Project Type: Artist News

13
Apr
2020
Giselle Hicks at Porches

Giselle Hicks at Porches

Featured Artist Giselle Hicks at Porches

FERRIN CONTEMPORARY is pleased to announce Giselle Hicks, as the featured artist at Porches.

Presented at The Porches Inn at MASS MoCA, North Adams, MA

2020 Summer Season | On View starting July 31, 2020

ABOUT THE FEATURE

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

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

“I make a range of things with clay, including floral Still-Lifes, full-scale ceramic tables and beds, decorative wall tiles inspired by textiles and pinched vessels. I enjoy a studio practice where I can move from one body of work to another where each process satisfies a different creative impulse, always with the intention of making something beautiful for one to encounter or live with.These hand-pinched vessels are inspired by iconic forms found throughout ceramic history. They are formal explorations in shape, volume, color and composition. The slow and rhythmic forming process employs very few tools, yielding fresh, dynamic silhouettes. The opaque glaze is soft to the touch like a worn river stone. Fingerprints remain in the clay surface celebrating the slight imperfections of the handmade object.”

 

“This series of work is influenced by decorative textiles such as quilts, weavings, and embroidered tapestries. I think the labor dedicated to creating these textiles, particularly the quilt, is a beautiful gesture to the significance of these everyday objects which are integral to the rituals of daily life. I want this work to reflect the same care, attention, and labor that went into making the original textiles.The process of slip-casting has its roots in industry and is used to make a form repeatedly, often on a mass scale. When I begin a new project, I first make a prototype of a pillow by carving a block of plaster into the shape of a soft pillow. Next, I make a two-part plaster mold of the prototype. Once the molds are prepared, I pour colored porcelain-slip into the molds, where it sits for an hour at which point I pour out the excess slip. The plaster mold absorbs the moisture from the porcelain slip, resulting in a hollow form with quarter-inch thick walls. When the form comes out of the mold, I draw the pattern into the surface with a sharp stylus. Once the carving is complete I paint a colored slip over the whole design, wipe the excess off, and what slip remains is inlaid into the carved pattern. The unglazed porcelain looks soft and invites the touch.”

INQUIRE
MORE ABOUT GISELLE HICKS
SHOP SELECT GISELLE HICKS WORKS
Giselle Hicks, “Blue Wall Tiles with Radial Pattern”, 2019, slip-cast porcelain, inlaid slip, 24 x 48 x 3″.
Giselle Hicks, “Blue Wall Tiles with Radial Pattern”, 2019, slip-cast porcelain, inlaid slip, 24 x 48 x 3″.
Giselle Hicks, “Blue Wall Tiles with Radial Pattern”, 2019, slip-cast porcelain, inlaid slip, 24 x 48 x 3″.
Giselle Hicks, “Blue Wall Tiles with Radial Pattern”, 2019, slip-cast porcelain, inlaid slip, 24 x 48 x 3″.
Giselle Hicks, Grey Tiles with Weaving Pattern, 2019, slip cast porcelain, 20 x 20 x 2″.
Giselle Hicks, Grey Tiles with Weaving Pattern, 2019, slip cast porcelain, 20 x 20 x 2″.
Giselle Hicks, Grey Tiles with Weaving Pattern, 2019, slip cast porcelain, 20 x 20 x 2″.
Giselle Hicks, Grey Tiles with Weaving Pattern, 2019, slip cast porcelain, 20 x 20 x 2″.
Giselle Hicks, “Grey Tiles with Radial Pattern”, 2019, slip-cast porcelain, 15 x 15 x 2.5″.
Giselle Hicks, “Grey Tiles with Radial Pattern”, 2019, slip-cast porcelain, 15 x 15 x 2.5″.
Giselle Hicks, “Grey Tiles with Radial Pattern”, 2019, slip-cast porcelain, 15 x 15 x 2.5″.
Giselle Hicks, “Grey Tiles with Radial Pattern”, 2019, slip-cast porcelain, 15 x 15 x 2.5″.
Giselle Hicks, “Grey Tiles with Radial Pattern”, 2019, slip-cast porcelain, 15 x 15 x 2.5″.
Giselle Hicks, “Grey Tiles with Weaving Pattern”, 2019, slip cast porcelain, 20 x 20 x 2″.
Giselle Hicks, “Grey Tiles with Weaving Pattern”, 2019, slip cast porcelain, 20 x 20 x 2″.
Giselle Hicks, “Grey Tiles with Radial Pattern”, 2019, slip cast porcelain, 20 x 20 x 2″.
Giselle Hicks, “Grey Tiles with Radial Pattern”, 2019, slip cast porcelain, 20 x 20 x 2″.
Giselle Hicks, “Grey Tiles with Radial Pattern”, 2019, slip cast porcelain, 15 x 15 x 2.5″.
Giselle Hicks, “Grey Tiles with Radial Pattern”, 2019, slip cast porcelain, 15 x 15 x 2.5″.
10
Apr
2020
CRYSTAL MOREY: Venus on the Waves Catalog

