Project Tag: Leslie Ferrin

JACK EARL

JACK EARL WORK IN PRIVATE COLLECTIONS

Ferrin Contemporary is pleased to present select works for sale from private collections.
These collections offer an opportunity to acquire important works from surveys of studio sculpture and decorative art.

For more information and pricing on available artwork, please inquire

UNTITLED (ANOTHER BUSH, ANOTHER STICK OF WOOD) 

MORNING DOG WALK

CEL 001 OHIO DOG

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EDWARD EBERLE

EDWARD EBERLE


AVAILABLE FROM PRIVATE COLLECTIONS


THE BATH

Edward Eberle

“The Bath”

1994, porcelain, terra sigillata, thrown, brush painted, sgraffito, 6.25″.

THE PRINCE'S RETINUE

Edward Eberle

“The Prince’s Retinue”

1996, porcelain, 8.25 x 6″. photo: John Polak (Pennington)

Edward Eberle, photo courtesy of the Smithsonian American Art Museum

ABOUT

(B.1944, Tarentum, PA, lives and works in Pittsburgh, PA)

Edward Eberle has garnered wide recognition for work that combines narrative and geometric drawing with altered porcelain vessels. His wheel-thrown pieces are often covered with intricately detailed terra sigillata decoration or unadorned and assembled into figural, white porcelain sculptures that combine story with modified form.

Eberle has exhibited widely over the course of his career, including two one-man exhibitions at the Carnegie Museum of Art (1980, 1991) and one exhibition at the Columbus Museum of Art (1999). His work can be found in numerous private and public collections including the Carnegie Museum of Art (Pittsburgh, PA), Everson Museum (Syracuse, NY), Gardiner Museum (Toronto, ON), Los Angeles County Museum of Art (Los Angeles, CA), Museum of Fine Arts (Boston, MA), National Gallery of Australia, (Canberra, Australia), Nelson-Atkins Museum of Art (Kansas City, MO), Newark Museum of Art, (Newark, NJ), Philadelphia Museum of Art, (Philadelphia, PA), Racine Art Museum (Racine, WI), and Smithsonian American Art Museum (Washington, D.C.).

Eberle received his BFA (1967) from Edinboro State College (Edinboro, PA) and MFA (1972) from Alfred University (Alfred, NY). He taught at the Philadelphia College of Art and at Carnegie-Mellon University (Philadelphia, PA) for a total of fourteen years. Eberle has established his practice in Pittsburgh, PA since 1985, with studios in Millvale (1985-2010) and Homestead (2012-present).

MORE ON EDWARD EBERLE

CURRENT + RECENT EXHIBITIONS

SELECT PAST EXHIBITIONS

EDWARD EBERLE: In Retrospect

This catalog was published by the Society for Contemporary Craft in support of Eberle’s 2016–2017 exhibits at:
Society for Contemporary Craft, Pittsburgh, PS
The Clay Studio, Philadelphia, PA
Houston Center for Contemporary Craft, Houston, TX

“The stories Eberle weaves may not necessarily correlate directly to his own experience, rather, draw upon universal mythologies and human psycho-dramas. The artist creates a humanitarian stage, unapologetically conveying involvement and detachment, self-expression and transcendence, stoicism and altruism.” — Peter Held

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SERGEI ISUPOV: Selections from Hidden Messages

SERGEI ISUPOV: Selections from Hidden Messages

ABOUT THE EXHIBITION

SERGEI ISUPOV: SELECTIONS FROM HIDDEN MESSAGES

ON VIEW at Ferrin Contemporary at 1315 MASS MoCA Way in North Adams, Massachusetts.

Spanning the 20 years Isupov has lived and worked in America, the exhibition “Hidden Messages” at Erie Art Museum, shown in early 2017, formed a semi-autobiographical wunderkammer — a collection of curiosities. Highlights from this show are now on view at Ferrin Contemporary, including one of Isupov’s larger-than-life figural sculptures with smaller works blown across a full wall of wind and shadows.

Click for more about “Hidden Messages.”

 

ABOUT SERGEI ISUPOV

Sergei Isupov is an Estonian-American sculptor internationally known for his highly detailed, narrative works. Isupov explores painterly figure-ground relationships, creating surreal sculptures with a complex artistic vocabulary that combines two- and three-dimensional narratives and animal/human hybrids. He works in ceramic using traditional hand building and sculpting techniques to combine surface and form with narrative painting using stains and clear glaze.

“Everything that surrounds and excites me is automatically processed and transformed into an artwork. The essence of my work is not in the medium or the creative process, but in the human beings and their incredible diversity. When I think of myself and my works, I’m not sure I create them, perhaps they create me.”

Isupov has a long international resume with work included in numerous collections and exhibitions, including the National Gallery of Australia, Museum of Fine Arts, Houston (TX), Museum of Arts and Design (NY), Racine Art Museum (WI), Museum of Fine Arts Boston (MA), and the Erie Art Museum (PA), at which he presented selected works in a 20-year career survey Hidden Messages in 2017 and Surreal Promenade in 2019 at the Russian Museum of Art (MN).

CRISTINA CÓRDOVA

CRISTINA CÓRDOVA

FEATURED ARTWORK


ON EVA & MATERIAL EXPERIMENTATION


Cristina CĂłrdova, Photo by Chad Weeden.

I have been sculpting my daughter since she was 9. This 15 year old version of Eva is unglazed and finished with burnished earth pigments from the island of Puerto Rico mixed with casein, lime, and oxides. They came specifically from two areas, one in Fajardo near the coast, where the rainforest is, and one from Orocovis in the mountainous center. Written on her back are the words “de monte y mar” ( “from mountain and sea” ) in gold, a phrase from the song Verde luz by El Topo (Antonio Cabal Vale), which became a symbol of national Puerto Rican pride and an anti-colonialist anthem.

In my practice, the image of Eva is the embodiment of change and possibility. It speaks to the inevitability of transience and the inherited threads of code that perpetuate both genes and identity. This piece seeks to perform both as a symbol and a relic by holding in its materiality a part of the Island that has thematically bound this whole series through the years, exploring the riches and vulnerabilities of this small Caribbean nation that is my home.

ADDITIONAL ARTWORKS & INSTALLATIONS


EL PUENTE | Group Exhibition | 2025

ALTAR | Installation

JUNGLA | Solo Exhibition | 2018

COSMOLOGÍA ISLEÑA | Installation

DEL BALCÓN | Solo Exhibition | 2018

MIXED MEDIA | 2D WORKS

ABOUT


Puerto Rican, b. 1976, Boston, MA
lives and works in Penland, NC

Cristina CĂłrdova is a contemporary artist and teacher native to Puerto Rico. She completed her BA at the University of Puerto Rico, and received her MFA from the New York State College of Ceramics at Alfred University.

Cristina CĂłrdova is featured in the permanent collection of the Smithsonian American Art Museum, the Figge Museum, the Everson Museum, the Mint Museum of Craft + Design, the Museum of Contemporary Art of Puerto Rico, the Asheville Art Museum and the Mobile Art Museum, among others. She is the recipient of the Maxwell-Hanrahan Craft Award for 2024, the Herbert Adams Memorial Medal from The National Sculpture Society in 2023, the NC Arts Council Fellowship Grant, a Virginia Groot Foundation Recognition Grant, several International Association of Art Critics of Puerto Rico awards, and a United States Artist Fellowship award. In 2021, Cordova published Mastering Sculpture: The Figure In Clay by Quarry Books. Her work is widely published in all major ceramics and arts media including the cover of Ceramics Monthly, and was featured by Craft in America on PBS in their episode on identity.

