Left to Right: Specimen #04232015, 3x20x10 inches, Ceramic, Photograph, and Wood 2015, Specimen #04272015, 2x16x8 inches, Ceramic, Photograph, and Wood 2015, and Specimen #04252015, 7x23x14 inches, Ceramic and Photograph 2015
Specimens photographed in their natural environments. These pieces model the idea of a sedimentary rock multiple moments frozen in time being viewed in the present. The viewer is invited to discover the relationship between the photograph and the specimen. There is a documented adventure and discovery present in this work that creates a stage set.
Yang Jiechang's installation piece "Underground Flowers" Photo Credit- https://www.artsy.net/artist/yang-jiechang-yang-jie-cang
Yang Jiechang was born in 1956 Guangdong Providence China, studied at the Guangzhou Acadamy of Fine Art ,and currently lives in Heidelberg Germany. Jechang uses his technical painting skill and understanding of traditional Chinese aesthetics and makes these traditions visible on contemporary forms and contexts. His work questions social and political issues and is part decorative and part archeological display. The piece entitled Underground flowers is a consideration of the passage of time and a cruel political regime. Each bone in this exhibit was meticulously cataloged and up for sale, one bone per person, pointing out how people often become pawns during times of political regime. Perhaps the conceptual accuracy of this piece relates to the artist’s experience of leaving China after the cold war at age 33.
Precious VS Discarded, 7x8x7 inches, Porcelain, Reduction Fired, 2015
Making a press mold is a wonderful solution when looking to replicate many small items fast. This piece incorporates a pillow shaped press mold. Throughout history an object was placed on a pillow to emphasize its importance. Objects that were washed ashore after a rain were photographed on top of this pillow. A juxtaposition of precious object versus broken and discarded is created.
Tea Set, 9x13x9 inches, Ceramic, 2015
My goal for this project was to make a teaset that matched my themes of exploration from the semester and looked like a made it, so had a stylistic voice. I was very happy with this piece especially, the glaze choices.
This piece was built from thrown sections that were slipped and scored together. The cloud on top is hand sculpted. The base of this piece was coiled, crackle slip was applied to the middle section, and press molded brachiopods were attached to the exterior of the base section.
Strata from Monolith Series by Eleanor Heimbaugh Photo Credit- Eleanor Heimbaugh
There are many special qualities that clay offers as a construction material. One of these qualities is memory. Clay remembers how it was touched and how it was formed. Clay is a process driven material and the process lends itself to memory making. In the mist of teaching learning and creating the clay takes on a form and a purpose. Once finished the ceramic object carries with it not only a memory of its creation but a rich history of its usage as a building material. Clay can also be connected to memory through concept. In my work I use clay to create large sedimentary rock forms that house fossils of the past and proposed fossils of the future, mimicking earth’s strata, which is the earth’s memory in a literal sense.
A scaled model of Beijing’s Central business district complemented by a bed of rice by Jie. Photo Credit- http://www.netsvictoria.org.au/zhou-jie
Zhou Jie was born 1986 in Hunan China and studied at the China Central Academy of Fine Arts where she specialized in sculpture. Jie chooses to use ceramic materials because she considers fired clay to be the most representative material of her country (China). She uses porcelain specifically for its fragile qualities and makes a comparison to the fragility of life and civilization. Porcelian is a symbol of China how fragile civilizations are. Jie’s work illustrates the balanced tension between nature and man and she see’s humans and urban sprawl as a plague. The growths on the buildings are her impressions of viruses and bacteria. This piece is a scaled model of Beijing’s Central business district complemented by a bed of rice, yet another symbol of China.
"Fragile" on the left and "Reflection" on the right. Photo Credits- http://caiguoqiang.com/
Cai Guo-Qiang was born 1957 in Quanzhou City China and trained in stage design at the Shanghai theatre academy. While in Japan he researched the potentials of gun powder as a drawing material and this technique is what he is most famous for. Guo-Qiang’s work combines eastern philosophy a variety of cultures with historical references. The piece entitled Reflection is the skeleton of a Japanese fishing boat resting on a beach of porcelain deities from Dehua, China. This work brings into question social identity and illustrates how artistic expressions from two different cultures can merge together. In 2012 Guo-Qiang was a part of a show in the Middle East entitled Saraab meaning Mirage in Arabic. The show depicted the connection between China and the Middle East from the Silk Road. Fragile was the first time Cai used gunpowder for calligraphy.