CRYSTAL MOREY: Venus on the Waves Catalog

CRYSTAL MOREY: Venus on the Waves Catalog

Crystal Morey’s “Venus on the Waves” exhibition catalog release: June 1, 2020.

Available now for $17.80, which includes domestic postage.

The 8.5 x 11″ booklet includes 16 beautiful pages of images and text from the “Venus on the Waves” exhibition
at Ferrin Contemporary in 2019.

  • Read more about the exhibition, HERE.
  • The book also includes a wonderful essay by writer Maria Porges, “Claiming Beauty: Crystal Morey’s Venus on the Waves”.

Excerpt from Maria Porges Essay:

All of Morey’s therianthropes have a kind of contained power, even when their poses might bely such a reading. A closer examination of the passive contrapposto of the standing figures in Three Gracesreveals a kind of watchful alertness. Positioned back to back around a tree stump, they are warriors creating a united defense. Rhino and mountain lion have their arms intertwined, but the gesture looks protective rather than girlishly affectionate. Alert, all three scan the horizon, dependent on each other for safety. As Morey has put it, “The rhino, mountain lion and human are all in danger of habitat loss, and extinction- although the human is just now realizing how delicate her situation is, and how dependent she is on the well -being of the creatures and environments around her.”

Like these three, Morey reminds us, all living creatures are connected. Multiple-figure compositions– a first for her—have enabled her to address increasingly complex issues. The result is a body of work in which several different meanings can be slowly unpacked, even as the immediate physical appeal of the figures provides pleasure. “You can come in at whatever level you want, but hopefully it will make you think about something you haven’t previously considered… I don’t know if this work will make a change, but I hope it instigates a conversation.”

01
Apr
2020
PAUL SCOTT and Fran Siegel: Seam & Transfer | Wilding Cran Gallery, Los Angeles, CA

PAUL SCOTT and Fran Siegel: Seam & Transfer | Wilding Cran Gallery, Los Angeles, CA

Fran Siegel and Paul Scott: Seam & Transfer

Wilding Cran Gallery, Los Angeles, CA

March 21st – May 31, by appointment only

“Wilding Cran Gallery presents Seam & Transfer, an exhibition of works by Los Angeles based artist Fran Siegel and British artist Paul Scott. In Seam & Transfer, Fran Siegel and Paul Scott tell stories of translation and migration with the use of pattern and motif, expanding techniques of collage and reassembly within the traditionally conventional mediums of ceramics, drawing and tapestry to communicate a subverted, contemporary message…”

READ MORE HERE

More on PAUL SCOTT

 

