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    Ceramic Now Issue 3

    Uploaded by

    Nepomuseno Ravelo

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    © All Rights Reserved
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    of 39
    Ga AV OSE NINN ml GAZINE 7 EDITORIN CHIEF Vast Hiro ‘CONTRIBUTORS Rachel Dickson, Luey Gent, Erez Mayan, Lillanne Milgrom, Debra Sloan, Laetitia Wilson EDITORIAL ASSISTANT ‘Anca Sanpetrean [ART DIRECTOR Andel Sincraian (MANY THANKS TO Sabin Bars, Ketko Fukal ‘Viadimira Horotan, Beca Laliberte, Aavier Mestre, Yafuku Gallery, Gallery VOICE, Gavrit Zmicala, ‘and all the artists MAILING ADDRESS. Ceramics Now 35 Gheorghe Dima street, ap. 1 Chul Napoca, 400342 Romania contact officeaeeramicsnowons (008) 0748.30 603 Ceramics Now isan independent art platform and magazine specialized incontemporary ceramics. Based {in Clu, with contributors from ‘around the word, we area smal non-profit organization established to promote, advance and document contemporary ceramic art Visit our magazine shop at wwurceramiesnowmagazine.com All content is copuright of Ceramics ‘Now, the artists and authors, ancl cannot be reproduced without permission, All images are copyright ofthe artists unless otherwise sated, ISSN 2248-115 Front cover: Kristine Tilge Lund, ‘Slate, 2012, Porcelain, 78.7 19.7 x 19.7 inches /200x 50 x 50 cm, EDITORIAL In the last couple of years, [had often found mysetf questioning why | am making this journal and for whom. | also wanted to know ifm making it right or not, andif the community needs it, hese were issues that needed answers years ago, but lacked experience, and | didn't know haw to answer or how to ask them. Idi not know what Ceramics Now Magazine should be—but | was about to start identifying it knew that nobody wanted to read just plain interviews and that the journal needed to investigate and challenge the current perceptions of ceramic art Ithad to encaurage real critical thinking, | had also realized that the ceramics field is undergoing a paradigm shift and that the artists desired to express why they do what they do, and not ust how they doit. To enable artists to speak about them and about thelr reasons for creating art, | asked them, ‘why’in one way or another. ‘The how question and ts answer can become too mucha focus while the other issues are sometimes considered secondary or not discussed at all. This is the reason |had decided to take a careful step to categorizing the artworks based on what | perceived as their primary concept. and show that these artworks are part of a larger discourse. The five sections of the journal are Environments and Perspectives (E), Corporealities (C), Material Reflections (M), Terra Nova (1), and Spiitual Territories (S). Ina few words, the (E) section encompasses the expressions of the artists’ understanding of their surroundings. The section is also about imagined or perceived settings, and about extemal (social and cultural) forces and conditions. The (C) section includes artists whose works speak about and question issues related to body and identity, The (M) section is where ‘the material—enhanced by the creator's technique and sensitvty—speaks foritself and reflects its complex characteristics. Te (1) section—inspired by Wendy Gers’ concept—has to do with new criteria, technology, digital/virtual, 3D printed, and recycled materials. In the (S) section, we find expressions ofthe self, expressions of the spit and suggestive observations of our being The issue also features six articles written by our contributors. Debra Stoan writes about the history of contemporary ceramics in the province of British Columbia, Canada, Lianne Milgrom does a three-way interview with artists that are in the ‘grey area’ of fine art/design/ craft/décor. Erez Maayan presents Roy Maayan's exhibition that deatt withthe artist's return to his biographical memory of dining. Laetitia Wilson writes about Here&Now14, an ‘ambitious show that featured the works of 12 Australian artists. Lucy Gent spotlights Kerry Jameson's latest exhibition of imaginative, hybrid creatures. And Rachel Dickson presents a Personal perspective to 