Cristina has taught and demonstrated around the world. Her residencies, workshops, and classes include Harvard University, the University of California, the University of Nebraska, the University of Georgia, the University of North Carolina School of the Arts, Ceramistas de Reùaca in Chile, the Australian National University in Canberra, Gaya Ceramics in Bali, Penland School of Crafts (NC), Haystack Mountain School (ME), Santa Fe Clay (NM), Odyssey Center for Ceramics (NC), and Anderson Ranch. She currently lives and works in Penland, North Carolina. 

Cristina CĂłrdova is represented by Ferrin Contemporary.

ON HER WORK

Growing up in Puerto Rico, I was immersed in a culture alive with history, tradition, and contradictions. The island is a place where beauty and struggle live side by side, where the rhythm of tradition beats against the undercurrent of its colonial history. My work reflects that tension: a deep connection to heritage as a living, breathing force, a language of lineage, and an equally persistent urge to question its confines.

The body is at the center of everything I do. It is both subject and medium, a map and a mirror, carrying the weight of its own history while offering a stage for universal themes to unfold in new or forgotten ways. There is a kind of urgency in sculpting the figure—its scale, its placement, its surfaces—all of it building an experience that feels as much lived as observed. Through these forms, grounded in my inherited cultural symbology, I try to hold on to seismic moments that shift the ground beneath me, giving shape to the ephemeral, preserving not just memories but the sensations they leave behind.

Sculpting is, for me, an act of preservation and discovery. When I sculpt my daughter’s body I am marking a moment in time and a version of her that will never again be. And at the same time I am collaborating with some unknown force or muse to give rise to a unique expression beyond simple documentation. Clay is the perfect ally in this, an ancient, generous instigator of creativity, connection, and transformation, always ready to take on the imprint of human intention and emotion yet with its own voice and discoveries to unearth. I have been grateful for this material, daily, throughout decades.

In the end, I make these figures not to provide answers but to ask questions—about identity, about memory, about the places and stories that shape us. Each curve and crease carries the weight of my own culture, the complexities of being Puerto Rican, but also something much more universal. In the end, the body becomes a kind of bridge, connecting what is specific and personal to what is shared and enduring.

  • Archive & Artist Site HERE

Cristina CĂłrdova, “Desde mi BalcĂłn”, 2021, ceramic and metal, 33 x 14.5 x 10″

ON THE BALCONY

The balcony is an iconic location in Puerto Rico and the Caribbean. It offers a momentary escape from the domestic realm, a furtive viewpoint to survey the world from above. Balcony dwellers are part of the street insofar as they can watch life with its protests and processions, yet they are separate and contained in their own sheltered moment. After creating several of her own, the balcony has started to become an archetype in Cristina Cordóva’s studio. “Beyond describing a specific narrative,” says Cordóva, “I am interested in staging a composition that triggers an emotional charge through the recognition of certain repeating elements as part of a series.” Those elements include architectural components, the nude figure and unruly foliage, symbols related to the experience of femininity in a religious and masculine culture, notions of exposure and vulnerability, and the psychology of place.

Cristina CĂłrdova, “Altar”, 2019, detail, ceramic and photograph installation, 83 x 75 x 82″

ON PHOTOGRAPHY

Cristina Cordóva considers photography a background practice to her primary focus of sculpture. She employs it to expand the context of the figure by engaging the wall behind or the pedestal underneath it. It all began when after a few material experiments and some research, Cordóva started looking at old landscape photographs of Puerto Rico. She came across the work of Jack Delano, a Ukrainian born, American photographer who wound up in Puerto Rico through the Farm Security Administration. After becoming the official government photographer for Puerto Rico he took innumerable heroic images of daily Puerto Rican life, rural and city-center alike. Cordova began combining Delano’s copyright-free images with her own photography. “I persist on the idea that I’m referencing the viewpoint of someone I know through these images,” she explains. “I’m trying to capture or build a sense of veracity through the careful selection of real places portrayed in current and historical photographs. By combining them with my sculpture I’m proposing a new relationship, a fantasy that is grounded in reality, a feigned diorama of sorts in the museum of my imagination.”

FEATURED EXHIBITIONS

Cristina Cordova, El Puente teaser, 2024

EL PUENTE

2024 | Group Exhibition in the John & Robyn Horn Gallery | At Penland School of Craft | Penland, NC

April 1, 2025 – June 7, 2025

Through the lens of Puerto Rican artists who have cultivated long- and short-term connections with the US throughout their formative and professional trajectories, El Puente offers insights into how these connections shape and inform the artistic practices, perspectives, and creative trajectories of Puerto Rican artists and consequently feed into the broader landscape of contemporary American craft in an evolving and continuous dynamic.

View the exhibition page HERE

Cristina CĂłrdova, “EVA XV”, on view in the Spanish Colonial Gallery at the Figge Art Museum, Davenport, Iowa, 2024

FIGGE PERMANENT COLLECTION

2024 | Installation at the Figge Art Museum, Spanish Colonial Gallery
Davenport, IA

Recent Acquisition

Ferrin Contemporary “Our America/Whose America?” Anteroom Stair hall Installation at the Wickham House, Richmond, VA, 2024

OUR AMERICA/WHOSE AMERICA?

2024 | Group Exhibition in the Wickham House at the Valentine Museum | Richmond, VA

February 20, 2024 – April 21, 2024

Our America/Whose America? Is a “call and response” exhibition between contemporary artists and historic ceramic objects.

View the exhibition page HERE

Ferrin Contemporary, "Are We There Yet?", 2023, Exhibition Installation View with work by Chris Antemann, Cristina Córdova, Sergei Isupov, Crystal Morey, & Kurt Weiser, Photo by John Polak Photography

Are We There Yet?


2023 | at Ferrin Contemporary, North Adams, MA

ARE WE THERE YET? is a celebration of Ferrin Contemporary’s 40+ years as leaders in the field of modern and contemporary ceramics.

View the exhibition page HERE

Figuring Space


2022 | at The Clay Studio, Philadelphia, PA

The Clay Studio Presents FIGURING SPACE, an Exhibition of Full-scale Figurative Sculptures by a Dozen Top Ceramic Artists Based in America

View the exhibition page HERE

IN DIALOGUE: Cristina CĂłrdova & Kukuli Velarde


2021 | Duo Exhibition at Ferrin Contemporary | North Adams, MA

Feature of works by two artists who share several overlapping identities as Latina sculptors working in the figural tradition. Each explores subjects drawn from both their cultural histories and their roles as mothers, daughters and parents of young women documenting their own and their subjects’ generational changes.

View the exhibition page HERE

NATURE/NURTURE


2020 & 2021 | Group Exhibition at Ferrin Contemporary | North Adams, MA

Virtual Conference at NCECA Rivers, Reflections, and Reinvention | 2021

Group exhibition of twelve contemporary female artists invited to explore the influence of gender and its impact on their practice.

View the exhibition page HERE

ON NATURE/NURTURE

I was born into a household that both challenged and upheld gender archetypes. This simultaneity created a fluid identity in my creative perspective that has moved me to engage with a wide spectrum of narrative embodiments from the sexually untethered and universal to the absolutely feminine. I am human, I am Puerto Rican, I am a woman. Each of these breaks into a thousand fractals that create the prism through which my work comes into the world.

FC Artist News | Cristina CĂłrdova | PBS Craft in America | New Works in Nature/Nurture

Cristina Córdova Del balcón Installation View

CRISTINA CÓRDOVA: Del balcón


2018 | Solo Exhibition at Ferrin Contemporary | North Adams, MA

New work by Cristina CĂłrdova, featuring large and small figurative sculptures exploring the relationship between the human and geographic connections within her native Puerto Rican landscape.