Paul Scott & Fran Siegel recent works featured in Seam & Transfer at Wilding Cran Gallery
Fran Siegel, 2020
Paul Scott & Fran Siegel recent works featured in Seam & Transfer at Wilding Cran Gallery
Fran Siegel recent works featured in Seam & Transfer at Wilding Cran Gallery
Scott’s Cumbrian Blue(s) Arctic Scenery, Kulluk. Inglaze decal collage and gold lustre on shell edged pearlware platter, c.1820, 37cm x 29cm. Paul Scott 2014.
Scott’s Cumbrian Blue(s), Castle Buddleia. Collage, nineteenth century Copeland/Spode platters, Kinstugi and gold leaf, 52cm x 40 cm x 4cm. Paul Scott 2015.
Scott’s Cumbrian Blue(s), Garden No:2 (after Turner and Stephenson). Collage – Staffordshire transferware with Chinese porcelain, tile cement, epoxy resin and gold leaf, 32cm x 26cm.. Paul Scott, 2104.
Scott’s Cumbrian Blue(s), Garden After Monopteros/Lorraine, and Garden After Lorraine/Monopteros, 2019, Collage with kintsugi, ‘Monopteros’ by Rogers, with ’Scene After Claude Lorraine’ by Leeds Pottery, (early 19th century transferwares), 10 x 10 x .875″.
Scott’s Cumbrian Blue(s), Bridgeless Bridge Garden, and Bridge Bridgeless, Garden, 2019, Collage with kintsugi, ‘Chinoisserie Bridgeless’ by Minton, with ’St Alban’s Abbey’ by Henshall, (early 19th century transferwares), 9.75 x 9.75 x .875″.
Scott’s Cumbrian Blue(s) Arctic Scenery, Kulluk. Inglaze decal collage and gold lustre on shell edged pearlware platter, c.1820, 37cm x 29cm. Paul Scott 2014.
Scott’s Cumbrian Blue(s), New American Scenery, Residual Waste No:4. In-glaze decal collage on Danish ironstone platter c.1850, with gold leaf. 400mm x 300mm (15.75”x13”). Paul Scott 2017.
26
Mar
2020
STRIKING GOLD: Fuller at Fifty, Fuller Craft Museum, Brockton, MA

STRIKING GOLD: Fuller at Fifty, Fuller Craft Museum, Brockton, MA

ABOUT THE EXHIBITION

Striking Gold: Fuller at Fifty

September 7, 2019- April 5, 2020

Fuller Craft Museum, Brockton MA

In honor of the Fuller’s ‘golden anniversary’, the museum looks at the role of gold within it’s recent acquisitions and permanent collection. Co-curated by Beth McLaughlin and Suzanne Ramljak. Striking Gold: Fuller at Fifty, explores the storied traditions, contemporary interpretations, skillful applications, and conceptual rigor of gold as an artistic material, while investigating the multitude of cultural, material, and sociopolitical associations.For the 57 selected artists, gold remains central to their work as they delve far deeper than embellishment or decorative effect. This landmark exhibition celebrates the museum’s rich past as it plans for a brilliant future—and shines a light on all things golden.

FEATURING

Recent works by:

Claire Curneen
Bouke de Vries
Paul Scott
Anina Major

and in the permanent collection:
Roy Superior

More information can be found HERE.

CATALOG

Fully illustrated catalog with essays from the co-curators and Stuart Kestenbaum.

Click HERE to purchase.

CLICK TO VIEW THE VIRTUAL TOUR
OF STRIKING GOLD: Fuller at Fifty

 