30 printed ceramics. {trust that this issue will provide a unique in-depth viow of the atists'thinking and creative process. | also hope that the sections, titles, questions and answers will make you think about and react to the works. Enjoy the issue and please send me your thoughts to vasi@ ceramicsnow.org Vasi Hirdo Editor-in-Chief CONTENTS ARTICLES Contemporary Ceramics of British Columbia 4 ‘Tree in One: A conversation with Beth Katleman, Molly Hatch and Shari Mendelson 10 Following Lost Memory in Matter: on Roy Maayan's No Added Preservatives 6 Expansive Visions Drawn From the Land and Reaching Beyond 20 Metamorphoses in Boston 24 Drawing Through Clay 28 ENVIRONMENTS AND PERSPECTIVES A Joumey into Intuitive Feelings and Wonderment 30 Destructive Behavior in the Age of Progress 34 Inequality ssues 36 Objects, Memories and Reactions 38 Interplays 40 A Commemoration of Human Landscapes 42 Complex Geometries 44 AA Visual Investigation into Ceramic Practice Phenomena 46 CORPOREALITIES Fragile Bodies 50 Transient Existence 34 Corporeal Metaorphoses 36 Variations of Identity 58 Self-Presentations 60 MATERIAL REFLECTIONS Unlocking the Memory of Clay 64 ‘The Vessel as An Abstract Farm 68 Ceramics Is Nothing More than the Art of Fire R ‘Assembling Ornaments to Create Compositions 76 ‘The Geometry of the Huerta 8 Constant Discovery: Beating and Stretching Clay 82 Translucency and Imperfections: Becoming the Object 86 Meditative Lineations 88 Empowering Glaze 90 TERRA NOVA New Aesthethics influenced by the Cutture of Consumption 92 Artificial Manipulation 96 ‘The Deconstruction of Flowers 98 Digital Creation 100 Finding Beauty within Conditions of Disorder 102 Exploring the Beauty of Decay 104 Revealing Inner Truths 108 ‘The Realities That Sit in the Back of Every Persons Mind 110 ‘Visual Expressions of Divine Conversation 1m Searching Out for the Essential M4 Catching the Charm 1g Site-Responsive Memorials, Rm CONTEMPORARY CERAMICS OF BRITISH COLUMBIA By Debra Sloan lwestem eege oF Canoga, the ceramie cute ‘asia tyough eraenat migration hung the 2005 Ceiury. BCs ove ef the few laces in te word whee the maiganeus people {didnot deetop a cera tecetny Insta the Fst Nations were and remained masters of wood—ther source of al things Dracteal and express. Ceramic. krowidge had to be pert, and a local aucence ts sl Inthe precess of bea cutvates The varity of te Bc ceramic prac refects the waves of Immigration that have and eantin to fo into tis region. Equal vrious are the recent a pots of fermation meeting patygan care Processes and vaditons bt have token humarty millenia develop were, pen imzortaton to 3, freey renterreted and qucy assemrted c's tution potter was. Swede, Axo choig, who immigrated Shoe fer WW L equipped Ah traning toatonat pote. A handful of ether Inwmirats, from the UK, Belg, Hungary aly, USA span Koren and Cin, rough ne craic rowed to BC between and attr the Wertd Wars By1955 thePotersCuldor Bresncaumba (Pea! was faunded Unie European Gas the GBC was never ntened to estapish specie tecimca or aesthetic standart. stead, curing the 50s and 60s, fhe Gul founders sponsored many ‘iteratonaty renowned. teachers to Present workshops, such as: Eth Heath tom Catrmnia Wexanoer Achperko fram New Yor, (ever Suebote from Belour, Catton Ba tm the Unversity of lino, Kyl Salmenhasra from Fare, and Marguente Widener va USA tained in Germany, Hany Oavs fom New Zentng, ana Maa. Canes tem Engin The (NIWCEI nave catpued ints eaing tation ttn an acbve Speaker Series and sponsoring rurmerous works opportunites itn these artists came the knouiesge of asian trations, the dninaus Schoo, and the Arts and Corts aid Modems art moverens, notre Sonica influence in BC ceramics a elsewhere was bat of Berard Leach Dring the ate 30s Uhrough to the 70s sx potters rom 2¢ studied vith Leach Sending hs shtoseahy 83ck to BC Inatng a surge of ndepensent stud potters provne-wide The wets of Wayne Noon Sam Fan Rn Vis, naka Fro show a vant of ituences ofthe Leach Mae tats. Leach hee been affects bya of these ar mover, but was most prtoundly aectes by Soest Yaraglauher ‘of The Unknown Craftsman and founder of the Minge. 