 View the exhibition page HERE

JUNGLA


2018 | Solo Exhibition at Alfred Ceramic Art Museum | Alfred, NY

At its most basic level Jungla refers to a region of dense, intractable wilderness that sustains an ongoing evolutionary dance governed by uncivilized forces. This tropical landscape of my youth is a beacon to an identity, tying me back to a specific geography and the sediment of generations.

 View the exhibition page HERE

Cristina CĂłrdova: Jungla installation. photo: Brian Oglesbee

ON JUNGLA

At its most basic level Jungla refers to a region of dense, intractable wilderness that sustains an ongoing evolutionary dance governed by uncivilized forces. This tropical landscape of my youth is a beacon to an identity, tying me back to a specific geography and the sediment of generations. It’s unrelenting influence speaks of luscious yet ominous constructs that echo the socio-political conditions in the Caribbean. It’s unruly mystery seeps out of its confines to also serve as metaphor for a creative process anchored in that liminal space between chaos and balance. A practice that gathers significance amidst the subconscious forces that underpin reality and the firm directives of the ego. Through image and form, Jungla explores the relationship between these human and geographic connections.

CURRENT + RECENT


CLAYSCAPES

Everson Museum of Art | Syracuse, NY
April 13 – October 20, 2024
Featuring Cristina CĂłrdova, Paul Scott, & Steven Young Lee

NEWS


The Women

Ferrin Contemporary presents selected works by women artists whose primary medium is clay. On view in the gallery and online, we introduce new works by emerging and established artists along with masterworks available from private collections and artist archives.

CATALOGS


Mastering Sculpture: The Figure in Clay Catalog by Cristina CĂłrdova

Mastering Sculpture: The Figure in Clay Catalog by Cristina CĂłrdova

Buy now

Explore the human form in-depth, from concept sketches and armatures to detailed instructions for constructing legs, torso, arms, hands, and head from clay.

In Mastering Sculpture: The Figure in Clay, renowned sculptor and instructor Cristina CĂłrdova teaches everything you need to know to replicate the full human figure using clay.
Start by developing meaningful sketches and reference points.

Then learn how to make and use an armature to create hollow forms that are safe to fire in a kiln.

Using patterns and slabs, you can move on to develop a full human form, head to toe.
Work along with the author to create a form about two feet tall, or choose your own size: the patterns and instructions can work in a variety of scales.

Photographic demonstrations and diagrams cover the construction and articulation of feet and legs, the hip area and upper torso, arms, hands, neck, and head. Cristina includes supplementary tips and insights throughout to support the sculpting process and enhance naturalism. You’ll also find a brief section on general anatomical concepts and modeling strategies to facilitate accuracy and expression as all the components come together.

Whether you are a clay artist with limited experience in figurative sculpture or a figurative sculptor outside the world of ceramics looking for a straightforward fabrication strategy to create permanent compositions from clay, Mastering Sculpture: The Figure in Clay will expertly guide your way.

Publication Date: 2022, Quarry Books
Fully illustrated 192 pages

Cristina CĂłrdova: Jungla Catalog

Cristina CĂłrdova: Jungla Catalog

Buy now

 

This catalog features a foreword by Wayne Higby, Director of the Alfred Ceramic Art Museum. The exhibition catalog also includes color photography of the artworks and installation from Cristina’s solo exhibition at the museum in 2018: CRISTINA CÓRDOVA: Jungla

Publication Date: 2018
Fully illustrated 32 pages

“At its most basic level Jungla refers to a region of dense, intractable wilderness that sustains an ongoing evolutionary dance governed by uncivilized forces. This tropical landscape of my youth is a beacon to an identity, tying me back to a specific geography and the sediment of generations. Its unrelenting influence speaks of luscious yet ominous constructs that echo the socio-political conditions in the Caribbean. Its unruly mystery seeps out of its confines to also serve as a metaphor for a creative process anchored in that liminal space between chaos and balance. A practice that gathers significance amidst the subconscious forces that underpin reality and the firm directives of the ego. Through image and form, Jungla explores the relationship between these human and geographic connections.” — Cristina Córdova

CRISTINA CÓRDOVA: cuerpo exquisito at Hodges Taylor

 

VIDEOS


INFRAME – CRISTINA CORDOVA

Cristina Cordova is a sculptor based in North Carolina. Originally from Puerto Rico, Cordova was studying engineering when she decided to quit her program and follow her dreams of being an artist. In her picturesque studio she creates arresting clay figures that are both personal and universal. Her work is exhibited as part of the permanent collections of the Renwick Gallery of the Smithsonian American Art Museum, the Museum of Contemporary Art of Puerto Rico, and the Fuller Craft Museum, among others.

View InFrame – Cristina Cordova

CRAFT IN AMERICA NEW IDENTITY EPISODE

Artists explore issues of gender, race, culture and place, offering true expressions of their experience in this world.

Featuring potter Diego Romero, photographer Cara Romero, furniture maker Wendy Maruyama, and sculptor Cristina Córdova.

View Craft in Americs: New Identity Espisode

CLAY AND CONVERSATION WITH CRISTINA CÓRDOVA | THE CLAY STUDIO

Cristina is one of the dozen artists whose work appears in Figuring Space, an exhibition of life-size ceramic figurative sculpture. We are thrilled to have this talented artist as a guest to ask her about her inspirations for the ideas and styles of her work.

View Clay and Conversation Video

INQUIRE


Additional works may be available to acquire, but not listed here.

If interested in lists of all works and series: Send us a message

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VIOLA FREY

VIOLA FREY

AVAILABLE WORKS

Select works for sale from private collections, estates, and artist archives.


PLATTERS & PRINTS


INQUIRE


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RAYMON ELOZUA

RAYMON ELOZUA

AVAILABLE FROM COLLECTIONS & THE ARTIST ARCHIVE


Ferrin Contemporary is pleased to present works by Raymon from throughout his career.

Private Collection works by Raymon Elozua are available for exhibition, sale, gift, or acquisition.

For pricing and availability, please inquire. 

ABOUT


RAYMON ELOZUA


b. 1947 West Germany
lives and works in Mountaindale, NY

Raymon Elozua is a transdisciplinary visual artist working in the Catskills region of New York. His extensive studio practice consists of large-scale sculpture in ceramic, steel and glass, photography, visual research and archiving, web-based projects, and other forms of documentation. Elozua’s work often references the vessel, abstract expressionism, industrial decline and decay, and regionalism.

Elozua has been awarded three grants from the National Endowment for the Arts, a New York State Foundation for the Arts Grant, and a Virginia A. Groot Foundation Grant. His work has been exhibited at The Carnegie Museum of Art, Metropolitan Museum of Art, The Mint Museum of Art and The Mint Museum of Craft and Design, Museum of Fine Arts (Houston), and Yale University Art Gallery, among others. He has taught at The California College of Arts & Crafts, Louisiana State University, New York University, Pratt School of Design, and The Rhode Island School of Design. Elozua’s solo exhibition Structure/Dissonance opens at The Everson Museum of Art in Fall 2022.

Selections from the Artist’s Series


Archive & Artist Site HERE

In 2018, I decided to return to glass again in conjunction with ceramic and steel. Once more, I worked with Lorin Silverman; this time at Urban Glass in Brooklyn. In addition to blown glass, I was interested in using mirror strips similar in nature to the enamelware photographic setups. The glass was created first. I then constructed a steel structure to suspend the glass shapes, which are removable for the kiln firings. Clay was added and the sculpture was fired for bisque the color. Metal angles were then welded at various angles as a support for two sided mirror strips, which were glued in place.

This series is entitled “Tri-Harmonic” referring to the relationship between glass, ceramic and steel, materials that all use fire and heat as an essential means in their creation.

In the 5th grade at Our Lady Gate of Heaven, our teacher created a contest. Pointing to an image of a state on a map of the USA, each student, standing at the back of the classroom, would have to name the capital of that state.