Striking Gold: Fuller at Fifty

Claire Curneen Striking Gold: Fuller at Fifty September 7, 2019- April 5, 2020 Fuller Craft Museum, Brockton MA
Striking Gold: Fuller at Fifty September 7, 2019- April 5, 2020 Fuller Craft Museum, Brockton MA
Paul Scott Striking Gold: Fuller at Fifty September 7, 2019- April 5, 2020 Fuller Craft Museum, Brockton MA
Paul Scott Striking Gold: Fuller at Fifty September 7, 2019- April 5, 2020 Fuller Craft Museum, Brockton MA
Bouke de Vries Striking Gold: Fuller at Fifty September 7, 2019- April 5, 2020 Fuller Craft Museum, Brockton MA
Roy Superior Striking Gold: Fuller at Fifty September 7, 2019- April 5, 2020 Fuller Craft Museum, Brockton MA
Claire Curneen, “Blue” 2013, porcelain, cobalt, gold luste, 24 x 21 x 6″.
Claire Curneen, “Blue” 2013, porcelain, cobalt, gold luste, 24 x 21 x 6″.
Claire Curneen, “Mary Magdalene” 2013, porcelain, gold lustre, 22.5″.
Claire Curneen, “Mary Magdalene” detail, 2013, porcelain, gold lustre, 22.5″.
Paul Scott, “Scott’s Cumbrian Blue(s), Rome/Long Bridge Collage” 2016, collage, early 19th century Spode transferware platters, gold leaf.
Paul Scott, “Cumbrian Blue(s), American Scenery, Fracked No. 8″, 2015 in-glaze decal collage, gold leaf, T&R Boote Syndenhall Shape, ironstone c. 1850, 16.5 x 11.75 x 1.25”.
Bouke de Vries, “The Repair II” 2014, 18th century Chinese porcelain tureen stand, tureen cover, and mixed media, 14 x 10.5 x 10″.
Anina Major, “Weight in Gold”, 2019. ceramic, gold leaf, wood, mirror. 44″ x 21″ x 17″ Photo credit: Mandy Johnson
Anina Major, “Weight in Gold”, 2019. ceramic, gold leaf, wood, mirror. 44″ x 21″ x 17″ Photo credit: Mandy Johnson
22
Jan
2020
76th Scripps College Ceramic Annual: Sentiment and Skepticism, Our Culture of Contradictions, Pomona College, Claremont, CA

76th Scripps College Ceramic Annual: Sentiment and Skepticism, Our Culture of Contradictions, Pomona College, Claremont, CA

ABOUT THE EXHIBITION

76th Scripps College Ceramic Annual: Sentiment and Skepticism, Our Culture of Contradictions

Pomona College, Claremont, CA

January 25 – April 5, 2020

From flowers to fluorescent brains, connections and conflicts in nature and culture are the focus of the Scripps College 76th Ceramic Annual. The longest continuous exhibition of contemporary ceramics in the nation will open on Jan. 25 and continue through Apr. 5. Participating artists include Wesley Anderegg, Richard Burkett, Rebecca Hutchinson, Jeff Irwin, Kate MacDowell, Crystal Morey, James Tisdale, Theodore Vogel, Patti Warashina, Stan Welsh, and Mary Cale. A. Wilson. This exhibition is curated by Joanne Hayakawa, professor emerita at San Diego State University, School of Art and Design.

The artists in this group present some of their most active, and interactive, pieces in this exhibit. Works stand up on their own, hang from the ceiling, or extrude from the wall. In curating the show, Joanne Hayakawa, professor emerita at San Diego State University, School of Art and Design, sought to highlight the dynamism of conflicting elements and the tensions they produce within various contexts.

This exhibition features an illustrated catalog with an essay by art writer Robert L. Pincus.

EVENTS

Lecture: Garth Johnson, Paul Phillips and Sharon Sullivan Curator of Ceramics at the Everson Museum of Art will deliver a special lecture on the show will be held at the Scripps Humanities Auditorium on Sat., Jan. 25th from 4 to 5 pm.

Reception: The opening reception will follow, with live music and light refreshments, at the Williamson Gallery from 7 to 9 pm. These events are free and open to the public.

For more information on the exhibit, please visit rcwg.scrippscollege.edu or call (909) 607-3397.

The gallery is open from 12 to 5 pm, Wed. through Sun. during exhibitions. Admission is free.

More information on Crystal Morey HERE.