9 Japanese foc at Imavement Yanag inset Red been uence bythe posop of he Bish As ae Cas ovement Te works of KichiShigeno, senda Tang 2 and Mario Patarson are exroies of how European aa Asan posopres nave come {lec trish Cumbia and are expressly Iorazea By the 1940s, some educaton in caramis was (SAY, and bythe 50 a he University of Bsn Coumea as wel a5 at small private pottery BC, and tore ae many coleges and at canes oferng clases. The vetks of Don Hutchinson, Dare Gener Deora Slan 2, snavan Ting ok Leung © are averse examples of four artists who wore sei laught ermal tated in BC inthe far 70s aor ana ast Robin Hoppe wh is owed of mary tecnnolones,emgatd trom the UK a began teacing in Ontario ad then n BC Emily Car Unversity of ArtandDesign\ECLAD) replaced the VSQ and oles a BFA n crams, ancas commenced a gaauate programme. The FCUAD ceramics pragammne was led by Tarn Ig aed Sally Bene fr over 20 yes, and ‘sow headed by aur and artis, Pau Mstieu 5 istin Novak ar lever Anether avenue fer \eaming ras teen o pursue post-gacuate derees fr reslercles eon arti an later, Atay (erien @, Etza A”, ant ¥ng-Yeh Chuang areamong the many who have tevelled a stu in he Uk, Europe, Austala, USA ard Asi. There area few residency opportunites Canad BC. the Museum of Antrepooay is about to Rest Lisa Hennquse tora siemontn rescency. Mesaia In the prove of Skate, has an extensive Intemational residency proganme. The ant Contre inthe prove of Alberta has an established ceramic residency and ths yer fs partnering with INCECA Les Manning one ofthe ars forthe 208 1st Cy CerarsBlennia, and 3 parce a he ‘th Symposia In Cly-Napoca, was Instrumental. In establsnng both of these residencies. Re Deer Colege aso n Aber, as an estabtshed Att in Residence prooranme ‘he absence of an inigenous cera culture has had cutuat consequences Pubic astute dé nat Fave famewark mplaceto study ceramics an the (enetalpopulacedidnetnavea fasion supporting 4nd using lect randade ceramics. Consequertiy pubbe calleres, museums ana other Insttitens Fave been slo tof 2 context for orto support the cerame practee Very few regenal nsttunens hve BC cerarac af in he permanent cats, and ceramics 15 rarely nce in tions. of Contemporary art In fers of awards or grants ‘ere are ony we government grat agencesin the real, the BC Arts Counel an the Cana Counc for he As The 8. Achievement Foundton fs 3 anal aware ana the NING Tunds an AWG of Excelence, Progress is siowly bang made as ‘eramists are acvly sting for the at practice to receNe greater recognition ae integrator, arto promote a eure of caletng ans cennosseursi. Several Gucs and Co-ops suppor smal galeries and shops largely txough te rementous tative Sd wore efit of thet members. One ocome oF {ete cual super n BCs that mary atts seek exhbton residency andteaching oppotunties cutie of BC anda and tisinteresing to note how many nave achieved atemationa recogrion Tere ae the other Tacs ate apart Mam the cultural specs mentioned above that have an effect, onthe &Ceaariepraciee Cis a"new regen the ‘ost recently populates trough immigration on he Norin Amertan Content. Immigration to BC was fnecuregae any wnen te ratny arose Cana twos competed In 128. The previous aenaties were =e 1869 when the tans. Amercan toy wos completed fo ave by land or sea the BOO Hometar from San Francece to Vancouver, tenure the perious manhe-long ses oumeysroune the Cape Hom The nent acts are what Canad knw for-dstance ard weather Canad Ise east west one rats neat 1000 kaoreters and ‘over 2500 kloreters north to sub Consequenty the stance between the smal tots and esin BC are vast, making transport and travel expensive Bd time-consuming In BG, the asance focor Combined wth daunting geography and caprious weather. The massive Rocky Mountan Range atts 35 an islatng baer betiveen BC an the rest of Canada he Rockes mage buling the ray 2 deadly enterprise tragically costna the Ines of Uneounted chinese and ofner mmgyat ibers oh yeas ater the Rockies neo calenged the Dotess ofthe Tans Canad Highway, wh Ws ony compete in 1962. Also, win the prove, {here athe Selir and te Coast. Mount ranges. vancouver isi where most of he BC Population bess situsteain te Souther comet of B side