monday morning eye candy: Mac McCusker
“The Pretty Things Are Going to Hell” at Sculpture Space NYC Projects
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| Trevor King |
October
22 – November 19, 2016
22 – November 19, 2016
Opening
Reception: Saturday, October 22, 6 – 9 PM
Reception: Saturday, October 22, 6 – 9 PM
Hours:
Saturday 12 – 6 PM and Wednesday 5 – 8 PM
Saturday 12 – 6 PM and Wednesday 5 – 8 PM
Location:
47-21 35th Street, Long Island City, NY 11101
47-21 35th Street, Long Island City, NY 11101
Sculpture Space NYC Projects is
pleased to present The Pretty Things Are
Going To Hell, a group exhibition featuring recent sculptural ceramics by
five New York-based artists: Veronica Frenning, Trevor King, Toshiaki Noda,
Sang Joon Park, and Patrice Renee Washington.
pleased to present The Pretty Things Are
Going To Hell, a group exhibition featuring recent sculptural ceramics by
five New York-based artists: Veronica Frenning, Trevor King, Toshiaki Noda,
Sang Joon Park, and Patrice Renee Washington.
The
Pretty Things Are Going To Hell honors the idea of a non-utilitarian,
non-traditional vision and experimental approach toward clay. The common
denominator of this show is that each artist in his or her own particular way
explore the simplicity and anomalies that arise from the process, and rethink
the aesthetic values, and ideals of beauty and perfection.
Pretty Things Are Going To Hell honors the idea of a non-utilitarian,
non-traditional vision and experimental approach toward clay. The common
denominator of this show is that each artist in his or her own particular way
explore the simplicity and anomalies that arise from the process, and rethink
the aesthetic values, and ideals of beauty and perfection.
Veronica Frenning works
organically, shaping clay into found objects and presenting these finds as
specimens. Frenning’s pieces blur the lines between traces of industry,
weathered manmade remnants and fragments of nature.
organically, shaping clay into found objects and presenting these finds as
specimens. Frenning’s pieces blur the lines between traces of industry,
weathered manmade remnants and fragments of nature.
Trevor King’s Aluminum series
articulates the mysterious inner spaces of ceramic vessels. The works are made
in a series of steps that involve throwing a clay vessel and then using the
thrown pot as the vehicle to cast its own shape. A wax form made of
the pot’s inside is then cast in aluminum, capturing evidence of throw lines,
or fingerprints made from pushing clay up as it spins on the wheel. The
resulting objects appear as materials in flux – melting, pouring, drying, and
dissolving.
articulates the mysterious inner spaces of ceramic vessels. The works are made
in a series of steps that involve throwing a clay vessel and then using the
thrown pot as the vehicle to cast its own shape. A wax form made of
the pot’s inside is then cast in aluminum, capturing evidence of throw lines,
or fingerprints made from pushing clay up as it spins on the wheel. The
resulting objects appear as materials in flux – melting, pouring, drying, and
dissolving.
Toshiaki Noda’s works are
created on the wheel and altered so that the clay reveals its responses to the
gesture marks left by Noda’s hands. The exaggerated surfaces and entire shapes
are formed while manipulating the clay’s centrifugal force into Noda’s
aesthetic form.
created on the wheel and altered so that the clay reveals its responses to the
gesture marks left by Noda’s hands. The exaggerated surfaces and entire shapes
are formed while manipulating the clay’s centrifugal force into Noda’s
aesthetic form.
Sang Joon Park has the
foundations of a trained traditional Korean potter. Through the
repetition of throwing clay vessels, Sang Joon takes collectively thousands of
bowls and transforms them into sculptural towers.
foundations of a trained traditional Korean potter. Through the
repetition of throwing clay vessels, Sang Joon takes collectively thousands of
bowls and transforms them into sculptural towers.
Patrice Renee Washington
creates relationships within the “realm of cultural space,” setting
up scenarios between objects that are seemingly functional whilst addressing
concepts of the “primitive and modes of convenience.”
creates relationships within the “realm of cultural space,” setting
up scenarios between objects that are seemingly functional whilst addressing
concepts of the “primitive and modes of convenience.”
Sculpture Space NYC is a
ceramics and sculpture center designed to foster creativity, concept and
collaboration. SSNYC’s intent is to be a resource for artists, providing space,
equipment, advanced education and opportunities for exhibitions and
residencies. New York City based artists Andrew Kennedy and Magda Dejose founded
SSNYC in 2014.
ceramics and sculpture center designed to foster creativity, concept and
collaboration. SSNYC’s intent is to be a resource for artists, providing space,
equipment, advanced education and opportunities for exhibitions and
residencies. New York City based artists Andrew Kennedy and Magda Dejose founded
SSNYC in 2014.