76th Scripps College Ceramic Annual: Sentiment and Skepticism, Our Culture of Contradictions, Installation view.
76th Scripps College Ceramic Annual: Sentiment and Skepticism, Our Culture of Contradictions, Installation view.
76th Scripps College Ceramic Annual: Sentiment and Skepticism, Our Culture of Contradictions, Installation view.
76th Scripps College Ceramic Annual: Sentiment and Skepticism, Our Culture of Contradictions, Installation view.
76th Scripps College Ceramic Annual: Sentiment and Skepticism, Our Culture of Contradictions, Installation view.
76th Scripps College Ceramic Annual: Sentiment and Skepticism, Our Culture of Contradictions, Installation view.
76th Scripps College Ceramic Annual: Sentiment and Skepticism, Our Culture of Contradictions, Installation view.
76th Scripps College Ceramic Annual: Sentiment and Skepticism, Our Culture of Contradictions, Installation view.
76th Scripps College Ceramic Annual: Sentiment and Skepticism, Our Culture of Contradictions, Installation view.
76th Scripps College Ceramic Annual: Sentiment and Skepticism, Our Culture of Contradictions, Installation view.
Crystal Morey, “Siren: Sierra Nevada Red Fox and Oak” 2019, hand sculpted porcelain, 16.25 x 6.5 x 6”
Crystal Morey, “Siren: Sierra Nevada Red Fox and Oak” 2019, hand sculpted porcelain, 16.25 x 6.5 x 6”
Crystal Morey, “Siren: Sierra Nevada Red Fox and Oak” 2019, hand sculpted porcelain, 16.25 x 6.5 x 6”
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, “African Bush Elephant” 2020, hand-sculpted porcelain, 11 x 12.5 x 7″.
Crystal Morey, “African Bush Elephant” 2020, hand-sculpted porcelain, 11 x 12.5 x 7″.
15
Oct
2019
Evan Hauser at Porches

Evan Hauser at Porches

EVAN HAUSER at Porches

The Porches Inn at Mass MoCA, North Adams, MA

October 24, 2019 – July 31, 2020

FERRIN CONTEMPORARY is pleased to announce Evan Hauser, as the featured artist at Porches.

Exhibition is currently closed to the public and programming cancelled due to COVID-19. We will update this page when it reopens.

Evan Hauser is a ceramic artist utilizing the concepts of experiencing land and the way that land can directly influence a society. Originally from New Palestine, Indiana, Evan Hauser received his BFA from Herron School of Art + Design in Indianapolis, in 2014. While pursuing his BFA, Hauser was an artisan at Sincerus Bronze Art creating large-scale bronze sculptures. He received his MFA from the University of Montana, in Missoula, and is currently a resident artist at the Northern Clay Center in Minneapolis, MN.

“The impact land has on the human experience goes beyond aesthetic beauty and resources; it constructs cultural and societal ideals in varying regions. My interest is within the relationship between man and land. Seeing the cultural shift in perspective of land, as I moved residence from Indiana to Montana, heightened my awareness of the differences with land across regions. Decisions made with land, such as what is private and what is public, are the starting point of my research.

When looking at a National Park such as Yellowstone, we are confronted by land that is supposedly wild and natural. In reality, the lands within the park are somewhat of a construct as the wildlife is managed, fires suppressed, and designated paths for the wandering tourist. This prescribed experience brings a foreseeable encounter that was once otherwise a land of discovery. Objects of representation prove our existence as a society and can be communicable icons. The objects chosen are to fit within my stereotypical view of a Euro-American experience coming to the American West.

Ceramic as a material allows me to create objects of permanence. This preservation of form can allow for a long-lasting concept that will continue to conduct dialogue with the viewer for any number of years forward. The concepts correlated with my objects are ones of continued growth and development as populations increase and our presence expands.”

—Evan Hauser

More about HAUSER

Inquire about available works

 