Pacic Ocean Ouse stay and temperate coastal region, wher weather and those mountain ranges combine fo prevent easy travel from October fo Api Coastal AC is another at forest and soften vetared to ae the "Wet Coast Clues ses i, and Due-gey mists preval an ecoge of tao hundred days 2 year The power fect of hase Landscapes ad ernment can be Seen the works of Cat elersan 2, Mary Fox: Laue Roland and Rachel Caney, Taking all these sparate factors into cnsieration ndaddng the lotatzan of cerames aterm [BC ceramics, at ths tne, Mc to categorie. In ‘ton there hasbeen increasing cross fezation between contemporary at practees, 2s bares ‘cumbie and at practes expand thr perception ‘of materal use Perhaps by vetu of bana coraied twin the geagaphiel "seston of meuntans ‘nd sea, an by having commenced a practice ee {of tational restos the ceramies mage BC ‘wi overtime, speak Tor ths regen trou the sit of thar varabe and tnconstanes ature, Future /statans maybe abe fo sce inuences caret forward from other contemparary aft practices, te feronmental inpact,teratonat nelages, the {Leach Angel pines anainlgenous FestNaion’s fotenic ana fone ato, The works fated In tis ate demerstate wat, nvauals art ‘react ~ characterstes of the proce of Bish Courina and represent ony some of he namie fists work nthe province of ish Calum ‘his erie is based en Debras presentation ot the Sim Inertonal “Symposium Cezmcs ord {ass netoer Treat and cantempereney’ that ‘companied fhe frst Ci hteratonal Ceramics [Bemae Exnbtion i Octeber-Noverner 2013, 9 ‘y-Nopoc, Tansy Reraria ‘Selous fom 1973-79, Debra Sloan tended the Voncower Schoo of Art 1979-1982 ond Emily Cor Unersty of it (FA, n 2008) she son ne ‘Norn-West Certmles Feendaton board ond he under of the arta waste vwAvarc dc. ‘er work is represen 6 Lak Putas Bebra wes guarded the Cie Crt Sholrsiip an 9 BC ‘ts Cour Vsuel Arts Ara foro estueney tthe International Ceramic Ste, Hungary in 2010 ard retmed m 2013 in 201, se attnded orestoney Galery or ceramcs. THREE-IN-ONE A conversation with Beth Katleman, Molly Hatch and Shari Mendelson By Lilianne Milgrom eth Katleman, Molly Hatch and Shari Mendelson each ereate highly distincive bees of work that have catapulted them ine prominence ina very competitive playing fet. These three artists, though Jacked by Singularly unig ideas, philsophies dnd proces, share common ground rot only fn their varying relationships to clay, but also in ther inspired onnectton fo the ast and their commitment toa labor intensive atic practice ‘he aris are represented by Todd Meri tudo Contemporary in New ork Cty. All ree cume to Todd Meri attention uiie hese out on & guest fo discover artists that were defining design inthe 2st century. He {ound them inthe boundary-bendling ‘rey area” of fne art design craft ‘cor. “Kalman, Hatch, and Mendeton are of the moment,” says Merl The work they each produce manages the ally cantor without sacrijicing evidence othe maker's hard.” Indeed, not only are dhe artist united in their hands-on approach to their work, bur they have each redefined the artistry of bygone ages. Thu are stirred by the beauty, opulence and refnement present in art historical textiles, design objets areand architecture and dey have bull upon these Ingluences create rsh, contemporary work At the start of her artistic journey. Beth Katleman was pulled in two digerenedirectons-design and fine art Her current work is a_perfect Sumthesis of he tia. Upan closer inspection of er detailed installations, tne finds cues to Kaclemans nuanced views regirding art and culture Despite her tnapolagetic toe for rye porslan, she is nonetheless conflicted by the despotic nature ofthe very regimes that supported the ‘creation of duese ornaments. Likewise, she fasctnated by the darker side ‘American society while atthe same ime admiring ts “almost Palyarna ea san, cmt fr cpg 25,88 ‘sh* optimism, progressand innovation. These dualtes nt tension toher ‘isarming panes. Dolly Hotch uses the allure of decorative ut history to entice the public to enter into her wark and her wort. Flying in the fce of contemporary ‘wisdom, Hatch embraces Beauty, insisting i is “not the Kiss of Death Proudly