Project Type: 2023

28
Feb
2023
Linda Sikora: DARKENING GROUND

Linda Sikora: DARKENING GROUND

April 22 – June 11, 2023

FERRIN CONTEMPORARY
1315 MASS MoCA Way, North Adams MA

ENTER THE SHOP

ABOUT THE EXHIBITION

North Adams, MA —

Ferrin Contemporary is pleased to present artist Linda Sikora and her new exhibition DARKENING GROUND, a poetic and conceptual look at forms, vessels, and other ceramic gestures. Sikora uses three distinct visual categories—woodgrain, blackware, and redware—which sometimes participate in narrative frameworks such as in the pieces:  ground II; ground III; repose—works at the core of the Darkening Ground exhibition.  In this, Sikora is thinking about the dark as a generative space and time; a landscape for internal, interpersonal, and cultural constraints and realities to shift and realign. 

“Blackware and Redware depart from the glazed polychrome WoodGrain (a lyrical, rich and luxurious ‘faux’ surface on crock like pottery forms) by using systems reduceable to the most basic material processes,” says Sikora. “If the glazed work is alchemical, Redware and Blackware are of an opposing bearing: elemental turned forms surfaced informally with basic tools – ‘finished’ only by the heat and atmosphere of the kiln drawing color from the clay– as fire has drawn these same colors forth from earthen clay through all time.” 

ground I, or what the artist calls “a compost of drawn lines” is a wall drawing that brings up ideas around the density of darkness and what gets lost or found in the fecund and fertile heaps. ground II is referred to as “a fairy tale.” 

In fairy tales, darkness is a necessary rite of passage to obtain wisdom and move into a new stage of life. The deep forest under a starless dark sky is the transformative darkness of fairy tales. ground III or “a broken box” is a resolution of sorts, necessary and transitory objects that are found after searching grounds I & II.

The audience actions surrounding these grounds are also part of the conceptual thinking about transition from one ground to another, which can be viewed as moving from one stage of initiation or understanding to another or one landscape to another. “The water pot, storage jar, broken box, cut sticks are both synchronous and asynchronous with their embedded actions: holding, pouring, opening, collecting, hiding. Forms in situ and in relation to the body are the genesis of actions: bowing the head, bending down, looking into, reaching, taking hold of, bearing, or passing by entirely,” said Sikora. 

Linda Sikora: DARKENING GROUND

AT FERRIN CONTEMPORARY | April 22 – June 11, 2023

Linda Sikora: DARKENING GROUND, installation view, 2023. Photo by John Polak.
Linda Sikora: DARKENING GROUND, installation view, 2023. Photo by John Polak.
Linda Sikora: DARKENING GROUND, installation view, 2023. Photo by John Polak.
Linda Sikora: DARKENING GROUND, installation view, 2023. Photo by John Polak.
Linda Sikora: DARKENING GROUND, installation view, 2023. Photo by John Polak.

PAST PROGRAMMING

Exhibition Opening | Saturday, April 22, 12pm ET

Online Conversation w/ Linda Sikora & Mark Shapiro | Wednesday, May 24, 12pm ET

Closing Reception w/ Linda Sikora | Thursday, June 8, 5pm-7pm

Lunch with Linda Sikora during the Hilltown 6 Pottery Tour | Saturday, July 29, 1-2pm ET

MORE ON THE ARTWORK

Conceptual Works

Ground I, or what Sikora calls “a compost of drawn lines” is a wall drawing that brings up ideas around the density of darkness and what gets lost or found in the fecund and fertile heaps. Ground II is referred to as “a fairy tale.” In fairy tales, darkness is a necessary rite of passage to obtain wisdom and move into a new stage of life. The deep forest under a starless dark sky is the transformative darkness of fairy tales. Ground III or “a broken box” is a resolution of sorts, necessary and transitory objects that are found after searching Grounds I & II.

The audience actions surrounding these Grounds are also part of the conceptual thinking about transition from one ground to another, which can be viewed as moving from one stage of initiation or understanding to another or one landscape to another.

“The water pot, storage jar, broken box, cut sticks are both synchronous and asynchronous with their embedded actions: holding, pouring, opening, collecting, hiding. Forms in situ and in relation to the body are the genesis of actions: bowing the head, bending down, looking into, reaching, taking hold of, bearing, or passing by entirely.” – Linda Sikora

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Linda Sikora, "ground II", 2022, water pot; storage jar; pressed tile; cut sticks; concrete platform, 20 x 84 x 56". Ferrin Contemporary gallery installation, 2023. Photo by John Polak.
Linda Sikora: DARKENING GROUND, installation view, 2023. Photo by John Polak.
Linda Sikora, "ground III", 2022, broken box; small tea pot; white tile, 8.5 x 11 x 11"; Installation with wall shelf: 12 x 12"

Wood Grain Series

“In the home-space, service, storage, and display are obvious realms for ceramic pottery form to operate. This trio has become a framework for recent inquiries into specific subjects (teapot, kettle, crock, box) and the groupings they generate. I have been using these realms to think more specifically, about what ceramic work in this genre is trying to do. To serve (provide, assist), to store (hold, contain, preserve), to display (present, offer, remind) –are gestures in the world.

To serve, to store, to display are gestures that occur on a small scale: individual, household level. And, they also occur on a large scale: societal, global level. Things and gestures occur in private spaces or highly-visible places. Service, storage and display impact the way use becomes leveraged against (an object’s) appearance and subject to influence how it is valued, it’s relevance or, whether it remains meaningful. Inquiry into these realms also connects to ideas about the household as a space of freedom. Such associations might influence the way we embody or make meaning of complex conditions …like existence or time for example: consider a teapot that is ‘performative’ over a short, finite duration (until the tea is drained), and the storage jar – in which stillness and silence can actively hold for durations longer than a life.” —Linda Sikora, 2020

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Linda Sikora, "Kettle", 2022, stoneware, polychrome glaze, wood and salt fire, 8.5 x 12.5 x 8". Ceramic teapot with wood grain glazing pattern.
Linda Sikora, "Covered Jar", 2022, stoneware, polychrome glaze, wood and salt fire, 11.75 x 9 x 9". Ceramic vessel with wood grain glazing pattern.
Linda Sikora, "Water Pot & Basin", 2022, stoneware, polychrome glaze, wood and salt fire, 14 x 17 x 17". Ceramic water pot and basin with wood grain glazing pattern.
Linda Sikora, "Vase & Box", 2022, stoneware, polychrome glaze, salt fire, 10 x 6.25 x 6.25"

Blackware & Redware Series

“Blackware and Redware depart from the glazed polychrome work by using systems reduceable to the most basic material processes. If the glazed work is alchemical, Redware and Blackware are of an opposing bearing: elemental turned forms surfaced informally with basic tools – ‘finished’ only by the heat and atmosphere of the kiln drawing color from the clay– as fire has drawn these same colors forth from earthen clay through all time. This series of darkening ware made over the last few years began as a lament – the labor of fabrication, cathartic – the forms still and grounded and basic, literally and figuratively, with surfaces that are rudimentary, obsessive, laborious but casual – behavioral.

