Plane & Solid

Page 1


© 2013 Lillstreet Art Center 4401 N. Ravenswood Ave. Chicago, IL 60640 Artwork © the artists. Text © Tracey Morrison. Photographs by Joe Tighe. Design by Jess Mott Wickstrom. All rights reserved. No part of this publication may be reproduced in any form, or by any electronic or mechanical means, without permission in writing from Lillstreet Art Center. Cover: Hans Peter Sundquist, Lacrosse, 2012




SUGGESTIVE SHAPES

by Tracey Morrison

To an artist, a story can begin with a simple

collection of brightly colored, heavily

shape. An oval can represent a human

patterned, and sharply angled work that

head. Four lines can form a rectangle and

transforms the gallery into a geometric

turn into a rendering of a car. A piece

landscape.

of clay can be rolled into a sphere and a functional vessel is waiting to be formed.

The paintings of Hans Peter Sundquist

Shapes and their properties within

are the backdrop for this landscape.

space are the basis of geometry. Though

Using spray paint on fabric and laminate,

mathematical thinking and creativity

Sundquist layers abstracted patterns of

have a reputation of being controlled on

differing colors on top of each other,

opposite sides of the brain, many visual

creating a sense of depth and dimension.

artists effectively employ geometry in

The intimate sizes of the paintings draw

their practice. In “Plane & Solid�, four

the viewer close. At such short distance,

artists expose the aesthetics of math

the texture of the fabric or laminate

through the use of shape, pattern, color,

becomes noticeable, adding another

and line. From functional ceramics to wall

layer of pattern below the paint. The

sculpture and paintings, the work of Marc

use of spray paint creates a translucent

Digeros, Mark Pharis, Alison Reintjes, and

quality that allows the colors to fade

Hans Peter Sundquist forms a harmonious

and meld together, almost making it


difficult to discern which color was placed

a narrative, which could imply the frames

on top of the other. The repetition of

were meant to hold a family portrait;

intersecting lines leads the eye across

yet, the negative space within the frames

the work in all directions. The depth and

highlights the absence of any image and

movement begins to feel encompassing,

evokes a sense of yearning or nostalgia.

almost reminiscent of a familiar space or

Just as an oval can represent a human

environment.

head, this piece conveys an emotional narrative solely through the use of shapes

Also lining the walls are three ceramic

and their arrangement.

wall sculptures by Alison Reintjes. All are composed of several repeating shapes,

Negative space is also a powerful feature

arranged to create a larger formation.

in the work of Mark Pharis. His group of

In this way, the individual pieces of the

three brilliant yellow vases have lively

structure are used as patterns themselves,

gestures, which seem to originate more

displayed in a manner that suggests

from where the clay is absent rather than

movement and interaction. Particularly

where the clay is present. The opening

striking is Reintjes’ Double Portrait, which

of each vase looks as though it was

utilizes the simplicity of an arch form.

physically cut out of the top of the form.

Eight arches are arranged into two oval

This negative space is so intentional and

shapes, creating two empty frames. The

prominent that it gives the existing form

two frame-like configurations are placed

a playful expression. When grouped

on the wall at a distance so close that they

together, the vases seem to interact with

almost touch each other. The title hints at

each other and create an almost theatrical


scene. The deliberately drastic and angular

pathway, these lines twist and turn in

openings of the vases are a characteristic

seemingly random motion, guiding the

of Pharis’ building process, which he

eye around the work with enthusiasm

likens to sewing or metalworking. Pharis

and speed. The careful process in the

maps out his constructions using two-

construction of the vessels contrasts

dimensional patterns on paper, which are

these freeform lines. As is the nature of

translated onto clay slabs and built into

clay, neither is perfect, thus displaying the

forms.

work of the hand within the meticulous production of each piece.