calling herselj an artist designer, Hatch challenges preconceived rotons of the studio anise y embracing the entire spect of er freriiqy. She texs her “smaller ides” ih the commercial markeplace while creating lager one of «Kind ceramic installations that mine the deeper political implications of epulence and lucury ona grand sale Ironically iis Shari Mendelson's work that represents the mare jamaiar ceramic forms, ever though, the arts's materia of choke 3 recycled Plastic material she tes to tackle the sues of rampant. hun onsumpaon. Her playful, luminescent vesels remind one of the works Beatrice Wood. Both an interest in ancient forms and her strong politcal views on he oe! with trash went hand-in-hand in inspiring her most, recent body of wore. Mendelson believes in ‘ing what yo enoy doing, fnofahat popula.” Alf hree artists have proven the vad and veracity Df tis approach, By demonstra an urenering commitnent 10 thei ‘rete pats, hese artists are role models for future und contemporary Lorne Mom san ntmetenl att based in Washington DC Her ceramic Instotatons hove been exten the United Sttes, Ramana sce ard France ther werk con be oundin private ane pb colecions were Shes eso ‘tater en tert cee entra o Ceram Mert Magazre, Ceramics Artond Percept, At and Bevand Magazine ae Te Great Nude A word with Molly Hatch You have churacterzed your wore 25 ‘pate paling By ascaraing tn aatonal uty an Socal function of plates, Iam wendering what purpose they pay eer than serving as bank «canvases or yourtmagery. Why ceramic plates? (ME amnatntrety scaring the ety ot lates the pate parting are tect runcona. To ansirer rore preset, | am terested in using the plates to gve tne viewer an access poet into ew my panties that St posse using 23 tadibonal canvas | gew up wets a mother Vo Isa pater and 2 eer who was a fame, Ih fami placed value inthe functional abject in things wth use. | nc was attracted, at frst to using utanan forms fo house my oaitnas and cravings because they coud be valued 2s functional objects atthe very bas leve—even isa sort of asannect wih fared at or a on the wall. We ae trae or taught how to read pantings, bt without Fang fs nad to know virat 1 took for ana wat Is meaningful m2 Fantng We atimow wnat apt we use ther fever day Tis fait gives anjone way to relate to te plate pantings make vet they engage turner wth the concepts an imagery ot teh painting's up othe viewer Ute want the viewer to see plates as panting, and to think about plates away they may sathave bore. Moy ae Yeates range: er Re 201,78 ara canara ae pein nes, 6010S hes 152 589-6 ‘Your work has one fot in the decorative arts and design and one foot in the ne art arena. Mary ists have fet the need fo justly oF defend ths {ot of cuaity Yet you seem pertecy comfortable ‘Sradang both words How do you dats? HB 00x question | ar gong with my gut about What fees best for my career one aspect of olonger enoyate or easing my eat. wilt Ingo Muen otthas te ce wn ny work pts ane Interests. My ie art work martes to righ fend calatrs and museums, whch fs nacessary to be ale to aor to fake te ane Takes to make {each plece by Rand and pant each pece by han f2noy mating the plate pantings because they ae lengetenn projets, many of which take several, ‘menine to compete rm rowing plates fopsining {hem and then fring them. The process that | go {trough tomate each plece's at once conterglatne and medtatve in the parting process. Tis work 's coneptaly rewarding in the deveoment anc reseacheteath ieee My designs for manufacture tke tess time to make than he trger sce on-of3- Kd Wor for my gallery and are perhaps more humorous and ighter in mood in genera MV desans reflect, Sitar concepts, inspraten ané source material to BW ene-ot-a-kia ajets ana require much o he Some researc and development Wink this 5:32) forme to get my ideas ot ito the writ wi the hap of nds. Rave mare Was tan Gn make valabie tothe wore simpy by har Soe te ae IrutuallyexcusveIneed each asectet my career ‘or ciferentreasans | as eney te afters of ‘he desianwork Te artwork 50 pensive ac out of est people's reach financial love the ea bat ‘more ponte have acres fo what | am making fan Ist