The subjects are primary: basin, kettle, jar – wash, drink, hold. As the series unfolded it conjured the mechanized technique of engine turning Western industrial wares (rosso antico and black basaltes.)  It came to be that Blackware and Redware stood in relation and opposition to these. It is most productive to consider them as differing beside each other in ‘spacious antagonism’. (Eve Kosofsky Sedgwick) 

Blackware and Redware basins and hut shaped jars with wide girth and full volumes are grounded in place; kettles with handles or smaller forms remain easy to engage or put into service. Service, storage, and display are platforms for culture and behavior I have identified and associated, with all my work, over several years. To serve (engage, offer), to store (hold, remember) and to display (make visible) are gestures that are scalable. These gestures occur in close proximity at individual, private, household levels and, they occur on large scale societal levels – engaging, offering, remembering is the processes of seeing – and at their foundation.  Far from neutral, meaningfully made objects we live with and evolve with, influence how we pay attention to everything; they influence how we reflect ourselves back to ourselves, and ultimately, how we stretch to know a broader world of conditions that are large and abstract – such as time for example: consider a jar where stillness and silence can actively hold for durations longer than a life.” – Linda Sikora, 2023

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Linda Sikora, "Flat Top Box", 2022, stoneware, polychrome glaze, wood and salt fire, 9.5 x 9.5 x 9.5" - blackware cylindrical ceramic form with flat lid, weaving and diagonal cross hatching pattern on surface
Linda Sikora, "Kettle", 2022, stoneware, polychrome glaze, wood and salt fire, 12 x 10.5 x 8.5" - black stoneware teapot with handle over top, small spout, lid with small handle, grid pattern and cross hatching on surface
Linda Sikora, "Frustum Bowl", 2022, stoneware, polychrome glaze, wood and salt fire, 7.7 x 13.5 x 13.5" - blackware ceramic bowl with designs etched around outside exterior and inside interior, weaving design lines cross grid
Linda Sikora, "Hexagon Tea Pot", 2022, stoneware, polychrome glaze, wood and salt fire, 7.3 x 6 x 5"
Linda Sikora, Blackware Group, 2022, photo by Brian Oglesbee
Linda Sikora, "Hut Jar", 2022, stoneware, red terra sigillata, wood and salt fire, 11 x 12 x 12"
Linda Sikora, "Covered Jar", 2022, stoneware, red terra sigillata, wood and salt fire, 12 x 10.5 x 10.5" - red stone ware ceramic jar with lid, weaving and diagonal cross hatching pattern on surface
Linda Sikora, Redware Group, 2022, photo by Brian Olesbee

MORE ON LINDA SIKORA

View More •  HERE  •

Linda Sikora’s studio is anchored in the genre of functional ceramics. Service, storage, and display are platforms for culture and behavior that Sikora explores with her work. She commonly refers to her ceramic forms as gestures due to their nature: to serve is to engage or offer; to store is to hold and remember; to display is to share and invite. 

Sikora is the recipient of a United States Artists Fellowship and has been recognized for excellence in teaching. Her work was acquired by the Smithsonian in 2022 and featured at the Renwick in their 50th-anniversary exhibition “This Present Moment: Crafting a Better World”. She is a renowned ceramics professor at Alfred University where she maintains an active studio practice and lives with her husband and daughter. 

To learn more about the artist, watch the PBS Craft in America documentary featuring her work. 

PRESS

Linda Sikora: DARKENING GROUND | Press Release | 3.25.23

Linda Sikora: DARKENING GROUND | CeramicsNow | 5.22.23

PREVIOUSLY ON VIEW

Division of Ceramic Art at Alfred
October 20 — December 1, 2022

Fosdick Nelson Gallery
Alfred University
Alfred, NY

View More •  HERE  •

Linda Sikora, Division of Ceramic Art at Alfred, 2022, installation view, Fosdick Nelson Gallery, Alfred, NY

Linda Sikora, Division of Ceramic Art at Alfred, 2022, installation view, Fosdick Nelson Gallery, Alfred, NY

INQUIRE

Send us a note to request:

  • a list of available artworks
  • copy of the press release
  • additional information about Linda Sikora
  • details on upcoming events

We would love to hear from you!

Please fill out the form below to inquire or
contact us for more details + lists of available artworks.

28
Dec
2022
FIGURING SPACE

FIGURING SPACE

JANUARY 12th to APRIL 16th 2023

Featuring work by Cristina Cordova and Sergei Isupov

ABOUT THE EXHIBITION

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

The Clay Studio (1425 N. American St), Philadelphia’s preeminent ceramic arts and resident artist’s center, will present Figuring Space, a new exhibition comprised of full-scale, figurative sculptures by 12 leading ceramic artists based in the United States. Each of the artists explores their individual cultural identity and what it means to be human through their figurative sculptures. The powerful figures will serve as a body of evidence to lay bare the issues that permeate American art and social culture. Figuring Space will open on January 12, 2023, and will be on display in The Clay Studio’s Jill Bonovitz Gallery through April 16, 2023.

The body, as a concept, is intimately tied to ceramic art. Clay is often used as a proxy for the physicality of flesh and has the capacity to articulate cultural perspectives, social engagement, and artistic intention. Furthermore, figurative sculptures have been at the center of public debate as monuments honoring individuals with dark histories are being reexamined and sometimes removed. Figuring Space uses that conversation – who gets to be seen and celebrated – as the backdrop to present a collection of works used to usurp the painful history of bodies on display in American history. Together, the artists will assert their autonomy and subjectivity by presenting cultural critiques through lenses of their own choosing, including race, gender, class, and anti-war ideas as inspiration for their own powerful stories.

