301-2 Kinsey Street / Raleigh, NC / 27603 / PH (919) 754 - 8452
View: New Ceramics, juried exhibition
Exhibition
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View: New Ceramics, juried by Meredith Brickell, will open on Friday, August 7, with a reception from 6 - 10 p.m. Selected artists are Tim Ayers, Lynn Duryea, Joseph Pintz and Mitch Kimball.
The ceramics featured in this exhibition are influenced by landcape, be it urban, suburban or rural. The exhibition will continue through September 25.
Juror:
Meredith Brickell is a practicing ceramic artist and Assistant Professor of Art at Depauw University, Greencastle, IN. Meredith holds a Master of Fine Arts from University of Nebraska - Lincoln, completed the Core Fellowship at Penland School of Crafts, and has exhibited extensively including at the Yingge Museum of Ceramics (Taiwan) , the Gregg Musuem of Art and Design (Raleigh, NC) , Lill Street Art Center (Chicago, IL), Artspace (Raleigh, NC) and Santa Fe Clay.
Artists:
Tim Ayers, Raleigh, N.C. Tim hold a Bachelor of Arts in Arts Applications from North Carolina State University and has attended Penland School of Crafts. His ceramics education also includes several assistantships, including with David Stuempfle and Daniel Johnston as well as assisting with firings at W.M. Hewitt Pottery. Tim has worked extensively as a artifact handler and ceramics archivist, with the North Carolina Museum of History (handler) and Gregg Museum of Art and Design (archivist).
Of his work, he writes:
As a potter, I am intrigued by the inherent potential of natural materials. I allow the integrity of the materials to inform my process, relying on their innate qualities to guide me in creating complimentary shapes and surfaces.
By refining regional stonewares I retain a portion of naturally occurring minerals, metals, stones, and organic matter that are generally absent from industrially processed clays. My clay is varied yet dependable. Iron burnouts and quartz inclusions assure a degree of vivacity while precise amounts of specific minerals assure that the clay will withstand five or more days in a large wood-burning kiln. I fire for such an extended period of time because I do not typically glaze my pots. The surfaces I create with the kiln are unlike any glaze or brush stroke, being much more atmospheric and nuanced. Wood embers and fly ash melt and drip depositing minerals left by the bark and resins. Salt fluxes the silica present in the clay, causing glossy textured surfaces. The subtleties of the flame pattern cause my clay body to flash in a somewhat predictable yet irregular fashion. Sea shells and wadding clay not only act as setters in the kiln, but provide decorative marks as well. These elements, however primitive and ubiquitous they may seem individually, combine to form surfaces that are both sumptuous and sublime.
Lynn Duryea, Boone, N.C. Lynn received a Master of Fine Arts from the University of Florida and currently is an assistant professor of Art at Appalachian State University. Lynn has exhibited throughout the country, including at Snyderman / The Works Gallery (Philadelphia, solo exhibition, 2006) Baltimore Clayworks (group, 2007) and the Center for Creativity, Craft, and Design (group, 2005).
Of her work, she writes:
The ordinary is quite extraordinary. Through elemental shape and form, my reference is to architectural and mechanical elements as well as large scale industrial objects and sites. The representation of function is in an allusive and enigmatic sense, suggestive of the past. The objects are evocative of abandoned sites of human activity, generating feelings of melancholy and stillness.
When viewed from a distance, these objects present insistent profile and reductive form, images of simplicity and stillness. Closer consideration reveals a sense of history, traces of transformation that generate narratives of accretion and deterioration. Surfaces are generated by means of building up and wearing away, a layering and removal of materials that implies processes occurring over time, suggesting previous use and depicting the effects of decay, erosion and weathering.
Through a vocabulary of form of softened geometry, I investigate subtlety and nuance, and the method and manner of connection. Simplicity and clarity function as an expression, and as an invitation to contemplate the complexity and richness that can exist in the apparently straightforward. Subtle shifts and changes, seeing images from slightly differing angles and views, lends a depth to the consideration of objects.
Transition zones, borders, places where one reality shifts to another, are compelling in their quiet drama. Great energy exists along an edge. I grew up in a small town on the extreme end of Long Island, New York, knowing the feeling of a littoral, a place where land stopped and seemingly endless water began. Land and the landscape have been encountered in visceral as well as visual ways. The nature and essence of the feelings generated by a particular place are as inspiring to me as the structure and color of land, buildings and vegetation.
Joy in the physicality of constructing is part of what compels me to create objects. I am interested in how structure as well as the methods of con-struction and assembly can become part of the visual language of an object. More than serving a compositional function, for me these elements become part of a record of making, connections in time as well as material.
Joe Pintz, Bowling Green, O.H. Joe hold a Master of Fine Arts in Ceramics from the University of Nebraska - Lincoln and received the Lincoln Fellowship with the Archie Bray Foundation (2006 - 2007). He has exhibited extensively, including at the Clay Art Center (solo exhibition, 2008), Baltimore Clay Works (group, 2009), Sante Fe Clay (group, 2008).
Of his work, he writes:
Household objects are dense with meaning and define the structure of one’s life. My work explores the role that domestic objects play in fulfilling our physical and emotional needs. They are based on mundane objects from the domestic realm, referring to traditional pottery and other implements associated with the hand.
Recreating common objects out of clay is a subtle and transformative act. I choose objects that have an inherent emotional charge, moving them from the known to the unknown. This mystery accentuates their metaphorical potential. Rhythm and repetition of form contextualizes this change of state and invite the viewer to reconsider the object’s meaning.
In contrast to the majority of images that bombard us everyday, my minimal forms achieve an unadorned simplicity. By carving them out of a solid block of clay, I reveal the unrefined qualities of the clay. People often begin to grasp the significance of objects when they are lost, broken or worn out. For this reason, I choose weathered surfaces and faded colors that suggest use. Ultimately, these straightforward objects celebrate the poetics of the commonplace.
Mitch Kimball, Greenville, N.C. Mitch received a Bachelor of Fine Arts in Art Education from the University of Southern Mississippi, and has taught in a variety of capacities, including assisting a summer course at Penland School of Crafts. Mitch has exhibited at the Emerge Gallery and Art Center (Greenville, N.C., group, 2006), and the Rocky Mount Imperial Art Center (group, 2008). He is currently taking graduate level classes at East Carolina University School of Art and Design.
Of his work, he writes:
As a maker, I enjoy exploring the tactile qualities of clay and the marks left behind by the maker.
The sense of touch triggers so many pleasurable memories for me, like riding on a school bus and
imagining the plowed rows in the field running like a thirteen-legged animal, racing me to my
destination. This series of wood fired vessels is inspired by my daily commute to the school where I
taught. I treat the surface of my vessels much like a painter would by applying layers of textures and
glazes to achieve an abstraction of the rural landscapes.
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Lynn Duryea, Iron 2 x 2 |
Lynn Duryea, Tier |
Joe Pintz |
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Joe Pintz |
Tim Ayers, Tower |
Tim Ayers |
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Tim Ayers, Tower 2 |
Mitch Kimball |
Mitch Kimball, Thumderstorm |