Evan Hauser, Installation view at Porches 2019.
Evan Hauser, “Preservation & Use (Vernal Falls, 1863, Albert Bierstadt)”, 2017, porcelain, digital ceramic print, gold leaf, 15 x 11 x 2.5”.
Evan Hauser, “Preservation & Use (Green River Cliffs, Wyoming, Thomas Moran, 1881)”, 2018, porcelain, digital ceramic print, gold leaf, 10.5 x 15 x 2.5″.
Evan Hauser, “Preservation & Use (Buffalo Trail: The Impending Storm, Albert Bierstadt, 1869)”, 2019, porcelain, digital ceramic print, gold leaf, 10.5 x 15 x 2.5″.
Evan Hauser, Installation view at Porches 2019.
Evan Hauser, “American Visions (Newbury Marshes, Martin Johnson Heade, 1865-1875)”, 2018, residential/commercial building materials, porcelain, digital ceramic print, 14 x 19 x 5”.
Evan Hauser, “American Visions (Newburyport Meadows, Martin Johnson Heade, 1876-81)”, 2018, residential/commercial building materials, porcelain, digital ceramic print, 14 x 19 x 5”.
Evan Hauser, “American Visions (Newburyport Meadows, Martin Johnson Heade, 1876-81)”, 2018, residential/commercial building materials, porcelain, digital ceramic print, 14 x 19 x 5”.
Evan Hauser “Preservation & Use (Niagara, Frederic Edwin Church, 1857)”, 2019, porcelain, digital ceramic print, gold leaf, 11 x 15 x 2.5″.
Evan Hauser, “Preservation & Use (The Teton Range, Thomas Moran, 1897)”, porcelain, digital ceramic prints, gold leaf, 11 x 15 x 2.5″.
Evan Hauser, “Preservation & Use (Summit of the Sierras, Thomas Moran, 1872-1875)”, 2019, porcelain, digital ceramic print, gold leaf, 15 x 11 x 2.5″.
Evan Hauser, “Preservation & Use (A Storm in the Rocky Mountains, Mt. Rosalie, Albert Bierstadt, 1866)”, 2019, porcelain, digital ceramic print, gold leaf, 10.5 x 15 x 2.5″.
Evan Hauser, “American Visions (Newburyport Meadows, Martin Johnson Heade, 1876-81)”, 2018, residential/commercial building materials, porcelain, digital ceramic print, 14 x 19 x 5”.
Evan Hauser, “American Visions (Newbury Marshes, Martin Johnson Heade, 1865-1875)”, 2018, residential/commercial building materials, porcelain, digital ceramic print, 14 x 19 x 5”.
Evan Hauser, “American Visions ( Newbury Marshes, Martin Johnson Heade, 1865-1875)”, 2018, residential/commercial building materials, porcelain, digital ceramic print, 14 x 19 x 5″.
13
Sep
2019
RAE STERN: IN FUGUE, Belger Arts, Kansas City, MO

RAE STERN: IN FUGUE, Belger Arts, Kansas City, MO

Rae Stern: In Fugue

Belger Arts, Kansas City, MO

at Belger Crane Yard Studio

September 26- February 8, 2020

Rae Stern: In Fugue features new, groundbreaking works in porcelain and paper. On view September 26, 2019 – February 8, 2020 at the Belger Crane Yard Studios, the exhibition focuses on the elusive and ephemeral nature of memory as both a personal and universal phenomenon. Through the manipulation of translucent attributes of porcelain and paper, and with innovative use of digital technology, the works pose questions about the relationship between object, memory, and time.

Part of a recent body of work by Stern, the porcelain objects light up from within upon touch and expose hidden lithophanes.

By creating an immersive experience and inviting the viewers to touch the ceramic objects, the work brings to life narratives and memories assigned to porcelain heirlooms and explores the potential and limitations of porcelain as a repository for fading memories.

The exhibition is supported by Belger Arts, Dick and Evelyn Belger, Asylum Arts, Joan and Steve Israelite and Irene Bettinger.

MORE ON THE EXHIBITION

MORE ON RAE STERN

*RAE STERN: IN FUGUE IS AVAILABLE FOR EXHIBITION.
CONTACT FOR MORE INFORMATION*

INSTALLATION VIEW

Rae Stern: In Fugue, Belger Arts, 2019, installation view. Photo credit T. Maxwell Wagner
Rae Stern: In Fugue, Belger Arts, 2019, installation view. Photo credit T. Maxwell Wagner
Rae Stern: In Fugue, Belger Arts, 2019, installation view. Photo credit T. Maxwell Wagner
Rae Stern: In Fugue, Belger Arts, 2019, installation view. Photo credit T. Maxwell Wagner
Rae Stern: In Fugue, Belger Arts, 2019, installation view. Photo credit T. Maxwell Wagner
Rae Stern: In Fugue, Belger Arts, 2019, installation view. Photo credit T. Maxwell Wagner
Rae Stern: In Fugue, Belger Arts, 2019, installation view. Photo credit T. Maxwell Wagner

RAE STERN: IN FUGUE from Rae Stern Studio on Vimeo.