Each of the artists selected for Figuring Space is known for creating contemporary, representational work that incorporates concepts and designs inspired by their cultural heritage.

FIGURING SPACE

The Clay Studio | 1425 N American Street, Philadelphia, PA

Cristina Córdova, “EVA XV”, 2022, unglazed: finished with burnished earth pigments from the island of Puerto Rico mixed with casein, lime, and oxides; 60 x 18 x 22″.

Sergei Isupov, “On the Way”, 2020, porcelain, slip, glaze, 58.5 x 38 x 18″.

Upcoming

MAR & APR

Clay & Conversations: Season 5

bi-weekly zoom conversations (in person and on zoom) at 1 pm on Thursdays

MORE ON THE FEATURED ARTISTS

  • View More by Sergei Isupov HERE
  • View More by Cristina Cordova HERE
Cristina Córdova, “EVA XV”, detail, 2022, unglazed: finished with burnished earth pigments from the island of Puerto Rico mixed with casein, lime, and oxides; 60 x 18 x 22″.
Cristina Córdova, “EVA XV”, 2022, unglazed: finished with burnished earth pigments from the island of Puerto Rico mixed with casein, lime, and oxides; 60 x 18 x 22″.
Sergei Isupov, “On the Way”, 2020, porcelain, slip, glaze, 58.5 x 38 x 18″.
Sergei Isupov, “On the Way”, 2020, porcelain, slip, glaze, 59.5 x 26 x 16″.

CRISTINA CORDOVA

Native to Puerto Rico, Cristina Córdova creates figurative compositions that explore the boundary between the materiality of an object and our involuntary dialogues with the self-referential. Images captured through the lens of a Latin American upbringing question socio-cultural notions of gender, race, beauty, and power.  Córdova has received numerous grants including the North Carolina Arts Council Fellowship Grant, a Virginia Groot Foundation Recognition Grant, several International Association of Art Critics of Puerto Rico awards, and a prestigious United States Artist Fellowship award in 2015.

EVA XV

Cristina Córdova, “EVA XV”, detail, 2022, unglazed: finished with burnished earth pigments from the island of Puerto Rico mixed with casein, lime, and oxides; 60 x 18 x 22″.
Cristina Córdova, “EVA XV”, 2022, unglazed: finished with burnished earth pigments from the island of Puerto Rico mixed with casein, lime, and oxides; 60 x 18 x 22″.
Cristina Córdova, “EVA XV”, detail, 2022, unglazed: finished with burnished earth pigments from the island of Puerto Rico mixed with casein, lime, and oxides; 60 x 18 x 22″.

2022, unglazed: finished with burnished earth pigments from the island of Puerto Rico mixed with casein, lime, and oxides
60 x 18 x 22″

ON EVA & MATERIAL EXPERIMENTATION

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.

DOWNLOAD STATEMENT PDF

SERGEI ISUPOV

Isupov is the son of a painter and sculptor. While born in Stravapole, Russia in 1963, Isupov was raised in Ukraine from 1964, educated in Kyiv and moved to attend the university of art in Tallinn, Estonia in 1984 at a time when these now separate countries were part of the USSR. Isupov’s family, his father, mother and brother, all established artists, currently reside in Kyiv, Ukraine. With the backdrop of the current war there and threats of Russian aggression in Estonia, Isupov’s studio work took on an urgency to counter the overwhelming anxiety and concern for his family facing down threats to their safety and the loss of their formerly peaceful lives. Now, with his wife, artist Kadri Pärnaments and their daughter Roosi, they divide their time between two studios/homes in the USA and Estonia.

ON THE WAY

Sergei Isupov, “On the Way”, 2020, porcelain, slip, glaze, 58.5 x 38 x 18″.
Sergei Isupov, “On the Way”, 2020, porcelain, slip, glaze, 58.5 x 38 x 18″.
Sergei Isupov, “On the Way”, 2020, porcelain, slip, glaze, 58.5 x 38 x 18″.

2020, large-scale figure, porcelain, slip, glaze, 58.5 x 38 x 18″

ON THE WAY & IMPACT OF WORLD EXPERIENCE

On the Way is one of a pair of related, multi-figured, life-sized sculptures produced over several months in 2019-2020. These works strangely, foreshadow the present situation in Ukraine. “Most of my work depicts human relationships through contrasts and comparisons which makes it easy for anyone to find messages or meanings that may or may not be my original intention. Upon reflection, it is easy to connect the expressions, gestures and movements to current events but in reality, all my work comes out of my life experience – growing up during USSR, experiencing its breakup and the establishment of fifteen independent countries – followed by coming to America as a young artist in the 90’s.”

Isupov is a master of nonlinear narration. Combined with his unmatched, masterful skills as both painter and sculptor, the resulting works draw from the past and reflect on the present. Semiautobiographical, Isupov’s intimate narratives interweave poignant representations of men and women, parents and children, shown alongside one another, their pets pointing to the naive sense of security we hold in our daily lives. These works explore individual, interior landscapes and the continually expanding dualities of the self within complex psychological relationships. Intensely personal yet universal, these works in the context of the present day, remind and call upon us to value, protect and preserve the precarious balance we all stand to lose at any present moment.

DOWNLOAD STATEMENT PDF

PROGRAMMING

*Exhibition Catalog can be ordered HERE.

Figuring Space Exhibition Catalog

The Clay Studio: Figuring Space Publication Date: January 2023. This catalog features highlights on the artists in the exhibition and includes commentary by Jennifer Zwilling, Curator & Director of Artistic Programs at TCS, and Dr. Kelli Morgan, who are working together to make Figuring Space relevant to our audiences and the art historical record. Dr. Morgan is a curator, educator, and social justice activist who specializes in American art and visual culture has worked with TCS in the past. Her scholarly and activist work combine to make her incredibly qualified to examine the issues of racial politics and the artistic use of the figure in this exhibition. Morgan has developed and championed new curatorial methodologies that privilege the voices of museum audiences, breaking the misconception that museums should hold all the authority dictating how to experience art. Collaboration with colleagues of varied experiences produce expansive curatorial perspective. Together, we are endeavoring to create an exhibition that can offer truly meaningful experiences for every person who walks into the gallery at The Clay Studio.

