The New York Ceramics Fair  | Bacchanalistas, American Scenery, Contemporary Ceramics January 22–26, 2014 Bohemian National Hall, NYC, NY 321 East 73rd Street (Between 1st & 2nd Avenues) The Bacchanalistas: ...


CERAMIC TOP 40 November 1, 2013–January 25, 2014 Belger Crane Yard Studios, Kansas City, MO presented by Ferrin Contemporary and Red Star Studios CERAMIC TOP 40 |selected works January–April 2015 Independent...


New Blue and White February 20 - July 14, 2013 MFA Boston Exhibition of works by 37 artists, pairs or collectives curated by Emily Zilber, Wornick Curator of Contemporary Decorative...


(b. 1979, Boston, MA, lives and works in Helena, MT)

Giselle Hicks is known for her hand-pinched ceramic vessels and slip-cast porcelain tiles that consider volume, repetition, and pattern. Referencing totemic ceramic forms and decorative textiles, her work examines the role of material culture in everyday life—historically and today. Hicks has participated in various artist-in-residence programs including the Anderson Ranch Arts Center, the Arts/Industry Program at the Kohler Company, The Clay Studio in Philadelphia, Greenwich House Pottery, and The Archie Bray Foundation.

Her work has been exhibited at the Museum of Fine Arts in Boston, (Boston, MA), Belger Arts Center, (Kansas City, MO), the John Michael Kohler Arts Center, (Sheboygan, WI), and Bellevue Art Museum, (Bellevue, WA). In 2001, Hicks completed her BFA at Syracuse University, and she received her MFA from the New York State College of Ceramics at Alfred University in 2010.


My current work addresses sites within a domestic space – particularly the bed/bedroom and table/dining room – that are routinely and ritually inhabited. These sites are the intersections where connections are established and sustained, or may potentially breakdown. The work is an abstraction of how I translate the expansive and complex experiences that take place across these sites. What is retained from these experiences is reflected back in a series of memory traces that inform our behavior in the context of the next experience. As a result, a pattern emerges which shapes our identity.


The series, And Then it Was Still, references both art and literature.  In the 17th century European Still Life paintings, the fragile beauty of flowers is made permanently still in the exquisitely painted object, and thus shared across time as a concept of beauty.

In my work I am inspired to capture that sense of beauty and transience in three dimensional form in order to make solid, still and permanent, something that is fleeting and invisible, such as the characteristic or sense of a person, an exchange between a loved one, or an exuberant meal shared with family and friends. Often taking place within the domestic realm, I find beauty in these daily illuminations and I want to hold them still and give them form. Though these moments are intangible, they mark us and become a part of who we are.

In addition to the visual, I draw ideologically from themes resonate in the book ‘To the Lighthouse’ by Virginia Wolf where the main characters struggle to hold on to and make still the complex beauty they recognize in the small and fleeting, everyday moments.

And Then it was Still presents the table as a dimensional Still Life. I imagined the table blooming with flowers, then frozen in time representing the abundant beauty that I want to hold still.

Giselle Hicks, 2013