by Carole Epp | Dec 19, 2007 | Uncategorized
I for one hate writing an artist statement. I’ll ponder each word endlessly, restructuring sentences till nothing is clear or making sense anymore. So I have alot of respect when I read a great statement that accentuates work appropriately, and is able to draw me into the layers of the work. Recently I’ve been looking at the work of Brendan Tang, a ceramic artist from Kamloops.
His work is exhibited in en feu and he set up a group for Canadian ceramic artists on facebook, which will hopefully take off as a great venue for critical feedback and exposure for great Canadian talent. His work is visually fantastic, mixing traditional imagery with contemporary technology, presenting lots of interesting questions for me regarding industry and development in ceramics, global influences and economy, and, well the list goes on and on, as good work should do – it poses more questions than it offers awnsers, challenging the viewer.
So with Brendan’s permission I thought I’d actually post his artist statement to offer some more insight into the work for you all. I hope you enjoy!
Manga Ormolu – Artist’s Statement
Peoples throughout history have bought, adopted or pillaged technologies from one another, often through the mechanisms of war, trade and espionage. ‘Nations’ and ‘cultures’ are not discrete entities, but are rather continually evolving expressions of social history, economic imperialism and geo-politics.
Viewed in this way, globalization is a historic trend, but one that is accelerating. The rate and extent of globalization has increased exponentially through increasingly complex technological revolutions – agricultural, industrial, and now digital. Yet, at same time as this technological convergence, the cleavages between populations defined by race, religion and nation are being redrawn, redefined and reinforced. Clearly, “we” (patriots, developed, democratic) are not like “them” (insurgents, underdeveloped, oppressed). Globalization, translated through capitalism and nationalism, has not yielded cultural uniformity.
Manga Ormolu enters the dialogue on contemporary culture, technology, and globalization through the relationship between ceramic tradition (using the form of Chinese Ming dynasty vessels) and techno-Pop Art. The futuristic update of the Ming vessels recalls the 18th century French gilded ormolu, where historic Chinese vessels were transformed into curiosity pieces for aristocrats. But here, robotic prosthetics inspired by anime (Japanese animation) and manga (the beloved comics and picture novels of Japan) subvert elitism with the accessibility of popular culture.
Working with Asian cultural elements highlights the evolving Western experience of the “Orient.” This narrative is personal: the hybridization of cultures mirrors my identity as an ethnically-mixed Asian Canadian. My family history is one of successive generations shedding the markers of ethnic identity in order to succeed in an adopted country – within a few generations this cultural filtration has spanned China, India, Trinidad, Ireland and Canada. Cultural appropriation and assimilation seem like a natural part of my identity, a survival technique not uncommon among ethnic minorities.
While Manga Ormolu offers multiple points of entry into sociocultural dialogue, manga, by nature, doesn’t take itself too seriously. The futuristic ornamentation can be excessive, self-aggrandizing, even ridiculous. This is a fitting reflection of our human need to envision and translate fantastic ideas to reality; in fact, striving for transcendence is a unifying feature of human cultural history. This characteristic is http://www.blogger.com/img/gl.link.gifreflected in the unassuming, yet utterly transformable material of clay. Manga Ormolu, through content, form and material, vividly demonstrates the conflicting and complementary forces that shape our perceptions of Ourselves and the Other.
~ Check out Brendan’s website for more great images and statements about his work.
Thanks for sharing Brendan!
by Carole Epp | Dec 16, 2007 | Uncategorized
Call for entry for the International Ceramics Festival in Mino Japan.
Categories are Ceramic Design – factory produced pieces; Ceramic Design – studio produces pieces; and Ceramic Arts – unique creativity and techniques.
Entries will be accepted from 1 November, 2007.
Email info [at] icfmino.com
Deadline Closes 4 February 2008
All information you need is on the website.
Above image is one of the judge’s award winners, work by Chie Masamori (Japan) titled: Sono (Garden)
by Carole Epp | Dec 16, 2007 | Uncategorized
Ceramic, glass and concrete artists from all parts of the world are invited to participate part in the 2nd International Triennial of Silicate Arts. This international event featuring some of the world’s finest artists will be based on celebrating the traditional values while creating new directions and fields in the silicate arts for the 21st Century.