  • 2023 Catalog
  • The exhibition catalog also includes color photography of select works in the exhibition.
  • 8 x 10 x .5
  • Available for purchase for $15.00
  • Item:TCS-2252

Upcoming | MAR & APR

Clay & Conversations: Season 5

bi-weekly zoom conversations (in person and on zoom) at 1 pm on Thursdays

Clay & Conversations: Season 5

Series of conversations and get-togethers with ceramic artists, curators, scholars, and friends.

Join The Clay Studio in person at their fourth-floor Conference Room or dial in on Zoom.

OPENING RECEPTION | Thursday, January 12

The Clay Studio will host a special opening reception to launch Figuring Space on Thursday, January 12, from 5 to 8 p.m.

RSVP HERE

Figuring Space Workshop Creating Expressive Facial Features | Friday, January 13, from 1 to 4 p.m.

For those looking for an in-depth look at Figuring Space, The Clay Studio will host the Figuring Space Workshop – Creating Expressive Facial Features, a special workshop led by featured artists Sergei Isupov and Jonathan Christensen Caballero. On Friday, January 13, from 1 to 4 p.m., participants of all skill levels will watch the two highly-acclaimed figurative artists give demonstrations as they explain their techniques for creating expressive facial features in clay. The Creating Facial Features in Clay workshop is an in-person-only event.

Tickets to attend are $100 each and available for purchase HERE.
Please contact Josie Bockelman (josie@theclaystudio.org) for discount information for this workshop.

Figuring Space Symposium | Friday, January 13, from 9:30 a.m. to 3:30 p.m.

To further expand on the ideas and themes of this exhibition, The Clay Studio will host a special Figuring Space symposium on January 13, where guests can hear lectures and panel discussions from the artists and curators. From 9:30 a.m. to 3:30 p.m., attendees will hear from the twelve featured artists about what making full-scale figurative sculptures means to their art practice. The co-curators, Dr. Morgan and Zwilling, will also share their ideas about figurative sculpture in contemporary art through the lens of social activism as well as the form’s evolution throughout American art history.

Both of these events are free and open to the public. Audiences can also register to participate in the Figuring Space symposium virtually by registering HERE .

VIDEO

Clay & Conversation with Tip Toland and Sergei Isupov | Youtube | April 18th, 2023

Tip Toland and Sergei Isupov are two of the dozen artists whose work appears in Figuring Space, an exhibition of life-size ceramic figurative sculpture. We are thrilled to have these talented artists as guests to ask them about their inspirations for the ideas and styles of their work.

Clay and Conversation with Cristina Córdova| Youtube | May 17th, 2023

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.

27
Oct
2022
Pearlware, Polish, and Privilege: Artwork by Paul Scott

Pearlware, Polish, and Privilege: Artwork by Paul Scott

October 27, 2022 – February 26, 2023

LSU MUSEUM OF ART

Shaw Center for the Arts
100 Lafayette Street, Fifth Floor
Baton Rouge, LA 70801

"Pearlware, Polish, and Privilege: Artwork by Paul Scott", Featuring works from New American Scenery, on view October 27, 2022–February 26, 2023 at LSU Museum of Art, Baton Rouge, LA.

ABOUT THE EXHIBITION & PROGRAMMING

Pearlware, Polish, and Privilege: Artwork by Paul Scott

Paul Scott transforms factory-made tableware with subversive imagery and commentary. He replicates traditional porcelain designs developed by late 18th-century English artisans, such as the Willow pattern or Spode’s Blue Italian. These early ornamentations included appropriated motifs copied from hand-painted blue and white wares imported from China, and were mass-produced using printed glaze transfers applied on porcelain and pearlware blanks.

At first glance, Scott’s contemporary redesigns are indistinguishable from manufactured originals. This intentional mimicking is the result of years of studio practice and academic research into the lost history of British and European transferware. The resulting objects seamlessly blend modern and conceptual imagery, posing compelling observations on current issues such as environmental destruction, racism, gentrification, and social injustice.

The series New American Scenery is the result of a multi-year grant from the Alturas Foundation that enabled Scott to travel and conduct research throughout the United States. He studied transferware in museum collections and visited many of the sites illustrated on their surfaces. The historic originals were not made in America. The objects were supplied by British companies that plied the burgeoning post-Revolution market with decorative and luxury goods. In the early 1800s, factory owners and agents traveled to the New Republic, meeting with merchants and taking orders for British-made ceramics. Local artists were often commissioned to sketch subject matter, including idyllic landscapes, dignitaries, landmarks, and historical sites, which, as engravings, would be used to decorate tableware earmarked for export. These highly prized English objects, initially marketed to an expanding upper class, were available in varying consumer levels. Popular mass-produced designs were sold to an ever-growing merchant and middle class who had the funds to afford decorative objects, while wealthier households commissioned their own patterns, often printed on finer bone china or porcelain

In this exhibition, Scott’s artworks are paired with objects from the LSU Museum of Art’s permanent collection to provoke further contemplation on the issues presented by the artist.

