to where I am now. There is something freeing about letting go. Letting what might happen take over. The danger is in forgetting what has happened. What I am feeling right now can have so much more relevance than the subtle fragrance of past memories or even the promise of future meals to come, yet all of it is my substance.
Desire comes from the unknown of the moment. Longing is the need to see around the corner and movement creates the ability to satisfy or disdain. I am driven by the hope of speaking deeply through the act of making. I have had no relationship, except family, that has lasted as long or has fed me so fully. Making has the threat of desire through narcissism. For me, literalism is the vehicle for that self-involvement that I hope to avoid. I want the work to have universality to it and not just be my diary. This may come from my iconic southern history, where daily life takes on metaphor, but when we mirror this being in the moment, with desire, the depth of content speaks as a whole. My human experience is both felt and shared.
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Maryann Webster
Betsy Williams
Shallow Edge of the Gene Pool II | 2009 Porcelain and stoneware, 24”×16”×5”
Origins of animal and plant life are shown here in a confusion of genetic modification and mutation. The style of this basin refers to the work of Bernard Palissy, a late renaissance ceramic artist who depicted nature in an idealized state. This basin resembles the work of Palissy but 500 years later, shows damaged
Climbing the Ladder of Success | 2013 Stoneware with white slip, underglaze oxide, 16”×16”×3”
and altered nature. No one has determined the ultimate impact of genetic modification on humans and the environment, but pollen from GMO plants is known to migrate and permanently change natural species.
The idea behind this piece, alluded to in the title, comes from my wondering about the meaning of success, as a human being, as a member of today’s culture, and how it might look from other vantage
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points. The cups are wheel-thrown stoneware with white slip, and the ants are painted with underglaze oxide.
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Russell Wrankle
Rosalie Wynkoop
Dangling Amphibian | 2014 Ceramic and cable, 7”×10”×26”
I am a sculptor who chooses ceramics as my primary medium. My subject matter is personal narrative through the use of animal imagery. Like Aesop’s Fables, animals are an apt vehicle to express human truths and characteristics. Using familiar animals such as hares, dogs, frogs, and crab claws, I interpret
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Majolica Teapot | 2014 Tin-glazed terra cotta with over glaze decoration and gold luster, 6.5”×8.5”×4.5”
them through the filter of my own experience. While the leaping-off point for the imagery is personal, I believe that the personal is universal. Joy, suffering, and points in between are experienced cross culturally and I attempt to express the universal in my art through visual metaphor.
I make functional earthenware pottery that is elaborately decorated using an opaque white majolica base glaze and thin layers of over-glaze color. Though my first love is embellishment I strive to strike a balance between the form and the decoration. I find that making a teapot is particularly challenging and involves thoughtful consideration. Not only are there multiple pieces to put together but also deciding on the best placement of pieces, size of openings, type of handle, type of spout or foot all contribute to the strength of the form and ultimately the success of its function. The complexity of the form itself might suggest a simpler decoration, but
not always. I am always indulging a “more is more is better” aesthetic and when facing the blank canvas of a pot, I envision the piece completely filled with color, motif, pattern, and often accented with gold. This phenomenon is sometimes referred to as “horror vacui,” and can also be viewed as an aversion to empty spaces. Faced with my urge to do more in the decorating of this teapot, I discovered that some forms require less to achieve balance between the composition of form plus decoration. I actually exercised some restraint in the filling of space and stopped when I recognized harmony between my two concerns, strength of form and extent of embellishment.
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End Notes
Introduction
22.
Sarah Jaeger, Teapot, 2013
1.
Julia Galloway, Pitcher with Falling Letters, 2014
23.
Diane Kenney, Black Dotted/Leafy Jar, 2013
2.
Tony Martin, Teapot Form #3, 2013
24.
Steven Young Lee, Jar with Octopus, 2013
25.