CATALOG

08
Sep
2019
CRYSTAL MOREY: Venus on the Waves

CRYSTAL MOREY: Venus on the Waves

SOLO EXHIBITION

AT FERRIN CONTEMPORARY
North Adams, MA

September 21- November 2nd, 2019

Opening Reception:

Saturday, September 21, 5-7 pm

ABOUT THE EXHIBITION

North Adams, MA —

Ferrin Contemporary is pleased to announce CRYSTAL MOREY: Venus on the Waves, introducing a new series of porcelain sculpture that explores elements of art history and our connection to today’s changing, natural world.

Leslie Ferrin, director Ferrin Contemporary, “We are pleased to present Crystal Morey’s first solo exhibition on the East Coast and the opportunity it provides to share her artwork and learn about her process through a related series of talks and demonstrations. This new series, Venus on the Waves, captures the spirit of a new generation of pop surrealist, figurative artists who use history to inform their practice while adding a contemporary spin by introducing issues relevant to our time.”

As a result of human consumption, climate change, and habitat loss, we are experiencing increased responsibility to care for the living creatures around us. Morey’s delicate porcelain works highlight these precarious connections and our roles as advocates and protectors of our most vulnerable species. Her sculptures narrate the interdependence between humans, plants, and animals while cultivating empathy for our changing world.

Inspired by 18th century European painting, sculpture, and porcelain figurines, Morey’s works in Venus on the Waves combine the decadent and ornate qualities of the Baroque with romanticism of nature. Her emphasis on historical female archetypes and their relationship to the natural world echoes the past while reflecting on today’s environmental challenges.

CRYSTAL MOREY: Venus on the Waves

At Ferrin Contemporary, North Adams, MA | September 21- November 2nd, 2019

Ferrin Contemporary, Crystal Morey, “Venus on the Waves” 2019 Installation View.
Ferrin Contemporary, Crystal Morey, “Venus on the Waves” 2019 Installation View.
Ferrin Contemporary, Crystal Morey, “Venus on the Waves” 2019 Installation View.
Ferrin Contemporary, Crystal Morey, “Venus on the Waves” 2019 Installation View.
Ferrin Contemporary, Crystal Morey, “Venus on the Waves” 2019 Installation View.
Ferrin Contemporary, Crystal Morey, “Venus on the Waves” 2019 Installation View.

Crystal Morey explains, “Venus on the Waves, is a new body of work that weaves the magic, narrative and power of art history with our contemporary environmental issues of today. Through hand sculpted porcelain creations, I am building a connection to the past though the vulnerable creatures and habitats of today.”

Crystal Morey’s ceramic works have been widely featured in publications and exhibitions both nationally and internationally. In 2018, her work was included in Revive, Remix, Respond at The Frick Pittsburgh, PA, in a group exhibition inspired by the Frick’s collection which was co-curated by Dawn Brean and Leslie Ferrin. Her work has been featured in New Age of Ceramics, 500 Figures in Clay, Juxtapoz, Hi-Fructose, American Art Collector, Hey Magazine, Palace Costas, Beautiful Bizarre, and Sculpture Review.  Morey received her BFA in Ceramic Sculpture from the California College of the Arts in 2006 and her MFA in Spatial Art from San Jose State University in 2015, followed by residencies at The LH Project, OR; Watershed Center for the Ceramic Arts, ME; and the Penland School of Craft, NC. She currently lives and works in Oakland, California.

Crystal Morey, "Entangled: Grizzly (Part 1)", 2019, hand-sculpted porcelain, 12.75 x 6 x 6".
Crystal Morey, "Entangled: Grizzly (Part 1)", 2019, hand-sculpted porcelain, 12.75 x 6 x 6".
Crystal Morey, "Entangled: Grizzly (Part 1)", 2019, hand-sculpted porcelain, 12.75 x 6 x 6".