AT LSU MUSEUM OF ART

Baton Rouge, LA | October 27, 2022 to February 26, 2023

"Pearlware, Polish, and Privilege: Artwork by Paul Scott", Featuring works from New American Scenery, on view October 27, 2022–February 26, 2023 at LSU Museum of Art, Baton Rouge, LA.
"Pearlware, Polish, and Privilege: Artwork by Paul Scott", Featuring works from New American Scenery, on view October 27, 2022–February 26, 2023 at LSU Museum of Art, Baton Rouge, LA.
"Pearlware, Polish, and Privilege: Artwork by Paul Scott", Featuring works from New American Scenery, on view October 27, 2022–February 26, 2023 at LSU Museum of Art, Baton Rouge, LA.
"Pearlware, Polish, and Privilege: Artwork by Paul Scott", Featuring works from New American Scenery, on view October 27, 2022–February 26, 2023 at LSU Museum of Art, Baton Rouge, LA.
"Pearlware, Polish, and Privilege: Artwork by Paul Scott", Featuring works from New American Scenery, on view October 27, 2022–February 26, 2023 at LSU Museum of Art, Baton Rouge, LA.
"Pearlware, Polish, and Privilege: Artwork by Paul Scott", Featuring works from New American Scenery, on view October 27, 2022–February 26, 2023 at LSU Museum of Art, Baton Rouge, LA.
"Pearlware, Polish, and Privilege: Artwork by Paul Scott", Featuring works from New American Scenery, on view October 27, 2022–February 26, 2023 at LSU Museum of Art, Baton Rouge, LA.
"Pearlware, Polish, and Privilege: Artwork by Paul Scott", Featuring works from New American Scenery, on view October 27, 2022–February 26, 2023 at LSU Museum of Art, Baton Rouge, LA.
"Pearlware, Polish, and Privilege: Artwork by Paul Scott", Featuring works from New American Scenery, on view October 27, 2022–February 26, 2023 at LSU Museum of Art, Baton Rouge, LA.
“Pearlware, Polish, and Privilege: Artwork by Paul Scott”, Featuring works from New American Scenery, on view October 27, 2022–February 26, 2023 at LSU Museum of Art, Baton Rouge, LA.
“Pearlware, Polish, and Privilege: Artwork by Paul Scott”, Featuring works from New American Scenery, on view October 27, 2022–February 26, 2023 at LSU Museum of Art, Baton Rouge, LA.
“Pearlware, Polish, and Privilege: Artwork by Paul Scott”, Featuring works from New American Scenery, on view October 27, 2022–February 26, 2023 at LSU Museum of Art, Baton Rouge, LA.
“Pearlware, Polish, and Privilege: Artwork by Paul Scott”, Featuring works from New American Scenery, on view October 27, 2022–February 26, 2023 at LSU Museum of Art, Baton Rouge, LA.
“Pearlware, Polish, and Privilege: Artwork by Paul Scott”, Featuring works from New American Scenery, on view October 27, 2022–February 26, 2023 at LSU Museum of Art, Baton Rouge, LA.

PROGRAMMING & EVENTS

Important Dates:
Oct. 27, 2022 – Opening
Feb. 26, 2023 – Closing

Art at Lunch: Angola Plantation

Wednesday, February 15 at 12 PM

  •   

Join us for the special WEDNESDAY Art at Lunch, as Dr. John Bardes, Assistant Professor of History at LSU, provides a historic overview of Angola Plantation. Bring a lunch—we’ll supply the water and sodas. Third-floor LSU MOA offices. FREE.

  • LSU Museum of Art100 Lafayette Street, Third FloorBaton Rouge, LA, 70801United States (map)

Video: LSU LECTURE | “Cumbrian Blue(s): New American Scenery, Transferwares for the 21st Century” Sunday, November 16, 5:00 pm Paul Scott, ceramics artist, will give a Paula G. Manship Endowed Lecture to the College of Art & Design on Wednesday, November 16, 2022 at 5:00 p.m. in 103 Design Building Auditorium.

Artist Gallery Talk: Paul Scott  

Tuesday, November 16 at 6:00 p.m.

Meet Paul Scott, the featured artist of Pearlware, Polish, and Privilege, and learn about his innovative printmaking techniques. FREE.

LECTURE | “Cumbrian Blue(s): New American Scenery, Transferwares for the 21st Century”

Past Event | Sunday, November 16, 5:00 pm

Paul Scott, ceramics artist, will give a Paula G. Manship Endowed Lecture to the College of Art & Design on Wednesday, November 16, 2022 at 5:00 p.m. in 103 Design Building Auditorium.

LEARN MORE

WATCH THE RECORDING OF THE LECTURE

ABOUT PAUL SCOTT

English, b. 1953, Darley Dale, Derbyshire, England
lives and works in Cumbria, UK

Paul Scott is a Cumbrian-based artist with a diverse practice and an international reputation. Creating individual pieces that blur the boundaries between fine art, craft and design, he is well known for research into printed vitreous surfaces, as well as his characteristic blue and white artworks in glazed ceramic.

Scott’s artworks can be found in public collections around the globe – including The National Museum of Art, Architecture and Design Norway, the Victoria and Albert Museum London, National Museums Liverpool, Carnegie Museum of Art, Pittsburgh and Brooklyn Art Museum USA. Commissioned work can be found in a number of UK museums as well as public places in the North of England, including Carlisle, Maryport, Gateshead and Newcastle Upon Tyne. He has also completed large-scale works in Hanoi, Vietnam and Guldagergård public sculpture park in Denmark.

A combination of rigorous research, studio practice, curation, writing and commissioned work ensures that his work is continually developing. It is fundamentally concerned with the re-animation of familiar objects, landscape, pattern and a sense of place. He was Professor of Ceramics at Oslo National Academy of the Arts (KHiO) from 2011–2018. Scott received his Bachelors of Art Education and Design at Saint Martin’s College and Ph.d at the Manchester Institute for Research and Innovation in Art and Design in Manchester, England.

His current research project New American Scenery has been enabled by an Alturas Foundation artist award, Ferrin Contemporary, and funding from Arts Council England. More on New American Scenery, here.

Paul Scott, Artist Portrait, 2022

ABOUT THE EXHIBITION LENDERS & SPONSORS

Paul Scott is the Paula G. Manship Endowed Lecture Series Visiting Artist. This exhibition is a collaboration between the LSU College of Art + Design, the LSU School of Art, and the LSU Museum of Art.

Support for this exhibition and all LSU MOA exhibitions is provided by the generous donors to the Annual Exhibition Fund: Louisiana CAT; The Imo N. Brown Memorial Fund in memory of Heidel Brown and Mary Ann Brown; The Alma Lee, H.N. and Cary Saurage Fund; Charles “Chuck” Edward Schwing; Robert and Linda Bowsher; Becky and Warren Gottsegen; LSU College of Art + Design; Mr. and Mrs. Sanford A. Arst; and The Newton B. Thomas Family/Newtron Group Fund.

LSU MUSEUM OF ART

Shaw Center for the Arts
100 Lafayette Street, Fifth Floor
Baton Rouge, LA 70801

"Pearlware, Polish, and Privilege: Artwork by Paul Scott", Featuring works from New American Scenery, on view October 27, 2022–February 26, 2023 at LSU Museum of Art, Baton Rouge, LA.

