Low fire ceramic, underglaze, wood.
Saturday, January 17, 2026
Linda Lopez, Artist
Artist Statement
I resist acknowledging that the objects inhabiting our lives are inanimate. By considering the objects’ needs, and denying our needs for those objects, they can expose a life and language of their own. A stack of books hidden by a blanket of dust waits patiently to fulfill its purpose. The books appear to be aged and desolate, yet shielded and protected by time and neglect. By carefully observing the relationships between the things around us, I have found them to reveal their physical and psychological states that often go unnoticed. In this realm, objects are personified, perception is ever changing, and things become their true self.
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Sara Allen Prigodich, Artist
My ceramic sculptures are physical representations of our psychological incongruities: the doubts, questions, and shifts in perspectives through which we view the memories of our lives. The act of reflecting upon our experiences can often become an investigation, a system of discovering and constructing underlying emotional structures. I find that a memory’s ability to mutate—to restructure reality or to erode the truth—is a potent source of inquiry for my work.
The sculptures appear soft and pliable, yet they are hardened and permanent objects in space. This perceived softness relates to the flesh of the body in order to connect with our innate humanness and the malleable perception of our memories. The use of materials such as wood and concrete creates a physical and psychological intimacy around a space that is associated with home, structure and shelter. The making process involves a conscious act of piecemeal construction; building as needed to conceal or support the centralized ceramic form. Their fixed state serves as a means to document a single instance of a recalled event, to create a calcified moment of the past. Through various ambivalent postures, props, and subtle comparisons, the forms evoke a curiosity, a desire to empathize with their conflicting state.
-- Sara Allen Prigodich
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Vineet Kacker, Artist
My work draws from the landscape, art and iconography of the Himalayas; from built form that references the sacred, as well as from a personal engagement with Eastern spiritual thought.
Intuitively the works respond to the Himalayan landscape, drawing on a certain sense of self experienced when walking through the mountains and encountering something ancient, mystical, magical and timeless. While the time-worn textures and iconographic markings on the surfaces may appear to reference established traditions, through my working process the text, icons and imagery are remixed and re-contextualized into new works that are symbolic without being derivative, accessible yet also contemplative. The work walks a line between the meditative and the playful, questioning perceived boundaries between Spirit and Matter. Often they are inspired by the phenomenon of street shrines for all over the Indian subcontinent, where associations of faith - often contested - have the ability to transform the meaning of ordinary objects.
-- Vineet Kacker
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