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| Patrice Renee Washington |
 |
| Sang Joon Park |
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| Toshiaki Noda |
For more information, please contact
Sculpture Space NYC / Projects at 718-806-1709 or [email protected]
Sculpture Space NYC / Projects at 718-806-1709 or [email protected]
emerging artist: Rachel Ballard
call for entry: $10,000 Awards for Emerging Ceramic and Glass Artists (Canada)
Are you an emerging artist? Do you want to develop your artistic practice? We have two opportunities for you!
The
Canadian Clay & Glass Gallery is calling for submissions to the
2016 RBC Award for Glass and Winifred Shantz Award for Ceramics.
These
prestigious national awards allow practicing early career ceramic and
glass artists to undertake a period of independent research, or other
activities that advance their artistic and professional practice. The
winner of each Award will receive $10,000. The selection is made by a
jury comprised of respected contemporary glass and ceramic artists and
other arts professionals. Winners will be celebrated and the awards
presented at a ceremony in Waterloo, Ontario on November 12, 2016.
To
be eligible for the Winifred Shantz Award for Ceramics or the RBC Award
for Glass, artists must be Canadian citizens or have Permanent Resident
status. They must have developed skills through training and/or
practice in the field (not necessarily in academic institutions) and be
recognized by other artists working in the same artistic tradition.
Successful candidates seek payment for their work and actively practice
their art. All applicants have maintained a professional practice for no
more than 10 years prior to the date of application.
Application Guidelines:
To download the complete guidelines for the RBC Award for Glass or the Winifred Shantz Award for Ceramics, visit www.theclayandglass.ca/awards. In order to be considered, applications for either award must be received electronically by Monday, September 5, 2016.
About the Awards:
The
RBC Award for Glass is supported by RBC as part of the RBC Emerging
Artists Project. The Winifred Shantz Award for Ceramics is supported by
The Keith and Winifred Shantz Fund for the Arts, held at The Kitchener
and Waterloo Community Foundation.
Past
recipients of both awards truly represent the best of the emerging
ceramic and glass artists in Canada. Alwyn O’Brien of Salt Spring
Island, British Columbia was the winner of the 2015 Winifred Shantz
Award for Ceramics. Ito Laïla Le François of Rimouski, Quebec was the
winner of the 2015 RBC Award for Glass.
Contact Information:
For additional information, contact Andrew Bucsis, Curatorial Assistant at 519-746-1882 ext. 227 or [email protected]
Canadian Clay & Glass Gallery
Galerie canadienne de la Céramique et du Verre
25 Caroline Street North
Waterloo, Ontario N2L 2Y5
519-746-1882
www.theclayandglass.ca
Hours:
Monday to Friday 11 am to 6 pm
Saturday 10 am to 5 pm
Sunday 1 pm to 5 pm
Twitter: @CdnClayandGlass
Facebook: www.facebook.com/theclayandglass
emerging artist: Brian McNamara
Artist Statement:
My current body of work entitled Seven-Sevenfold, focuses on the rocky relationship I’ve built with religion as a means of identity. In constructing a narrative of my life in the Catholic Church as a bleak landscape, I have situated isolated ceramic pieces with desolate ink drawings. My use of clay references the convention of creation myths, such as God creating man from dirt in Genesis 2:7. In this way I act as creator to my own abominations.
My whole life has revolved around storytelling. My favorite stories were alwaysthe ones that were about society and the leaders of society. Stories that have a utopian society broken by a character revealing it as dystopia: such as Ayn Rand’s Anthem and Lois Lowry’s The Giver, even The Bible. I look to these books with a critical eye and place them in the context of my own life to inspire my art, my aesthetics, and my morality. Through these books I’ve learned what it means to find the idea of ‘self’, what it means to experience, and what it means to love.
In the same way storytelling is rooted in folk tradition, I approach my artwork as an adaptation of traditional folk ceramics. I create figures in a gestural way, leaving the mark of my hand and using a loose-hand built method of construction. When thinking of a composition I pull influence from the Muromachi period of Japanese Suibokuga. The loose and gestural scroll drawings provide a much-needed harmony to the rough material and surfaces of the ceramic pieces.
For guidance in the creation of Seven-Sevenfold, I investigated the number seven and its prominence in The Bible. This body of work features seven landscapes to represent a dystopian viewing of the utopia given to the Israelites after the 40 years of wandering mentioned in Deuteronomy; mirrored in this relationship between the abominations and the alien desert landscapes that I created.
Through the lens of the Catholic Church I am that abomination; set out on my journey through the desert to find my utopia, whether or not it exists.
Take my Illustrative Pottery Workshop with the Ceramics School
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