Tammie Rubin: Neverwhere & Nowhere April 8 – May 4, 2014

by | Mar 30, 2014 | Uncategorized

Opening Reception: 4:30 to 6:30pm, Thursday, April 10 with Gallery Talk at 5:30pm
The Gallery at Penn College

One College Avenue 3rd Floor, Madigan Library

17701 Williamsport, PA

United States
Map: Google Maps
Dates: 
Apr 8, 2014 to May 4, 2014

 
http://www.pct.edu/gallery/
“Neverwhere
and Nowhere” is an assemblage of collected objects; the primary
interest is transforming the familiar, disposable, and trivial into the
mythic and fantastical. Rubin explores the wonderment of magical
thinking and the charm of constructed forms and ornate contraptions. The
conical shapes of her ceramics allude to a function of channeling,
transmitting, or filtering, and reference conical forms that imply
communication: voice pipes, megaphones, dunce caps, gramophones,
steeples, and satellite dishes. Through process, she tries to satisfy
her curiosity for sumptuous fluid surfaces, and ideas of accumulation
and myth. Utilizing the amorphous properties of clay and exploring its
inherent materiality, she creates fanciful objects that feel both
familiar and alien. 
Tammie Rubin was born in Chicago, Illinois. She
completed her MFA in Ceramics at the University of Washington, and
received a BFA in Ceramics and Art History from the University of
Illinois, Urbana-Champaign, where she is now an Assistant Professor of
Ceramics & Foundations. Her work has appeared in Ceramics: Art &
Perception and Ceramics Monthly. 
There will be a “Meet the Artist”
Reception on Thursday, April 10, from 4:30 – 6:30 p.m. with a gallery
talk at 5:30 p.m. The gallery will be closed from April 18 to 20. 

http://craftcouncil.org/event/tammie-rubin-neverwhere-nowhere
 

Rest in Peace John Chalke

by | Mar 29, 2014 | Uncategorized


“My interest has remained inconveniently multi-faceted in most things ceramic – from its misty prehistory, when only clay and gods mattered, to the subsequent historical offerings from many lands. Food and tea presentation, clay and glaze research, the art of throwing, the art of handbuilding, kilns, riverside shards, emissivity, the smell of old clay, on and on. The straight path to the studio from the house is necessarily most serpentine some days. Some months of the year, though, make it much simpler. When the days grow warmer I work much more outside, where pots dry more quickly. I become a potter and become familiar again with muscle and ache. From November on, when things are freezing solid outside, body activity slows down and more cerebral struggle takes its place. A farmer might go curling during this time. I suppose I go handbuilding. This sequence has been part of my making for well over 30 years. The only thing I can see that has changed is more honing, more reflection, more revisiting old and new places in my mind, and less guilt about the now petty.”

– John Chalke