Marc Digeros also begins his process using two-dimensional sketches. However,

Simple shapes, angles, and lines can imply

drawing influence from architectural

complex forms and ideas. Evoking feelings

design, he employs the modeling software

of familiarity, space, longing, playfulness,

AutoCAD to plan his constructions.

and motion, the work in “Plane & Solid”

Digeros’ procedure is detectable in his

not only exemplifies the use of geometry

slab-built forms because he leaves the

in construction of artwork, but also

seams from his building process visible.

encourages the viewer to interpret the

The surface of the earthenware clay is

story suggested by the shapes.

treated with vivid colors and is accented with lines that zigzag about the work, as if an eraser was dragged around the piece in a frenetic manner, removing color from the surface. Acting as an energetic

Tracey Morrison holds a BFA in Ceramics from the University of Illinois, Urbana-Champaign and is Gallery Assistant at Lillstreet Art Center.


M A R C D I G E R O S grew up in Fridley, Minnesota and received his BFA from the University of Minnesota in 1995. After earning his MFA from the University of Washington in Seattle, he moved to Helena, Montana to work as a resident artist at the Archie Bray Foundation where he received the first ever Taunt Fellowship. In 2000, Digeros moved to Los Angeles where he still resides and works for architect Frank Gehry as Model Shop Manager, an integral position that makes the everyday production of architectural models possible. Geometry has always been a starting point for Digeros’ clay works and his process usually begins with sketching. Though unlike most artists, his sketches are done in Autocad, a tool which allows him to think about his pieces in what architects and engineers would describe as plan view (the view from above). The challenge is taking this twodimensional sketch and bringing it to three-dimensional form. Much like architecture, his work examines the elements of interior and exterior, function, surface design and adornment, and it is designed with a consideration of the relationship to its surroundings.


Marc Digeros Ewer, 2013 Earthenware, 6.5 x 8 x 4.5 inches


Marc Digeros Medium Vase, 2013 Earthenware, 9.5 x 5 x 5 inches


Marc Digeros Small Vase, 2013 Earthenware, 9.5 x 5 x 5 inches



Marc Digeros Parallelogram Platter, 2013 Earthenware, 2 x 19 x 6.5 inches


Marc Digeros Teapot, 2013 Earthenware, 6.5 x 8 x 4.5 inches


Marc Digeros Medium Geometric Bowl, 2013 Earthenware, 2 x 9 x 4 inches



Marc Digeros Teapot, 2013 Earthenware, 6.5 x 8 x 4.5 inches


Marc Digeros Triangle Dish Set, 2013 Earthenware, 1.5 x 5.5x 6 inches (each)


Marc Digeros Small Geometric Bowl, 2013 Earthenware, 2 x 6 x 4 inches


Marc Digeros Lowball Cups, 2013 Earthenware, 3 x 3.5 x 3.5 inches (each)



M A R K P H A R I S is an ceramic artist and professor residing in Roberts, Wisconsin. His introduction to ceramics began in 1967 at the University of Minnesota where he studied with Warren MacKenzie. In the summer of 1973 he set up a pottery studio in a rural area outside of Houston, Minnesota where he produced work until 1989. In 1985 he joined the Department of Art at the University of Minnesota as a faculty member and served as the chair of the department from 1998 to 2004. Nearly all of Pharis’ early work was functional, thrown, and once fired in a wood and oil fired kiln. Since 1992, he has worked exclusively in earthenware. His handbuilt forms and volumes are arrived at through the use of two-dimensional paper patterns and made from clay slabs. His process owes much to the traditions of patternmaking found in sewing and sheet metal work. He thinks about and uses geometry while making these pieces, however, it is casual geometry, intuitive, and not derived from serious math.