I studied and studied and was reasonably certain I could win. The only problem, I could not discern the shapes of the state from the back. I asked the nun to keep moving forward until I could clearly see the shapes. Soon I was literally 6 feet away. I knew every capital but I do not recall if she awarded a prize. What I do know is that she called my parents and told them I needed glasses.

Soon I received a pair of new prescription glasses for near sightedness. Already branded a “teacher’s pet, I was now immediately also called “4-eyes.” Despite the negative social implications, what mattered now was that I could see clearly for the first time. Everything was sharp, ordered, and definitive. Eyesight gave me a clarity, even a harshness of vision: the line, the curve, the edge with “level” and “perpendicular” defining space and volume.

Now that my vision is diminishing with age, I remembered this event. I decided to re-create the experience of seeing out of focus. In 2010, utilizing a table top set up of old and new enamelware, I produced a series of richly colored “blurry” images that recalled my first visual experiences.

In 2016, I thought it would be interesting to take these photos, to replace the glowing amorphous shapes in ceramic and steel. I was not successful, hence the title, “Hubris.” Eyesight and clarity prevailed.

Working in the ceramic medium, I have always been interested in the synthesis of different materials.  From 1989 through 2002, I used steel rod and wire combined with 04 terracotta in my sculptures.  The “skeleton” of the steel provided a way to utilize clay in a more spatial and gravity-defying manner. 

The medium of glass is attractive but I never had an occasion to explore it.  In 2013, I met Lorin Silverman, an expert glassblower and artist.  He worked then for Corning Museum as a technician helping artists to realize their vision in glass.  We researched and developed a way to blow glass into a metal armature.

Glass is perhaps the most difficult medium I have utilized.  Once the glass shapes were created, using CAD drawings I constructed a steel and wire structure, which was then covered with terra cotta and fired multiple times for color to Cone 04.  The glass forms were then independently affixed to the sculptures.

The tension between the fractured ceramic with the reflective glass is fascinating, a feeling of beauty born out of decay.

The work of R&D Sculptures 2014: Ceramic, Steel and Glass was constructed, March 2013 – May 2014.

These new sculptures are derived from a series of sculptures starting in 1999. They are based on a digital exploration of Abstract Expressionist paintings. Adobe Photoshop was used to separate colored shapes within various paintings created by different artists. A DeKooning painting could be separated into 7 different colors or layers. These colors and their corresponding forms were then modified and manipulated in 3D Studio Max, a CAD software. 

The resulting building blocks were then assembled into coherent 3D forms. These prints were used as rough templates to “re-materialize” the digital images into steel and ceramic sculptures. A sculpture now was comprised of the various “sampled” forms and colors from several historical artists.

Working in the ceramic medium, I was always interested in the synthesis of different materials. From 1989 through 2001 I used steel rod combined with 04 terra cotta in my sculpture. The “skeleton” of steel provided a way to utilize clay in a more spatial and gravity defying manner.

The medium of glass was always attractive. In early 2013, I met Lorin Silverman, an expert glassblower with a BFA from Alfred. He then worked for Corning Museum as a resident technician assisting artists to realize their vision.

We researched and developed a way to blow glass into a metal armature. In July 2013, Lorin provided the labor and expertise to make the glass shapes used in this new body of work. Glass is the most difficult medium that I have experienced.

Once the shapes were blown, using CAD drawings, I constructed a steel and wire structure, which was then covered with terra cotta and fired multiple times for color. The glass forms were then independently affixed to the fired sculpture.

The tension between the fractured ceramic with the reflective glass is fascinating, a feeling of beauty born out of decay.

“To find a form that accommodates the mess, that is the task of the artist now.” – Samuel Beckett

We are each a collection of experiences, memories, dreams, actions, sins, fears, interests and so forth. We move along, gathering more and more experiences in our perceived continuum of time. Ultimately they all devolve into hazy fragments. Our lived experiences become puzzles to decipher. How do we integrate all we are into a cohesive whole or soul so that we can be peaceful and holistic?

Clarity in Confusion is a body of work that seeks inspiration from the artist’s personal interior landscape. I create entropic sculptures that decay, are always flaking, cracking, and disintegrating. This is a reminder and reflection of the human condition and ultimately our death. Rather than struggle to assemble the shards of our experiences and history, the task is to accept the confusion and uncertainty. In that acceptance comes a sense of clarity.

Clayscapes

April 13– October 20, 2024 | Group Exhibition at Everson Museum of Art | Syracuse, NY

CLAYSCAPES recognizes the ways in which clay shapes us. The Everson’s ceramic collection is filled with work that documents the joys and sorrows of humankind’s relationship with the Earth. This exhibition pays tribute to the powerful connection between artists and the world around them.

View the exhibition page HERE

Raymon Elozua Installation for "Are We There Yet?", Exhibition at Ferrin Contemporary in North Adams, MA Sculpture: Raymon Elozua, "Digital Sculpture: Hubris: IMF-02", 04 terra cotta, whiteware, glaze, steel rod and plate, 2016, 26.5 x 16.5 x 20". Photos (top left to bottom right): "Enamelware Mirror (Refractile) #2792", "Enamelware Mirror (Refractile) #3217", "Enamelware Table (EWed-26-e-847)", "Enamelware Conversation (6&3+ExMir-11-14-1094)", "Enamelware Table (EWed-31-a-1328)", "Enamelware Mirror (Refractile) #1835", 2006-2007, Archival ink on archival rag paper, 17 x 22" (each). Photo by John Polak Photography

ARE WE THERE YET?

July 15 – September 2, 2023 | Group Exhibition at Ferrin Contemporary | North Adams, MA

ARE WE THERE YET? is a celebration of Ferrin Contemporary’s 40+ years as leaders in the field of modern and contemporary ceramics.

View the exhibition page HERE

STRUCTURE/DISSONANCE

September 10 – December 31, 2022 | Solo Exhibition at Everson Museum of Art | Syracuse, NY

celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l’oeil ceramic sculptures of decaying industrial landscapes.

View the exhibition page HERE

MELTING POINT installation view of Scott Kelly, Raymon Elouza, and Robert Silverman

MELTING POINT

2021 | Group Exhibition at Ferrin Contemporary & Heller Gallery | North Adams, MA & New York, NY

Survey of a ​diverse ​group of artists whose use of the melting point is central to their practice.

View the exhibition page HERE

RECENT EXHIBITIONS

Representing Elozua’s varied explorations into photography, websites, collections, and sculpture made of glass, steel, and ceramic, view the artist’s thirty+ catalogs

View All Publications HERE

Structure/Dissonance celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l’oeil ceramic sculptures of decaying industrial landscapes. Elozua’s first major museum exhibition since his 2003 retrospective at the Mint Museum, Structure/Dissonance focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua’s intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output. September 10—December 31, 2022 at the Everson Museum of Art in Syracuse, NY – curated by Garth Johnson; catalog features essays by Johnson, Maria Porges, and Thyrza Nichols Goodeve, 2022.

RAYMON ELOZUA: Evolution of Steel and Ceramics

This catalog is a record of a portion of Raymon Elozua’s varied explorations into photography, websites, collections, and sculpture made of glass, steel, and ceramic. It documents Elozua’s relentless curiosity and enormous capacity for diverse inquiry, interpretation, and mastery.

RAYMON ELOZUA: R&D Sculptures 2014

In 2014, visual artist Raymon Elozua created a new body of mixed media sculpture, the R&D series, incorporating glass, ceramics, and steel. He received a Virginia A. Groot Foundation grant for this work. This catalog is a comprehensive documentation of this work.

RAYMON ELOZUA: Word Sculptures

Using digital technologies, Raymon Elozua extracts layers of colored shapes from abstract expressionist paintings. He then re-materializes the digital imagery into steel and ceramic sculptures. The work shown here was constructed during 2001 in New York City.

