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Saturday, November 4, 2017

Key Russell, Student Work






Ceramic, metal, wood, canvas.




Ceramic, metal, rope. 



Maya Vivas, Artist and Flagler Graduate

"Black" is comprised of a series of ceramic wall sculptures using black clay. Paralleling ideas of dissection and articulation in terms of taxidermy and the cabinet of curiosities, Black quite literally dissects, arranges & organizes representations of internal organs for your viewing pleasure. The concept of this series originates from my own hypochondriac tendencies, mixed with ideas of elegance, sensuality, & body horror. All of these concepts filtered through my own identities & the baggage that these histories carry, has lead to a body of work that is all at once alluring & repulsive. 

There is a long history throughout the world of colonization, and the use of blackness as a commodity. Everything from physical bodies to music has been forcibly made available for white consumption. Through the use of black clay and the physical act of the work being hung and available for purchase, the works make a direct connection to the slave auction, implicating the viewer as a participant in the capitalistic game of purchasing black goods. These pieces of black body are on display for one to judge, revere, gawk, ponder, and covet. The choice of using a black clay body extends far beyond aesthetics. What gives this clay its color is the high concentration of the mineral manganese. While harmless when fired, prolonged exposure to this clay dust in it’s raw from, can lead to manganese toxicity. Symptoms of which include, tremors, facial muscle spasms and difficulty walking, often preceded by psychiatric symptoms such as irritability aggressiveness and even hallucinations. Parallels can be drawn between the black experience and manganese toxicity. To have breath in a black body is a hazardous to ones health. 

/inˈtestən/

The tubular part of the digestive tract that extends from the stomach to the anus.

/ləNGs/

Two compound saccular organs that constitute the basic respiratory organ of air-breathing vertebrates.


/härt/

A hollow muscular organ that pumps the blood through the circulatory system by rhythmic contraction and dilation.

/ˈlivər/

A large  lobed glandular organ of vertebrates that secretes bile and causes important changes in many of the substances contained in the blood.





Cone 6 Porcelain & Luster, Hand built & Wheel thrown/altered, 2016, 4.5 x 3 feet






Elise Siegel, Artist




  • Portrait Bust with Cobalt and White Underglaze

  • 2015
  • ceramic, glaze
  • 25”x13”x8.5”


  • Portrait Bust with Lavender Hair and Black Base

  • 2015
  • ceramic, glaze 
  • 16”x10”x6”


Pink Bust with Torn Arm
  • 2010
  • ceramic, aqua resin, paint
  • 21"x13"x8"



Saturday, October 14, 2017

Art Axis

A great resource of contemporary artists. 

The mission of Artaxis is to provide a peer-reviewed source of contemporary artwork in ceramics and sculpture. Utilized as a resource by instructors, students, gallerists, curators, the general public, and contemporary artists, Artaxis.org strives to promote and enrich the field, while functioning as a direct and unobtrusive conduit between viewer and artist.

Link below:

https://artaxis.org/artists/


Sunday, August 27, 2017

Naomi J. Falk, Artist

Field, 2003
Field continued the extension of self. Through the repetitive gesture and obsessive task of throwing large blocks of clay, I outlined the circumference of the area under my influence.



Swallow(ed) | 20' diameter | Porcelain, saltwater, reclaimed wood | 2006 - 2013 | Installation view | The Gallery at the Macomb Center for the Arts | Macomb Community College | Macomb, MI | Mar 2006 

Swallow(ed) began as a tribute to the individuals affected by 2004's tsunami in Southeast Asia. In 2005, while continuing to build the piece, Katrina, and several others hurricanes, hit the Gulf Coast of the United States. Since then, other coastal areas of the U.S. and the world have been dramatically impacted by natural and man-made disasters. Suffering ongoing effects from Hurricane Sandy (2012), for instance, and the earthquakes in Haiti (2010) and Japan (2011), the work remains relevant and timely. Much remains to be done. 



In Swallow(ed), each palm-sized porcelain bowl is filled with saltwater, representing the ocean, as well as tears. In the wake of the ocean's force, much was damaged or lost. Purposefully built with reclaimed wood, the tables represent, among other things, the man-made structures we create and inhabit. 





Recall(ed) Quilt | 2 1/2" x 1 1/2" x 1" each, 40" wide x var. overall | Porcelain, flannel, batting, organza, thread | | 2010 - ongoing | 

Continuing with the work I did in Recall(ed), the installation/performance involves quilting hand-made porcelain pieces under sheer organza, laying to rest those who have lost their lives in the Iraq war. The remaining porcelain pieces are piled in a 'nest' next to the rocking chair I work in, with the quilt trailing across my lap and off onto the floor.


Jennifer Ling Datchuk, Artist


digital photograph, porcelain, blue and white pattern transfer from Jingdezhen, China
11" x 14" photograph, 8" x 4" x 1.5" tray
2014






porcelain, human hair
3" x 3" x 4" 
2014





slip cast porcelain shower drains, collected hair
40" x 30" x 2" 
2014




"My work has always dealt with identity, with the sense of being in-between, an imposter, neither fully Chinese nor Caucasian. I have learned to live with the constant question about my appearance: “What are you?” I change my response depending on my hair, make-up, clothes, what I am doing, where I am at, or what I am eating – who I am at the moment. I find people are rarely satisfied with my answer. I explore this conflict through my chosen media – porcelain, which nods to my Chinese heritage but also represents “pure” white – the white desire I find in both cultures. Bound by these conditions, I stitch together my individual nature, unravel the pressures of conformity, and forever experience pain in search of perfection."