Mark Pharis Teapot, 2013 Earthenware, 6 x 9 x 7 inches


Mirror Drawings, 2012 Graphite and Water Color on Board 6 x 6 inches


Mark Pharis Vase, 2013 Earthenware, 6.25 x 6.25 x 2.5 inches


Mark Pharis Vase, 2013 Earthenware, 8.5 x 6 x2 inches


Mark Pharis Vase, 2013 Earthenware, 6.25 x 6.5 x 2.75 inches



Mark Pharis Vase, 2013 Earthenware, 7.75 x 8.25 x 2 inches



Mark Pharis Teapot, 2013 Earthenware, 6 x 10.5 x 7 inches


Mark Pharis Teapot, 2013 Earthenware, 7.5 x 8.5 x 6 inches


Mark Pharis Vase, 2013 Earthenware, 7.5 x 6.5 x 3 inches


A L I S O N R E I N T J E S is a ceramic artist living and working in Missoula, Montana. She first moved to Montana in 2001 for a residency at the Archie Bray Foundation. Alison studied at Kent State University, the Canberra School of Art in Australia, and Northern Michigan University. In addition to her time at the Archie Bray, Alison has held artist residencies at Greenwich House Pottery in New York, Jentel in Wyoming, Mount St. Francis in southern Indiana, and the Clay Studio of Missoula in Montana. Reintjes’ work references scientific and natural processes as the basis for abstract investigations into pattern, shape and color. She uses shallow spatial groupings to directly engage the wall, like bas relief or tile murals. Each arrangement employs a framework (or rules), introduced by the form. A strong sense of movement is revealed through different densities. For instance, a rectangle suggests how the forms might be combined in a row, a grid or another geometric structure. The negative spaces that are created by the final arrangement are as important to the overall design as the ceramic forms.


Alison Reintjes Strata, 2012 Slipcast Porcelain, 16 x 16 x 1.25 inches


Spherical Lidded Box (open)


Alison Reintjes Spherical Lidded Box, 2013 Slipcast Porcelain, 4.5 x 5 x 5 inches


Alison Reintjes Mugs, 2013 Slipcast Porcelain, 3.5 x 5 x4 inches (each)



Heptagonal Shortened Antiprism (interior view)


Alison Reintjes Heptagonal Shortened Antiprism, 2013 Slipcast Porcelain, 2 x 7 x 7 inches



Alison Reintjes Double Portrait, 2012 Slipcast Porcelain, 30 x 27 x 1.25 inches


Hexagonal Lidded Box (top view)


Alison Reintjes Heptagonal Lidded Box, 2013 Slipcast Porcelain, 3.5 x 6 x 6 inches



Jeremy Alison Reintjes Randall Blue & Green Flask, 2012 Troughs & Peaks, 2013 Earthenware: Oxidation-Fired Slipcast Porcelain, 25 x 42 x 1 inches 6 x 5.5 x 2.5 inches


Alison Reintjes Shortened Antiprism Tumblers, 2013 Slipcast Porcelain, 3.5 x 4.5 x 4.5 inches (each)


Alison Reintjes Bowls, 2013 Slipcast Porcelain, 2.5 x 5 x 5 inches (each)



Alison Reintjes Hexagonal Lidded Box, 2013 Slipcast Porcelain, 4 x 7.5 x 6.5 inches


H A N S P E T E R S U N D Q U I S T is a Chicago-based artist who received a BA in Studio Art at Bethel University in St. Paul, MN and an MFA in painting at the School of the Art Institute of Chicago. Hans gravitates toward low-fi means to create works of art that explore natural phenomena such as light and time. His abstractions are typically made by layering his own imperfect patterns and colors with the calculated abstractions found in patterned or fabricated materials. Sundquist wants to create a space where the image or object fades into experience.


Hans Peter Sundquist Lacrosse, 2012 Spray Paint on Laminate, 16 x 12 inches


Hans Peter Sundquist Untitled, 2013 Spray Paint on Fabric, 16 x 12 inches


Hans Peter Sundquist Untitled, 2013 Spray Paint on Fabric, 16 x 12 inches


Study in Line, 2010 Graphite on Vellum 12 x 18 inches


Hans Peter Sundquist Untitled, 2013 Spray Paint on Fabric, 9 x 12 inches



Hans Peter Sundquist Untitled, 2013 Spray Paint on Fabric, 16 x 12 inches


Hans Peter Sundquist Untitled, 2013 Spray Paint on Fabric, 23 x 19 inches






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