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

Pearlware_Polish_and_Privilege_Art_-by_Paul_Scott_2022_to_2023_LSU_Museum_of_Art_Artwork_Checklist

17
Sep
2022
Conversing in Clay: Ceramics from the LACMA Collection

Conversing in Clay: Ceramics from the LACMA Collection

ABOUT THE EXHIBITION

One of the earliest and best-preserved areas of artistic production across the globe, ceramics remains a vital field of expression and experimentation into the present. Conversing in Clay: Ceramics from the LACMA Collection explores the medium through 14 case studies, placing historical works in visual dialogue with contemporary examples to illuminate symbolic meanings, technical achievements, and resonances throughout time. The exhibition examines how artists working today relate to international artistic traditions of the medium, both through deliberate references to the past and by engaging with aspects of clay materiality that have inspired makers over the centuries. Drawing from LACMAs wide-ranging collections, the exhibition also highlights many recent contemporary acquisitions, including works by Nicholas Galanin, Steven Young Lee, Courtney Leonard, Paul Scott, Mineo Mizuno, Elyse Pignolet, and more.

AT LOS ANGELES COUNTY MUSEUM OF ART

Los Angeles, CA | August 7, 2022 – May 21, 2023

Steven Young Lee Installation in "Conversing in Clay: Ceramics from the LACMA Collection", at LACMA, Lost Angeles, CA, August 7, 2022 - May 21, 2023. Image (right): Steven Young Lee, "Jar with Tiger and Clouds", 2019, Los Angeles County Museum of Art, Gift of Debbie and Mark Attanasio and Kelly and Steve McLeod through the 2021 Decorative Arts and Design Acquisitions Committee (DA²), © Steven Young Lee, photo © Museum Associates/LACMA Image (left): Unknown, Jar with Dragon and Clouds, 1700–1800, Los Angeles County Museum of Art, purchased with museum funds, photo © Museum Associates/LACMA Pictured on the right if a blue and white vase by Steven Lee, which has been manipulated by the artist and is fired intentionally to appear as if it collapsed or was torn. Imagery includes tigers and clouds and highlights motifs from Korean decorative imager and ceramics. To the left is a Jar with Dragon and Clouds, featuring two dragons curving around the vase and the same clouds as on the contemporary work.
Paul Scott Installation in "Conversing in Clay: Ceramics from the LACMA Collection", at LACMA, Lost Angeles, CA, August 7, 2022 - May 21, 2023. Installation view of 3 blue and white tranferware print collages by artist Paul Scott on ceramic plates: (left) "Cumbrian Blue(s), New American Scenery, Forget Me Not, No Human Being is Illegal (1/5)", 2019, transfer print collage on salvaged Syracuse China with pearlware glaze, 12 x 12 x 1.25". (center) "Cumbrian Blue(s), New American Scenery, California Wildfires No:1", 2019, transfer print collage on partially erased 'Beauty Spots of California', Staffordshire souvenir transferware plate, 9.75 x 9.75 x 1.25". (right) "Cumbrian Blue(s), New American Scenery, Souvenir of Shiprock, No. 4", 2020, transfer print collage on pearlware plate with uranium glass, & Corona beer bottle shards collected from the base of Shiprock, 12 x 12 x 1.25". The plates feature subject matters ranging from the artist's series: New American Scenery, Immigration, Race, Souvenir, Native American, Energy, Nuclear, Environment, American Landscapes They are installed in a row of 3, hanging above two trasferware pieces from the LACMA collection. One piece is blue and white while the other is brown or sepia. All works have dynamic shadows which bring drama and dimensionality to the installation view.
"Conversing in Clay: Ceramics from the LACMA Collection", at LACMA, Lost Angeles, CA, August 7, 2022 - May 21, 2023. Installation view. Angled perspective of artworks in wall and floor vitrines, including plates by Paul Scott hanging on the wall (left) , and a vase by Steven Young Lee placed next to a vase from the LACMA collection (right). Other works featured include vases, bowls, and scultpures. The entry panel "conversing in clay" can be seen behind the works on one wall.
"Conversing in Clay: Ceramics from the LACMA Collection", at LACMA, Lost Angeles, CA, August 7, 2022 - May 21, 2023. Installation view. Angled perspective of artworks in wall and floor vitrines, including plates by Paul Scott hanging on the wall, and a bowl by Courtney Leondard in a case along with a smaller white ceramic bowl. Other works featured include vases, bowls, and scultpures. A large portion of the wall is cast with shadows from an overhanging installation which can be seen in this photo.
"Conversing in Clay: Ceramics from the LACMA Collection", at LACMA, Lost Angeles, CA, August 7, 2022 - May 21, 2023. Installation view. Angled perspective of artworks in wall and floor vitrines, including plates by Paul Scott hanging on the wall, and a bowl by Courtney Leondard in a case along with a smaller white ceramic bowl. Other works featured include vases, bowls, and scultpures. A large portion of the wall is cast with shadows from an overhanging installation which can be seen in this photo.
Steven Young Lee Installation in "Conversing in Clay: Ceramics from the LACMA Collection", at LACMA, Lost Angeles, CA, August 7, 2022 - May 21, 2023. Image (left): Steven Young Lee, "Jar with Tiger and Clouds", 2019, Los Angeles County Museum of Art, Gift of Debbie and Mark Attanasio and Kelly and Steve McLeod through the 2021 Decorative Arts and Design Acquisitions Committee (DA²), © Steven Young Lee, photo © Museum Associates/LACMA Image (Right): Unknown, Jar with Dragon and Clouds, 1700–1800, Los Angeles County Museum of Art, purchased with museum funds, photo © Museum Associates/LACMA Pictured on the left if a blue and white vase by Steven Lee, which has been manipulated by the artist and is fired intentionally to appear as if it collapsed or was torn. Imagery includes tigers and clouds and highlights motifs from Korean decorative imager and ceramics. To the right is a Jar with Dragon and Clouds, featuring two dragons curving around the vase and the same clouds as on the contemporary work.
"Conversing in Clay: Ceramics from the LACMA Collection", at LACMA, Lost Angeles, CA, August 7, 2022 - May 21, 2023. Installation view. Angled perspective of artworks in wall and floor vitrines, including plates by Paul Scott hanging on the wall, and a bowl by Courtney Leondard in a case along with a smaller white ceramic bowl. In the background is also a vase by Steven Young Lee. Other works featured include vases, bowls, and scultpures. A large portion of the wall is cast with shadows from an overhanging installation which can be seen in this photo.
"Conversing in Clay: Ceramics from the LACMA Collection", at LACMA, Lost Angeles, CA, August 7, 2022 - May 21, 2023. Installation view of Courtney Leonard, "Red Algae | Log:17-1", 2016, ceramics, coiled and woven earthenware, steel base, 19 x 20 x 6". Collection of the Crocker Museum of Art. "Red Algae | Log:17-1" from Leonard's "Abundance" Collection. The pieces shown in the photo are coiled, basket bowls. Courtney Leondard's work is made of brown clay and net-like coils and the smaller artwork is a white ceramic bowl, about half the size of Leonard's piece. both works are casting dynamic shadows that display the intricate and dramatic patterns.