he ite and museum | nave fnared people tuo tes me tnt ean maketh carers Wo ‘seems tobe working ste You have mentioned your stong conection to objects. Can you expand on the human propensity to cover ane suraund ourselves vith objects ot (Subjective) beauty? {IE Forme my covetousness stems trom a need to team rom the abject. ty ar interested in an object because wantto have moe of ine Uf, ot [want to ngure out now t was made o decorated | love nding he repeats n pater ve says Na Fung ota pattem fascnatng and rena, How does surtace decoration alter our emote and subliminal response these objects? Hid rormy work, tn sutace decorations genealy ‘gounded" in istic pater. and Imagery. Ts Feterence forme san aatonat acess point forthe ‘ewe wane viewer olodk atte work nd ee 10 fara yet unfanar a the same tne ant fo encourage the vewerto fake a second look. and spon more ime wn the wor, Your work combines bth your lve of panting and rang and craic Would you doscrbeyourstT fea ceramic fst? Hibses 10 tink or myst a a ceramics though ‘wonder hatis simply becauseot mw traning. When Tam asked o deserve msl peal all myst! anzistessone: {im curious: Do you nave an organized arangement In mind wien you begin throwing your plates of do ‘you throw ferent sizod plates ad then design the ‘overallnsalation as youstr panting? {Tif Wen | am mating an organ or of-the- grit Crrpostion typical begineacn piece wana source Image and then | wor the nage ta Photesnop to ‘eat 2 compossion tat highighscertae aspects of the source image ad crops out aes. aim to Fetain much of he gna information m te source, butrmanpulate often qute ramatealy) 0 makeit read wel onthe surface ofthe plates wren viewed a5 9 larger plate pang composton. | make the Platestothe sae ofthe Photoshop design andhang the nates on the wall WH the Pets ofa projet | get tne scale cect an nent nandpantipe wore nen am mating aged lee, ypcaty make the design ta grdand manipulate the source mage to make work n'a gd format. Moe often than rot | ta tore satsting to rate a composition Uhalis ofthe and as nave more contol aver the compost. Your references and infaences are drawn trom 2 more genteel time, Athough your werk Is very contemporary in ts approach possesses ‘he forma qualty of a past aestnetc. What role des beauty play In your work compared to the rarative tater? seoutyis very noortanttome.intheart wor, Besuty nas boon 2 cade-ora for fain ora lana tme, ane nence smetning tobe ava IF yu ws 10 be taken serous, nk has a lotto do wth ettsm mists of the senses and Drivleging te ttetectal over the psc You manaye to pack 2 tg punch using large numbers of very smal, detaled and. hghiy fetined elements Ate these Inanguat uns ways relegated toa roe win te Big Pure ‘ord they have fe and meaning ofthe own? HI} croose tnats that wor a8 stance tor fe casscal or pastoral mots yeu wou fd In a roceco paneled room ori tote watnaner. For example, Youd recog paste Din git at a coke decretng shop. She was meant fora bachelor party cake. but | casted ern porcelain, and she became a Veus gure. Cty orn the “Tree stooges functions 253 comedy tagedy mask 3 seuvenrponai starpaner of Le Sacre Coeur becomes a garden aly, 2 50 on tam parted dhawn fo dell and Sowers trom A word with Beth Katleman the 1950's, whieh convey a sense of American opts ‘he relatively recent sea change in the art ‘worit's embrace of contemporary ceramic set 2 egal’ tne art seems to correlate with ‘the move away fom functional and tradoal pottery towards “conceptual _message-based ‘work? Your toughs? am conta sted by hats nine bythe at wor Mat said we've had a steady et of mn conceptual at fr 50 years o 0. ad ithes becom someting of an orhodon Maybe theembraceof ceramics flees an ugetopulthe “faust back nua ats one cn nope. Your work Is very tine and labor intensive {BB spene hours upon hours ovina receating 3 die store irk porcelain a material tat Suggests ary and refinement Then 1 take tis precous thron-away and ncrprate to an opulent exraogatas that takes fs slat ‘les om the tea Me Ante Mink i has to do vith my ambwatont relationship with B ea foteman The Ean tr Wee Num 28

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