Sculptural Connections
Curators’ Statement
As the ceramic world turns toward sculpture, we thought it a good idea to do a show on some of our favorite sculptures in conversation with each other. We did not choose Japanese artists as that is primarily a show in itself. Artists we have recently shown, or are about to show, are not here for the sake of variation.
I remember hearing Julian Stair say that all work made from clay is sculpture. He probably said a mug is sculpture. I agree. The vessel can be sculpture, providing it is made with intent and individuality, as evidenced by a Lucy Lewis or Alev Ebuzziya Siesbye bowl in which the negative space holds as much power as the positive.
Central to this exhibition are four wood-fired sculptures by Nina Hole (1941 – 2016), which relate to architecture. White and Double Cross Church are abstractions of a church near her village. The fourth sculpture, Spiral is a masterpiece of the elemental.
John Reeve (1929 – 2012) delights us with his Yellow Sculpture with Turquoise in which the Five Parts can move around as he did as the Zen beatnik potter.
Ashwini Bhat (1980-)’s Self Portrait as Kali is full of intentionality bringing together an abstraction of her own torso, her mother’s sari and the energy and ferociousness of the goddess Kali.
Paul S. Briggs (1963 -) who has gone from meditative pinch pots to sculptural series based on the inequities of the prison system, especially to people of color, here presents A Hill to Climb from his poetry series in tribute to Amanda Gorman.
Malene Müllertz (1945-) gives us the early White Lidded Box Grey Lines (1988) which signals all her brilliant baskets with individual coiling.
It is the power within these abstract sculptures that leads to conversations with each other and ourselves.
--Lucy Lacoste--