ABOUT LACMA

Located on the Pacific Rim, LACMA is the largest art museum in the western United States, with a collection of more than 147,000 objects that illuminate 6,000 years of artistic expression across the globe. Committed to showcasing a multitude of art histories, LACMA exhibits and interprets works of art from new and unexpected points of view that are informed by the regions rich cultural heritage and diverse population. LACMAs spirit of experimentation is reflected in its work with artists, technologists, and thought leaders as well as in its regional, national, and global partnerships to share collections and programs, create pioneering initiatives, and engage new audiences.

“Conversing in Clay: Ceramics from the LACMA Collection”, at LACMA, Lost Angeles, CA, August 7, 2022 – May 21, 2023. Installation view of entry panel.
“Conversing in Clay: Ceramics from the LACMA Collection”, at LACMA, Lost Angeles, CA, August 7, 2022 – May 21, 2023.
“Conversing in Clay: Ceramics from the LACMA Collection”, at LACMA, Lost Angeles, CA, August 7, 2022 – May 21, 2023.
“Conversing in Clay: Ceramics from the LACMA Collection”, at LACMA, Lost Angeles, CA, August 7, 2022 – May 21, 2023.
“Conversing in Clay: Ceramics from the LACMA Collection”, at LACMA, Lost Angeles, CA, August 7, 2022 – May 21, 2023.
“Conversing in Clay: Ceramics from the LACMA Collection”, at LACMA, Lost Angeles, CA, August 7, 2022 – May 21, 2023. Installation view.
Paul Scott Installation in “Conversing in Clay: Ceramics from the LACMA Collection”, at LACMA, Lost Angeles, CA, August 7, 2022 – May 21, 2023. Paul Scott: 3 tranferware print collages on ceramic plates: (left) “Cumbrian Blue(s), New American Scenery, Forget Me Not, No Human Being is Illegal (1/5)”, 2019 (center) “Cumbrian Blue(s), New American Scenery, California Wildfires No:1”, 2019 (right) “Cumbrian Blue(s), New American Scenery, Souvenir of Shiprock, No. 4”, 2020.
Courtney Leonard Installation in “Conversing in Clay: Ceramics from the LACMA Collection”, at LACMA, Lost Angeles, CA, August 7, 2022 – May 21, 2023. Courtney Leonard, “Red Algae | Log:17-1″, 2016, ceramics, coiled and woven earthenware, steel base, 19 x 20 x 6”. Collection of the Crocker Museum of Art.
Steven Young Lee Installation in “Conversing in Clay: Ceramics from the LACMA Collection”, at LACMA, Lost Angeles, CA, August 7, 2022 – May 21, 2023. Image (left): Steven Young Lee, “Jar with Tiger and Clouds”, 2019, Los Angeles County Museum of Art, Gift of Debbie and Mark Attanasio and Kelly and Steve McLeod through the 2021 Decorative Arts and Design Acquisitions Committee (DA²), © Steven Young Lee, photo © Museum Associates/LACMA
Steven Young Lee Installation in “Conversing in Clay: Ceramics from the LACMA Collection”, at LACMA, Lost Angeles, CA, August 7, 2022 – May 21, 2023. Image (right): Steven Young Lee, “Jar with Tiger and Clouds”, 2019, Los Angeles County Museum of Art, Gift of Debbie and Mark Attanasio and Kelly and Steve McLeod through the 2021 Decorative Arts and Design Acquisitions Committee (DA²), © Steven Young Lee, photo © Museum Associates/LACMA

MEDIA

Five artists featured in the show discuss their artistic practice in these short videos.

14
Sep
2022
BREAKING GROUND: Women in California Clay

BREAKING GROUND: Women in California Clay

BREAKING GROUND: Women in California Clay

American Museum of Ceramic Art
Pomona, California

September 10, 2022 through March 12, 2023

Featuring work by Crystal Morey

ABOUT THE EXHIBITION

The American Museum of Ceramic Art is proud to present the exhibition and accompanying catalog Breaking Ground: Women in California Clay, celebrating 44 artists who have defined—and redefined—ceramics over the past 100 years. Many of the Golden State’s most innovative and impactful ceramic artists in the 20th and 21st centuries are women who faced adversity due to gender inequality and were often ignored or overlooked in favor of their male counterparts. These incredibly determined women pushed forward, driven by creativity and tenacity.

Breaking Ground highlights the significant shifts in California ceramics over several generations of women artists. The story is told in three sections, using the artist’s “breaking ground period” (rather than their date of birth) to determine their place in history. The story begins with trailblazers Laura Andreson, Betty Davenport Ford, Stefani Gruenberg, Vivika Heino, Elaine Katzer, Mary Lindheim, Martha Longenecker, Gertrud Natzler, Susan Peterson, Ruth Rippon, Susi Singer, Helen Ritcher Watson, Marguerite Wildenhain, and Beatrice Wood. These artists laid the groundwork for the field and inspired successive generations of artists.

The second section includes a disparate group of artists who explored—or are exploring—the female figure, feminism, and the creation of the perfect form. Works by Judy Chicago, Dora De Larios, Roseline Delisle, Viola Frey, Magdalena Suarez Frimkess, Phyllis Green, Margaret Keelan, Karen Koblitz, Marilyn Levine, Elsa Rady, Lisa Reinertson, Nancy Selvin, Anna Silver, and Sandy Simon mark a substantial break in artmaking from their predecessors.