Max Lehman, Dawn in the House of Knives, 2014
Southern Utah Museum of Art: SUMA Scheduled to open in summer 2016, the Southern Utah Museum of Art, a state-of-the-art museum, will feature approximately 5,300 square feet of exhibition space composed of four galleries; the Braithwaite, the Rocki Alice, the Austin and Magda Jones and the Jim Jones showcasing work by the Utah artist. SUMA will exhibit international and regional art, as well as that by SUU’s Art and Design students and facility. Approximately 5,300 square feet of the museum building will be dedicated to collection storage, care and research. The building design will allow visitors to witness the behind the scenes operations in the Maud Trismen Mason Collection and Conservation Studio. The Beverley Taylor Sorenson Education Suite includes 1,000 square feet and will provide classroom space for hands-on educational activities for K-12 school groups, and workspace for the SUU graduate and undergraduate students who will operate the museum. Since 1977, The Friends of the Braithwaite Fine Arts Gallery has supported the Gallery and the Southern Utah Museum of Art with their membership dollars and proceeds from the Annual Art Auction. These
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funds make it possible to present outstanding free exhibitions such as 50 from 6: Contemporary Ceramic Art from Six Rocky Mountain States. In addition, membership dollars support outstanding educational programs for thousands of school children in Iron County, both in the gallery and in the classroom. Students learn about world class art and participate in hands-on experiences inspiring their creativity and allowing them to discover the value of art in their lives. If you enjoy the art you see at the Braithwaite Gallery, consider becoming a member. You will enjoy a variety of benefits, depending on your level of membership, and know that you are helping continue the tradition of world class art in Southern Utah. For more information about becoming a Friend or for more about the Southern Utah Museum of Art, visit http://suu.edu/pva/artgallery. Michael French Southern Utah University College of Performing and Visual Arts
Content
26.
Courtney Leonard, BREACH: sustenance, 2014
1.
Dean Adams, Dyce Creek Column, 2013
27.
Beth Lo, Collectible, 2013
2.
Joseph Bennion, Altered Vase, 2010
28.
Marilyn Lysohir, Flower Girls, 2013
3.
Gina Bobrowski, Dear‌, 2009
29.
Tony Martin, Teapot Form #3, 2013
4.
Birdie Boone, Ready to Use, 2014
30.
Lorna Meaden, Watering Can, 2014
5.
Joe Bova, GMO Amok, 2014
31.
Courtney Murphy, Jar, 2014
6.
Jim Budde, Along for the Ride, 2013
32.
Jerome Dan Murphy, Bottle, 2013
7.
Doug Casebeer, Vase, 2013
33.
Andy Nasisse, Tricksters of Triple Butte, 2014
8.
Aurore Chabot, Eye Catcher, 2000
34.
John Neely, Teapot, 2013
9.
Sam Chung, Cloud Bottles, 2013
35.
Farraday Newsome, Darkness is a Garden, 2013
10.
Sharbani Das Gupta, Seaward, 2013
36.
Jill Oberman, Remembering, 2014
11.
Josh DeWeese, Cruet with Saucer, 2013
37.
David Peters, Crucible, 2013
12.
Kim Dickey, To the Fullness of the Day (and Pale Illuminations of the Night), 2014
38.
Jeff Reich, Allthorn, 2012
39.
Paula Rice, The Big Bang, 2012
13.
Adam Field, Stopper Bottle, 2014
40.
Kathleen Royster, Sitka Moss, 2003
14.
Debra Fritts, Coverings, 2013
15.
Lauren Gallaspy, Headcase, 2008
41.
Steven Schaeffer, Desert Trumpets: A Vessel that Hosts, 2013
16.
Julia Galloway, Pitcher with Falling Letters, 2014
42.
Triesch Voelker, Held Silent, 2013
17.
Martha Grover, Tulipere, 2012
43.
Maryann Webster, Shallow Edge of the Gene Pool II, 2009
18.
Susan Harris, Phyrnosoma Ding, 2014
44.
Betsy Williams, Climbing the Ladder of Success, 2013
19.
Sam Harvey, Grey Orb, 2014
45.
Russell Wrankle, Dangling Amphibian, 2014
20.
Todd Hayes, Bowl, 2014
46.
Rosalie Wynkoop, Majolica Teapot, 2014
21.
Jason Hess, Seven Tall Bottles, 2014
48