RAYMON ELOZUA, Hubris: Images Made Flesh

“Hubris” presents a juxtaposition of Elozua’s blurry photographic images with the precise, hard edges of his ceramic and steel sculptures. The photos recreate both a childhood nearsightedness and the deteriorating vision that comes with aging. “In 2016, I thought it would be interesting to take these photos and to replicate the glowing amorphous shapes in ceramic and steel. I was not successful, hence the title, ‘Hubris.’ Eyesight and clarity prevailed,” said Elozua of this body of work.

CONSTRUCTING ELOZUA: A Retrospective

This catalog was published on the occasion of the exhibition “Constructing Elozua: A Retrospective, 1973–2003” organized by the Mint Museum of Craft + Design, Charlotte, North Carolina, and presenting the work of sculptor Raymon Elozua.

Foreword by Mark Richard Leach
Essays by Garth Clark, Melissa G. Post, and Edward Leffingwell


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For more than 40 years, Raymon Elozua has maintained a career largely outside of the commercial art world, forging his own path in creative and enduring ways…”

Read full text here.

Raymon Elozua: Fire and Steel
American Ceramics Vol.11 #3

by Peter Von Ziegesar

“If the conventional thrown pitcher or teapot represents, in the mind of the potter, an attempt to distill something essential, beautiful and permanent about the human spirit and cast it into a material that is among the most lasting known to man, then Raymon Elozua’s pieces of the last two years try to do the opposite…”

Read full text here.

Constructing Elozua: A Retrospective, 1973–2003
Mint Museum of Craft + Design

This online career retrospective connects the threads of a 30-year body of work driven by Raymon Elozua’s fascination of materials, process, and his insatiable curiosity. It includes photography, ceramics vessels, sculptural landscapes, paintings, and computer-derived art.

Click here to explore Constructing Elozua: A Retrospective through imagery, video, interviews, and commentary presented by the Mint Museum.

Without Compromise: A Personal View of Raymon Elozua’s Art
by Garth Clark

“Elozua is one of those rare contemporary artists for whom art is not vocational choice, but is a trust and sacrament in which compromise and dishonesty are simply not options.”

Click to read full essay.

Raymon Elozua: How to Make a Teapot
by Edward Leffingwell

Raymon Elozua came to the broad range of his work as an artist fired by a curiosity concerning process and driven by the avidity and range of his remarkable intelligence.

Click to read full essay.

MICHAEL SIMON

MICHAEL SIMON

PICK OF THE KILN: ARTIST ARCHIVE

Ferrin Contemporary presents selected works by Michael Simon from Pick of the Kiln: Artist Archive. These works can be viewed in person in Massachusetts by appointment and inquiries are welcome.

In 2005 Simon ended his active pottery practice for reasons related to his health. At that time, he embarked on a long study of the works he had gathered during his lifetime, preserving one from each kiln load since the early 70’s. With his wife, Susan Roberts, these works were photographed, documented and discussed with select scholars, colleagues and friends. A monograph, Evolution, was published by Northern Clay Center in 2011 as a comprehensive fully illustrated, chronology of his life’s work. Roberts served as editor and art director. The essays include important written contributions from Warren MacKenzie, Emily Galsuha, Mark Pharis, Glen R. Brown and Mark Shapiro.

Asked about the criteria for selection of these works, Michael explains (they were) “chosen by me because these pots displayed a better rim or clay wall or image vs form. I saved them for reference as I moved forward…stepping stones guiding my path. I usually picked one from each kiln load.” – Michael Simon, 2020

Beginning in 2015, Leslie Ferrin worked closely with Michael and Susan to make these works available to museums, scholars and private collectors who seek out works from the archive.

“I’ve had the unique privilege of knowing Michael Simon for over 25 years, beginning with a relationship built through periodic exhibitions at our shop and gallery, P!NCH in Northampton, MA. When the time came to consider the next step for the Pick of the Kiln: Artist Archive collection, I was honored to be asked and fortunate to be able to say yes.

When working together, not a day with Michael went by without learning something new about him and his work. His ability to articulate his practice, his deeply held beliefs and knowledge of ceramics is conveyed through each conversation. This enabled me to provide background to each work in the Pick of the Kiln archive. Our conversations, many recorded, serve to record the important, numerous personal connections to his students, to his colleagues and the large, extended community of studio potters beginning for Michael in the class of ’70 with his teacher, Warren MacKenzie and the Leach tradition in America.

With each visit, we continued to explore the works, the library and personal papers providing artistic and written connections to this family tree. We learned more from each curator as they made connections with Michael to historic reference and source material, the ancient pots and objects from world cultures, many that he was first introduced to as a student looking at the pots and vessels in the permanent collections of the Weisman Museum and Minneapolis Institute of Art.” Since 2015, masterworks from Michael Simon’s archives, “Pick of the Kiln” 1983 – 2005 have been generously gifted by the artist and his wife, Susan Roberts to over twenty museums throughout the USA.

Michael Simon (1947-2021) sadly passed away in August of 2021. The last six years brought them together to further and focus on his legacy—his papers, his personal collection of pots by other artists, and his archive.  Their work involved acquisitions of his work by over a dozen selected museums and many knowledgeable private collectors. When COVID hit in 2020, the visits with curators and collectors were cut short; as Michael’s health declined, the project slowed.

Toward the end of his life, Simon designated Haystack Mountain School of Crafts, where he taught and met other artists there during three summer intensive workshops in the late 1980s and early 1990s, to send gifts in his memory. Haystack was important to Michael and remained so throughout his life.

In honor of his wish, the Michael Simon Studio Pottery Fellowship is being established by friends and family in his honor. In keeping with his firm belief in the expressive possibilities of useful pots, this fellowship is intended for a mid-career functional potter. As works from the archive are sold, a portion of the proceeds from these sales of will be donated to the fellowship.

ABOUT THE MICHAEL SIMON STUDIO POTTERY FELLOWSHIP

The fellowship will annually provide tuition, room, and board, and a stipend for a student to attend a ceramics workshop at Haystack. Once fully funded, students will be selected through the annual Haystack fellowship review process.

ABOUT HAYSTACK MOUNTAIN SCHOOL OF CRAFTS

Since 1950, Haystack has been connecting people through craft. Located on the coast of Maine, Haystack provides the freedom to engage with materials and develop new ideas in a supportive and inclusive community.

Fund Committee:
Ginger Aldrich, Development Director, Haystack Mountain School of Crafts
Mark Shapiro, artist and author
Leslie Ferrin, director, Ferrin Contemporary
Posey Bacopoulos, artist

Click HERE to make a donation to MICHAEL SIMON STUDIO POTTERY FELLOWSHIP.

Click HERE to learn more about Haystack Mountain School of Crafts  fellowship program.

Additional information about Simon including his Smithsonian Archives of American Art recorded oral history, interviews, videos, articles and essays are available through the links below.

PICK OF THE KILN: ARTIST ARCHIVE

A sale of selected works including works from the “Pick of the Kiln” 1983 – 2005 archives takes place at Schaller Gallery on December 9, 2022 and will support the Michael Simon fellowship fund for mid-career studio potters at Haystack Mountain School of Crafts.