The final section represents a younger generation of artists working to shift the perspective” and includes Ashwini Bhat, Christina Erives, Keiko Fukazawa, Jenny Hata Blumenfield, Julia Haft-Candell, Anabel Juarez, Cathy Lu, Brittany Mojo, Crystal Morey, Kristen Morgin, Annabeth Rosen, Erika Sanada, Joan Takayama Ogawa, Kim Tucker, Anna Valdez, and Bari Ziperstein. Their work, in many ways, continues the conversation of the artists featured in the second chapter to traverse the themes of politics, identity, the environment, and other prevailing issues of globalization, colonialism, and reclaiming histories that have become increasingly important in the lives of practicing women artists.

Assembled together for the first time in Breaking Ground, these works tell the compelling story of how women artists from California made, and continue to make, significant contributions to the American Studio Ceramics movement in profound and singular ways.

A momentous reframing of the California Clay Movement and its legacy, this exhibition will be the first to chronologize the evolution of ceramic art in California solely through the work of women artists, and the first exhibition to be presented across all three of AMOCA’s ground-floor galleries. As the show is loosely organized by generation, so too are our gallery spaces. AMOCA’s Armstrong Gallery leads viewers through work from the first generation “Trailblazers” to the second generation, “The Body Politic.” Then, viewers move through The Vault and Gallery B to experience work from Breaking Ground‘s generation three “Now” artists.

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Breaking Ground will be on view in AMOCA’s Armstrong Gallery from September 10, 2022 through January 22, 2023, and in Gallery B and The Vault from September 10, 2022 through February 19, 2023.

The exhibition is co-curated by Beth Ann Gerstein (Executive Director), Jo Lauria (Adjunct Curator), and Edith Garcia (Professor, California College of the Arts and University of California, Berkeley).

More information about the exhibition, HERE.

FEATURED ARTWORKS

Crystal Morey, “RePlanting: Crow and Deer”, 2022, hand-sculpted porcelain, 12.5 x 8 x 6”.
Crystal Morey, “RePlanting: Crow and Deer”, 2022, hand-sculpted porcelain, 12.5 x 8 x 6”.
Crystal Morey, “RePlanting: Crow and Deer”, 2022, hand-sculpted porcelain, 12.5 x 8 x 6”.
Crystal Morey, “RePlanting: Crow and Deer”, 2022, hand-sculpted porcelain, 12.5 x 8 x 6”.
Crystal Morey, “RePlanting: Crow and Deer”, 2022, hand-sculpted porcelain, 12.5 x 8 x 6”.
Crystal Morey, “RePlanting: Crow and Deer”, 2022, hand-sculpted porcelain, 12.5 x 8 x 6”.
Crystal Morey, “Replanting: Mountain Lion” 2022, hand-sculpted porcelain, 9.5 x 6 x 8.5”.
Crystal Morey, “Replanting: Mountain Lion” 2022, hand-sculpted porcelain, 9.5 x 6 x 8.5”.
Crystal Morey, “Replanting: Mountain Lion” 2022, hand-sculpted porcelain, 9.5 x 6 x 8.5”.
Crystal Morey, “Replanting: Mountain Lion” 2022, hand-sculpted porcelain, 9.5 x 6 x 8.5”.
Crystal Morey, “Replanting: Mountain Lion” 2022, hand-sculpted porcelain, 9.5 x 6 x 8.5”.
Crystal Morey, “Replanting: Mountain Lion” 2022, hand-sculpted porcelain, 9.5 x 6 x 8.5”.
Crystal Morey, “Without Borders/ White Rhino Airlift” 2020, hand sculpted porcelain, 16.5 x 13.5 x 10”.
Crystal Morey, “Without Borders/ White Rhino Airlift” 2020, hand sculpted porcelain, 16.5 x 13.5 x 10”.
Crystal Morey, “Without Borders/ White Rhino Airlift” 2020, hand sculpted porcelain, 16.5 x 13.5 x 10”.
Crystal Morey, “Without Borders/ White Rhino Airlift” 2020, hand sculpted porcelain, 16.5 x 13.5 x 10”.
Crystal Morey, “Without Borders/ White Rhino Airlift” 2020, hand sculpted porcelain, 16.5 x 13.5 x 10”.
Crystal Morey, “Without Borders/ White Rhino Airlift” 2020, hand sculpted porcelain, 16.5 x 13.5 x 10”.

MORE ON CRYSTAL MOREY

View More by Crystal Morey HERE

Crystal Morey, Artist Portrait in the studio, 2022

Crystal Morey, “The RePlanting: Over the Land (Mt. Lion and Unicorn”, 2022, hand-sculpted porcelain, 17.5 x 11 x 7″.

PUBLIC PROGRAMMING

Member Preview
Friday, September 9, 2022 • 2–4 PM (Pacific) • In Person

Breaking Ground: Women in California Clay is on view at AMOCA from September 10, 2022–February 19, 2023, and members get early access! Be among the first to see Breaking Ground by joining us on Member Preview Day on Friday, September 9.

This preview is complimentary for AMOCA Members.

Opening Reception
Saturday, September 10, 2022 • 4–6 PM (Pacific) • In Person

Join us for an opening reception for Breaking Ground: Women in California Clay, on view at AMOCA. Artists whose work is in the exhibition will be present starting at 4 PM, opening remarks will occur at 4:30 PM, and light refreshments will be served.

Admission to the event and Museum galleries is complimentary with advance registration. For information about at-the-door prices, check AMOCA.org/visit.

MORE ON AMOCA

As an organization of vision, devoted to the arts, we believe that visual art experiences communicated through professional artists, workshops, or gallery exhibitions, promote cross-cultural understanding and provide new perspectives and insights which enrich our lives.

Exhibitions and programming at AMOCA embraces a wide number of topics – all relating to clay. Within this broadly diverse community, it is our goal to increase the aesthetic appreciation of clay as an art form and to assist our audience in unraveling the creative thinking behind the making of ceramic objects. At the same time, AMOCA provides confirmed clay enthusiasts with encouragement, camaraderie, and exhibition opportunity.

Learn More, HERE