The theme for the 2008 Triennial is “SYMBOLIC & NARRATIVE”
Deadline December 30th, 2007
Check out the website for lots more details.
by Carole Epp | Dec 14, 2007 | Uncategorized
Here’s a quote i’ve had in my head in the studio today…
“Whoever said pleasure wasn’t functional?”
Charles & Ray Eames
Have a great weekend!
by Carole Epp | Dec 14, 2007 | Uncategorized
Call for Individual and Group Exhibition Proposals
Harbourfront Centre seeks exhibition proposals from professional contemporary artists for new works in fine art, craft, new media, design, architecture and photography.
Deadline: March 14, 2008
There are 10 exhibition spaces which are both traditional and unique. These venues are located within and outside York Quay Centre proper and range in size from an exhibition gallery that is 1400 feet square to individual vitrines which are 9 feet square. The exhibition schedule changes six times a year in all of the venues except the site specific spaces.
For more information, contact Marlee Choo at [email protected] or by phone at 416.973.5379.
Or check out their website for a downloadable application form and images/blueprints of gallery spaces.
by Carole Epp | Dec 13, 2007 | Uncategorized
One of the interesting talks I attended at Neocraft was presented by Amy Gogarty titled “China on my mind” or, ceramics and the “new orientalism”. Gogarty’s investigation brought into focus the practice of artists traveling to China and Japan to study and be inspired by the traditions and aesthetics of the regions, be it Leach and his followers or contemporary Western ceramists. What she questioned where the “less explored (..) contradictory issues of ethics, politics and culture that govern such exchanges in a period of extreme political, social and economic change.” The paper, a new branch of research for the writer has been richly researched through direct contact and discussion with artists whose practices are incorporating travel and research in the region.
One such artist, who is working directly with industry in China is Janet Deboos whose research has undertaken exploring the relationships between the handmade and the industrially produced object and the ethics and aesthetics of production. She has traveled extensively to China to work with the Huaguang Company’s bone china design group in Zibo, working with the company’s workers developing and designing molds, in the beginning from drawn designs and more recently from hand thrown models. The next stage is to work with the Rapid Prototype Unit at the Australian National University. Rather than put too much of this inspiring and timely research into my own words here are a few links so you can get it all first hand.
The first website, Design Hub has a video of her presenting the paper ‘Design meaning making: making meaning design’, at the ‘Smart works’ symposium at the Powerhouse Museum on 31 March 2007.
As the site states:
“Janet DeBoos believes that the priority that we give to different aspects of production will determine outcomes. These priorities can be (almost inevitably will be) altered by engagement with industry. In this talk, she examines changing priorities with respect to her experiences and attempts to make some judgement about their respective values.”
This video is taken from the Smart Works Symposium on Design and the Handmade. And oh how I love technology – you can spend an entire day (should you be so luck as to have one to spare!) going over all of the talks as podcasts.
Here’s some of the topics and speakers:
Peter Day (UK) – The Heartbeat Economy: surviving in a global world
Professor Xing Ruan – Ephemeral China/Handmade China
Rod Bamford: ceramics, NSW – Lost in translation: designed and made across cultures
Rebecca Eggleston: Designing Futures project, WA – Designs for a viable local industry
Robert Foster (F!NK and Co): metal, ACT – An organic process: the nexus between handmade and industry
Marc Harrison (Husque Pty Ltd):Qld – From waste to want? Sustainable design: recycled materials, macadamia shell
Alexander Lotersztain: design, Qld – Working between global manufacturing and encouraging village industries
Brian Tunks (Bison Australia): ceramics, ACT – Ceramic tableware: local employment; global market
There is also a publication that can be ordered through the site.
And Craft Victoria’s Craft Culture website has a a great review by Sue Green of two new books called, Handmade in Melbourne and Freestyle: New Australian Design for Living which discuss Janet’s work among other Australian designers/craftspeople.
You can also check out more on the Freestyle website, including all the participants in the exhibition, which brings together the work and stories of 40 outstanding designers. The book is available through their online shop.