REFIND presents: Michael SimonPick of the Kiln and other Significant Pieces LIVE at 2:00 pm (EST) on Friday, December 09, 2022

Additional Works Available Through Inquiry

MICHAEL SIMON


Michael Simon, photo courtesy of Hayne Bayless

CV

ABOUT


Born 1947, in Springfield, MN, Lived and worked in Colbert, GA
Died 2021, in Athens, GA

Simon (b. 1947) studied at the University of Minnesota with Warren MacKenzie. He has lived in Georgia since 1970, when he and his then-wife, Sandy, established a production pottery. He took time out after a decade (and a divorce) to earn an MFA at the University of Georgia under Ron Meyers. Simon’s vessels often have solid and sturdy-looking feet that raise the pot but do not make it look lightweight. The effect is to isolate the volume, emphasizing the sense of capacity that is inherent to pottery but not always foregrounded.  With his turn to painting, Simon developed a method of incorporating wax resist and hatch marks so that his imagery often looks either like an ink drawing or a woodcut print.  These opposite attractions, volumetric and graphic, identify his distinctive body of work.

Simon discovered that a covered jar he was making was strikingly like recently excavated archaic Middle Eastern forms.  Pleased to find a pottery solution shared across a vast time, he began calling his versions “Persians Jars.” Other signature forms include three-legged vases and jars that are thrown thick and then squeezed and carved into the final shape. His forms combine grace and robustness – the odd combination defining them as contemporary – along with simplified, silhouetted animal motifs that evoke both cave painting and modernist painting.

 

Excerpt from: Makers
A History of American Studio Craft by
Janet Koplos and Bruce Metcalf
The University of North Carolina Press, Chapel Hill, NC,
A Project of The Center for Craft, Creativity and Design, Hendersonville, NC, 2010

MORE ON MICHAEL SIMON

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ROY SUPERIOR

ROY SUPERIOR

ARTWORK

Ferrin Contemporary is proud to present this collection of works by sculptor and painter, Roy Superior (1934 – 2013). The work offered here comes from both the artist’s collection and that of Allan Stone, a well-known collector of late twentieth-century art.

SCULPTURE


ILLUSTRATION


ABOUT


Roy Superior, Artist Portrait

ROY SUPERIOR


American

b. 1934, New York, NY
d. 2013, Williamsburg, MA

Considering himself more as a creator, Roy did not want to be confined to one genre of art. His focus was to be a fine craftsman and to create beautiful objects, rather than being considered just a woodworker or just a painter. Like Mara, he also attended the Pratt Institute, earning his BFA, followed by a short study abroad at the Institution Allende in San Miguel De Allende in Mexico. He completed his MFA from Yale University in 1962.  His works are currently at the Renwick Gallery in the Smithsonian American Art Museum, Racine Art Museum, and the Peabody Essex Museum.

In 2018 and 2019, KFI acquired a collection of 72 pieces of Mara and Roy’s artwork. After preservation work by KFI staff and conservation by Meghan Mackey and Jack Larimore, the pieces were gifted to 17 institutions including Museum of Fine Arts Boston, Peabody Essex Museum, Renwick Gallery of the Smithsonian American Art Museum, Crocker Art Museum (CA), Racine Art Museum (WI) and Fuller Craft Museum (MA).

ABOUT HIS WORK


Superior’s meticulously executed sculptural pieces are made from wood, antique ivory, bone, and gold leaf with brass and copper hand-made hardware. Many of the machines have moving parts – spinning wooden propellers or delicate flapping wings. In each, Superior sought to depict the inner workings of the common man, to expose some universal insight into human nature with his gentle irreverence.

EXHIBITIONS & COLLECTIONS

Roy Superior: Patent Models for a Good Life

February 7 – April 19, 2014

The Center for Art in Wood hosted a visual biography of painter, sculptor, and wood worker, Roy Superior, featuring his functional furniture, pen and ink drawings, and patent models of imaginary machines.

“Roy had a voracious appetite for the world,” said Leslie Ferrin of Ferrin Contemporary. “He observed, appreciated, considered, questioned, and ate well. Then he returned the favor.”

“He invented, painted, carved, drew, sculpted, and venerated Italian food. The result of this good life was a collection of finely crafted furniture, sculpture, and drawings that reflects his philosophical mind, benevolent psyche, and humorous imagination.”

The show includes several of Superior’s miniature-scale sculptures. These meticulously executed pieces are made from wood, antique ivory, paper, paint, and clay. Many have moving parts—spinning wooden propellers or delicate flapping wings. In each, Superior sought to depict the inner workings of the common man, to expose some universal insight into human nature. His respectfully irreverent commentary breathes new life into old ideas in such pieces as “Peace Missile” and his shrines to ham, cheese, and truffles.

LEARN MORE HERE

KOHLER FOUNDATION


In 2018 and 2019, Kohler Foundation, Inc. acquired a collection of 72 pieces of Mara and Roy Superior’s artwork. After preservation work by KFI staff and conservation by Meghan Mackey and Jack Larimore, the pieces were gifted to 17 institutions including Museum of Fine Arts Boston, Peabody Essex Museum, Renwick Gallery of the Smithsonian American Art Museum, Crocker Art Museum (CA), Racine Art Museum (WI) and Fuller Craft Museum (MA).

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SMITHSONIAN AMERICAN ART MUSEUM


The Smithsonian American Art Museum acquired a number of pieces from Roy Superior’s catalog.

VIEW MORE HERE

VIDEOS

“The artist Roy Superior died last summer and I never got to meet him. But thanks to his friends, colleagues, and former students, and a magnificent show of his work at The Center for Art in Wood, I feel I have gotten to know this brilliant and funny Renaissance man, and with luck I can share him with you through this film. He moved from illustration to fine art painting and drawing ad then onto wood. His work is profoundly imaginative, beautifully crafted, and intensely humane.”

-John Thornton

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LAUREN MABRY

LAUREN MABRY

ARTWORK

Scrapyard No. 1

Scrapyard No. 2

Scrapyard No. 4

Glazeflow Cylinder

Green Shade No. 3

Double Lavender

Double White

Molten Cloud

Pink No. 5

LAUREN MABRY


ABOUT


American, b. 1985, Cincinnati, OH
lives and works in Philadelphia, PA

Lauren Mabry is recognized internationally for her bold, dynamic glazes and inventive use of material, color, and form. Her ceramic vessels, objects, and dimensional paintings embrace experimentation as a way to question the boundary between abstract painting, minimalist sculpture, and process art.

Mabry is the recipient of individual grants from the Pew Center for Arts & Heritage, the Independence Foundation, and the National Council on Education in the Ceramic Arts  Emerging Artist Award, and she has worked at the Jingdezhen International Studio in China and the Gaya Ceramic Art Center in Bali, Indonesia.

Mabry has shown in numerous institutions including the Bemis Center for Contemporary Art, (Omaha, NE), Fuller Craft Museum (Brockton, MA) and Milwaukee Art Museum, (Milwaukee, WI), and her work is included in the collections of the Nelson-Atkins Museum of Art, (Kansas City, MO), Daum Museum of Contemporary Art, (Sedalia, MO), Nerman Museum of Contemporary Art, (Overland Park, KS), and Sheldon Museum of Art, (Lincoln, NE).

In 2007, Mabry completed her BFA from Kansas City Art Institute, and she received her MFA from the University of Nebraska-Lincoln in 2012. Mabry is represented by Pentimenti, (Philadelphia, PA), and Ferrin Contemporary.

Lauren Mabry, Artist Portrait

ON HER WORK

I make ceramic vessels, objects, and dimensional paintings by combining traditional and experimental methods with clay and glaze. I investigate materiality though experimentation that is driven by my fascination with color, visual movement, and the transformative nature of ceramics. Primarily my work communicates directly, through its formal and aesthetic qualities, but it may also be understood in relationship to abstract painting, minimal work, and Process Art. Surface is often the focal point of my work, and therefore the forms I make are a reaction to how a glaze performs. My goal is to create dynamic compositions that push the boundaries of how these materials are perceived. Because I strive to keep my work as playful as it is scientific, the things I make exist where haphazard sketching meets the accuracy of chemistry. The rich, flowing glazes create hypnotic tones, textures, and forms which aim to please and bewilder.

Lauren Mabry, Glazescape 20.04, 2020 (detail)

ON HER PROCESS

My work is predicated on a research-driven practice that investigates the history of color theory and material experimentation: to this end, I treat the vessel as a canvas, while accounting for the painful and difficult hierarchies that have kept both women artists and ceramics as a medium historically excluded from the realm of painting and sculpture. Ceramics has long been mistreated as a low art form, and it is my goal to elevate its painterly qualities through a deep and ongoing exploration of surface treatments through pigmentation, glaze chemistry, an understanding of structure and substrates, including underglazing, monoprint transfer, and glaze application, buttressed by a daily drawing practice in which mark making finds its way onto the layers and embedded into the surfaces of my vessels and sculptural constructions. My goal is to create dynamic compositions that push the boundaries of how ceramic materials have been historically perceived. The rich, flowing glazes create hypnotic tones, textures, and forms, and I aim to change the nature of the technical questions craftspeople often get: “how did you do that?” to instead “why did you do that?”

The German-born abstract painter Hans Hofmann utilized “push pull” as a phrase to describe intersecting and overlapping surfaces and geometries upon his own canvases as a means of creating pictorial space, full of expanding and contracting forces. I am particularly taken with the investigates of materiality though historical abstract expressionism like Helen Frankenthaler as well as the color theory that entered American art schools through Josef Albers and other Bauhaus-trained artists.  However, I am conscious of the need to interrogate the historical absences of ceramics from these modes of expression. My experimentation is driven by my fascination with color, visual movement, and the transformative nature of ceramics. Primarily, my work communicates directly through its formal and aesthetic qualities by utilizing processes that exploit the intrinsic qualities of ceramic materials. The results are expressive, bold, and often dichotomous: haphazard yet highly calculated.

FEATURED

ARTWORKS & INSTALLATIONS

CYLINDERS


Glaze Flow Cylinder

Glaze Flow Cylinder No. 2

SPILLING FORMS


Spilling Forms

Stacked Compositions

INSTALLATIONS


RECENT & PAST EXHIBITIONS

50 Years in the Making: Alumni Exhibition at The Clay Studio, June 13th – September 1st, 2024, featuring Sergei Isupov, Paul Scott, and Lauren Mabry

50 Years in The Making: Alumni Exhibition

2024 | The Clay Studio | Philadelphia, PA

featuring work by Paul Scott, Sergei Isupov, and Lauren Mabry

This Alumni Exhibition showcases artwork to reflect the current practice of the over 150 artist who have participated in The Clay Studio’s Resident Artist Program, Guest Artist Program, and Associate Artist Program over the 50 years since its founding.

VIEW THE EXHIBITION PAGE

Are We There Yet? 2023, Chris Antemann, Sergei Isupov, Lauren Mabry

Chris Antemann, Sergei Isupov, Lauren Mabry in “Are We There Yet?” 2023, installation at Ferrin Contemporary, North Adams, MA

ARE WE THERE YET?

2023 | Ferrin Contemporary | North Adams, MA

ARE WE THERE YET? is a celebration of Ferrin Contemporary’s 40+ years as leaders in the field of modern and contemporary ceramics.

VIEW THE EXHIBITION PAGE

Lauren Mabry, “Doorway No3”, 2021, detail

LAUREN MABRY: NEW WORK

2022 | Ferrin Contemporary | North Adams, MA

Surface is often the focal point of my work, and therefore the forms I make are a reaction to how a glaze performs. My goal is to create dynamic compositions that push the boundaries of how these materials are perceived. Because I strive to keep my work as playful as it is scientific, the things I make exist where haphazard sketching meets the accuracy of chemistry.

— Lauren Mabry

Lauren Mabry, “Glazescape (Double White)”, 2021, and “Glazescape (Molten Cloud)”, 2022. installation at Institute of Contemporary Art at Maine College of Art. Photograph by Joel Tsui, courtesy of Institute of Contemporary Art at Maine College of Art.

A FRESH GREETING IS HEARD

July 15 to September 18, 2022 | Institute of Contemporary Art at Maine College of Art & Design | Portland, ME

This exhibition highlights four artists who navigate realms between abstraction and figuration to tease out the disquiet and enchantment found in wild spaces, the magic of transformation, the tendency to see meaningful imagery in ambiguous forms, and the agency of natural places as vibrant actors in our collective imagination. Works in painting, ceramics and video by Leon Benn, Lauren Mabry, Allison Schulnik, and Hannah Secord Wade on view.
– Institute of Contemporary Art at Maine College of Art & Design

VIEW THE EXHIBITION PAGE

Ferrin Contemporary, LAUREN MABRY: Fused, 2019, Installation View

LAUREN MABRY: FUSED

2019 | Solo Exhibition | Ferrin Contemporary, North Adams, MA

 Series of ‘dimensional paintings’ that use color, form and an exuberant sense of play to explore the transformative nature of clay.

VIEW THE EXHIBITION PAGE

Lauren Mabry, “Glaze Flow Blocks 20.02”, 2020

NATURE/NURTURE

Group Exhibition at Ferrin Contemporary (North Adams, MA) | 2020 & 2021
Virtual Conference at
NCECA Rivers, Reflections, and Reinvention | 2021

Group exhibition of twelve contemporary female artists invited to explore the influence of gender and its impact on their practice.

VIEW THE EXHIBITION PAGE

ON NATURE/NURTURE

As a young woman, I was emboldened to embrace my natural strengths – an independent, competitive spirit, believing that I could achieve whatever I set out to do. Born with a gift and a drive, I have made it this far because I have been nurtured by many strong women in my life, starting with my mother who always encouraged me to follow my passion for art. Along the way, my female educators never hesitated to push me even when I was struggling – Jane Shellenbarger, Cary Esser, Sanam Emami, Gail Kendall, and Margaret Bohls. My career has been continuously shaped by females, gallerists, and curators like Leslie Ferrin and Catherine Futter, who create exhibition opportunities, connections, and help put my work in important collections. Of equal importance are the many women artists who, although I haven’t known personally, have influenced my voice a great deal – Betty Woodman, Viola Frey, Karen Massaro, Lynda Benglis and many more. I am so grateful to have all of these women who have led by setting the example.

FC Artist News | LAUREN MABRY | New Works in Nature/Nurture | Cylinders & Sculptures

SELECT PAST EXHIBITIONS

NEWS & FEATURES

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Additional works may be available to acquire, but not listed here.

If interested in lists of all works and series: Send us a message

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KADRI PÄRNAMETS

KADRI PÄRNAMETS

ARTWORKS & SERIES

ON THE FIRE SCULPTURE & FRAGMENTS OF WAVES SERIES


In 2022, Kadri Pärnamets’ Choreography of Water was exhibited at Ferrin Contemporary in North Adams, MA. The solo exhibition cast the gallery in a sea of hand-built porcelain cups, vases, and cloud forms to explore earth’s most precious resource: water. Now in 2024, Kadri Pärnamets has returned to this idea of water through small-scale ceramic wave studies and her newest and largest endeavor to date: a 7+ foot fire sculpture. This fire sculpture was fired via “petal kiln”– a stand-alone, reusable kiln designed to open like flower petals – fabricated by friend and master kiln-maker, Andres Allik. The monumental work was crafted and unveiled in its final form at Guldagergaard’s Summer festival, Claytopia, in July, 2024. Having displayed a fire sculpture made by Kadri’s husband, Sergei Isupov, years prior, the Claytopia team approached Kadri in 2023 to commission one of her own. Normally working in porcelain, slip, and glaze on smaller scales, the fire sculpture differed greatly from Kadri’s past works. The sculpture was built using stoneware clay, which includes higher amounts of grog (raw, crushed materials containing silica and alumina), resulting in a more rough, textured medium. As it fired, the clay shrunk more than 10%, and any glazes applied to the clay body produced darker hues than when applied to porcelain. The changing and precarious nature of these materials added numerous unpredictable factors, which were only disclosed upon removal from the kiln. These factors directly connect to the larger ideas behind Kadri’s past work: testing life’s constant, unpredictable ups and downs and how we move through and with them. As Kadri contemplates this body of work and what it means to her, she considers the physical and figurative flows of energy and matter in her personal life, her creative process, and the greater push and pulls occurring in the world:

FRAGMENTS OF WAVES SERIES


FRAME OF MIND SERIES


SCULPTURES


“Moor”

“Waggle Dance”

TEAPOTS


“Question of Honor | Lucretia (After Lucas Cranach the Elder) Teapot”

“Steam from Tea – Tribute to Alice in Wonderland”

KADRI PÄRNAMETS


KADRI PÄRNAMETS

CV

BIO

STATEMENTS

ABOUT


Estonian, b. 1968, Rakvere, Estonia
lives and works in Cummington, MA

Kadri Pärnamets works in porcelain using traditional hand building and sculpting techniques to combine surface and form. Her biomorphic, organic forms provide a means to convey her personal interests ranging from fragile, natural environments to female identity. Her surface treatments feature a range of gesture and expression with either abstract shape or narrative figure painting, inspired by painters from the European Renaissance and Impressionist eras, like Lucas Cranach the Elder and Edouard Manet.

Pärnamets’ work has been shown internationally at the Estonian Museum of Applied Art and Design (Tallinn, Estonia), at the International Tea Trade Expo (Shanghai, China), and many others. Since 1996, she has participated in symposiums in Latvia, Lithuania, Estonia, Switzerland, USA, Norway, and Hungary.

Pärnamets graduated from the Art Institute of Tallinn, Estonia with a BA/MFA in Ceramics. Dividing her time between Estonia and USA, her primary studio is the USA at Project Art in Cummington, MA. She is represented by Ferrin Contemporary.

ON HER WORK

Pärnamets creates works in porcelain using traditional hand building and sculpting techniques to combine surface and form with abstract and representational painting. Pärnamets’ work is characterized by two modalities, abstraction based on natural forms and representation based on reinterpretation of iconic paintings. The central themes of her work are those to which artists have responded over the centuries. Pärnamets’ biomorphic vases and three-dimensional interpretations of classical images focus on humanity’s integral reliance on both nature and art.

DIRECTOR NOTES ON KADRI PÄRNAMETS

Kadri Pärnamets and I met through the social network of the artists the gallery represents, which is often the way I’ve begun relationships that develop long term. This “net” is actually a form of nurturing that connects one artist to another, first through their professional art practice, and over time, growing to become increasingly personal.

We got to know Kadri during the summer she spent at Project Art working in the studio with Sergei Isupov in 2008. Both artists produced independent works, and while working side by side, they also created a collaborative series. Kadri’s biomorphic forms and Sergei’s painted details merged along the lines of the surrealist game, exquisite corpse, when one artist starts and the next one adds, and is something that came naturally to these two artists. Their international lives in Estonia and USA and time working at international symposia and residencies provided time for collaborations, and now with the dual residencies, they work side by side tackling domestic projects in both of their home environments.

During the course of Nature/Nurture, suddenly in quarantine with their daughter, Roosi who was schooling from home, Kadri’s work in the family studio became focused on a series of small works and collaborative home projects at Project Art.

Due to the extended run of Nature/Nurture, we have been given the opportunity to reflect on paths taken, connections made and shared experiences in our now weekly series of FC News & Stories with each issue focusing on an individual artist in the exhibition. The ON NURTURE statements written by each artist acknowledges family, artist mentors, education and, particularly for Kadri, recognition of nature as inspiration and metaphor for her sculptures. Focusing our attention on “small matters”, Kadri’s sculptures of roots and painted details of common insects and pollinators recognize the foundation of our ecosystem and our inter-dependence – something that has become more obvious to us all as we observe the impact of global warming and the spread of the coronavirus.

ON NATURE/NURTURE

My new work is drawn from my roots. Focusing on the little simple things in nature, like bugs and their sounds, these things give us an understanding of time and space. Wherever I hear the sounds of the first fly in the spring or a mosquito buzz in summer I’m reminded of how important it is to keep balance in our surroundings and to appreciate the annual life cycles that begin from most ordinary and common things. Small matters.

FC NEWS & STORIES | NATURE/NURTURE | Kadri Pärnamets | Small Matters and Roots & Pollinators

ON ICONIC INFLUENCES

Kadri Pärnamets presents exquisite paintings of iconic images on three dimensional, voluminous, black and white cloud forms.  Focusing on gesture and expression, Pärnamets selects known classics of female beauty by painters from the European Renaissance and Impressionist eras, like Lucas Cranach the Elder and Edouard Manet.  Having grown up surrounded by these paintings in museums and books, from childhood to present, she has studied and reflected on the women’s expressions and context.  Revisiting them during various periods of her life, and now as a mother and wife, she has chosen mythical figures to reflect on the human condition.  Sacrifice, service and devotion are seen through the portraits of Venus and Lucretia by Cranach, the bathers of Ingres, nudes of Manet and religious images of Saint Agnes.

ON HER PROCESS

My process involves collecting senses, feelings, observations and generally, following my intuition. I use this thoughtful, meditative process to guide me towards the abstract forms and associated colors to express these internal, psychological thoughts. The emotional content of my life is translated and expressed through shapes and colors. I use the plastic expressive qualities of clay in forming the shapes. Color is added to the surface through abraded layers of complimentary colors.

FEATURED


Sergei Isupov & Kadri Pärnamets in CLAYTOPIA Summer Festival | Guldagergaard, SkÌlskør, Denmark

2024 | Group Exhibition at Claytopia at Guldagergaard | SkÌlskør, Denmark

July 10th through August 10th, 2024

Claytopia is Guldagergaard’s initiative geared towards engaging the public, offering a unique space within the beautiful park surrounding Guldagergaard.

View the exhibition page HERE

CHOREOGRAPHY OF WATER

Solo Exhibition at Ferrin Contemporary (North Adams, MA) | 2022

Kadri Pärnamets: THE CHOREOGRAPHY OF WATER featured porcelain sculptures, vases, and cups as a meditation on this universal element.

View the Exhibition Page, HERE.

NATURE/NURTURE

Group Exhibition at Ferrin Contemporary (North Adams, MA) | 2020 & 2021
Virtual Conference at
NCECA Rivers, Reflections, and Reinvention | 2021

Group exhibition of twelve contemporary female artists invited to explore the influence of gender and its impact on their practice.

View the Exhibition Page, HERE.

“Nature/Nurture” Installation View, Kadri Parnamets, Mara Superior, 2020.

KADRI PÄRNAMETS | NATURE/NURTURE

Virtual Tour of Kadri Pärnamets‘ Moor, Spring Announcers, Noon Dance, Sultry Night, and Waggle Dance in NATURE/NURTURE, the 2020 group exhibition of twelve contemporary female artists invited to explore the influence of gender and its impact on their practice at Ferrin Contemporary on the campus of MASS MoCA, North Adams, MA.

View Kadri Pärnamets Nature/Nurture Virtual Tour on Vimeo.

CURRENT + RECENT


NEWS & FEATURED


ARCHITECTURAL DIGEST: Alice in Wonderland

Alice in Wonderland Architectural Digest: Alice in Wonderland by Sonia S. Braga At Saffis Offices in Milan, eight international artists of art ceramics interpret the visionary and surreal atmospheres of...

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Additional works may be available to acquire, but not listed here.

If interested in lists of all works and series: Send us a message

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