Entangled: Grizzly (Part 1) & (Part 2)

Crystal Morey, "Entangled: Grizzly (Part 2)", 2019, hand-sculpted porcelain, 12.25 x 6.5 x 6.5". Photo by John Polak.
Crystal Morey, "Entangled: Grizzly (Part 2)", 2019, hand-sculpted porcelain, 12.25 x 6.5 x 6.5". Photo by John Polak.
Crystal Morey, "Entangled: Grizzly (Part 2)", 2019, hand-sculpted porcelain, 12.25 x 6.5 x 6.5". Photo by John Polak.
Crystal Morey, "Entangled: Grizzly (Part 1)", 2019, hand-sculpted porcelain, 12.75 x 6 x 6".
Crystal Morey, "Entangled: Grizzly (Part 1)", 2019, hand-sculpted porcelain, 12.75 x 6 x 6".
Crystal Morey, "Entangled: Grizzly (Part 1)", 2019, hand-sculpted porcelain, 12.75 x 6 x 6".

California Bighorn Sheep

Leda and the Swan

Release the Winds

Sea Level Rise in Eden

Three Graces

Venus on the Waves

Venus (After Michelangelo’s David)

PRESS & PROGRAMMING

Visiting Artist Lecture
Wednesday, September 18, 2019, 5:30-6:30pm
Harvard University– Office for the Arts at Harvard, 224 Western Ave, Allston, MA

Click HERE for more about the lecture at Harvard Ceramics.

Click HERE to read the feature in The Berkshire Eagle by Jennifer Huberdeau

Click HERE to learn more about the workshop and events at Project Art, Cummington, MA.

Click HERE to see other works and learn more about Crystal Morey.

Click HERE to inquire about available works for sale.

******

Download Press Release HERE

Crystal Morey in Figural Sculpture: Additive / Subtractive Processes in Porcelain
September 20 – 22, 2019
at PROJECT ART in Cummington, MA

Crystal Morey: Artist Talk
Friday, September 20, 7pm
at PROJECT ART in Cummington, MA

31
Aug
2019
TENDING THE FIRES: Recent Acquisitions in Clay | Fuller Craft Museum, Brockton, MA

TENDING THE FIRES: Recent Acquisitions in Clay | Fuller Craft Museum, Brockton, MA

ABOUT THE EXHIBITION

Fuller Craft Museum, Brockton, MA

August 17, 2019 – April 4, 2021

Tending the Fires: Recent Acquisitions in Clay presents recent additions to Fuller Craft’s ceramic collection. Exhibited works represent a range of processes and conceptual approaches in clay, from Cheryl Ann Thomas’s slumped, coiled sculpture to Jun Kaneko’s painterly “dango” to Steven Young Lee’s deconstructed pot. Figuration also comes into play, with strong examples by Patti Warashina, Akio Takamori, and Tip Toland. Fuller Craft Museum is proud to shine a light on the clay triumphs of these renowned ceramicists while proudly displaying the institution’s recent collecting achievements.

EXHIBITING ARTISTS

Richard Cleaver, Claire Curneen, Nancy Jurs, Jun Kaneko, Steven Young Lee, Cliff Lee, Hollie Lyko, Michael Lucero, Lauren Mabry, Beverly Mayeri, Zemer Peled, Peter Pincus, Prudence Piper, Mark Shapiro, Mara Superior, Akio Takamori, Cheryl Ann Thomas, Tip Toland, Patti Warashina, and Malcolm Wright.

Learn more about FC Artists:

CLAIRE CURNEEN
HOLLIE LYKO
STEVEN YOUNG LEE
LAUREN MABRY
PETER PINCUS
MARA SUPERIOR

and from the archives:

MALCOLM WRIGHT

Click HERE for more.

Mara Superior, A Spring Dream (Rabbit Teapot),2008, high-fired porcelain, ceramic Oxides, Underglaze, glaze, wood, gold leaf, 16 x 17 x 6″. Gift of Kohler Foundation.
Tending the Fires: Recent Acquisitions in Clay at Fuller Craft Museum August 17th- May 3rd, 2020
Mara Superior Tending the Fires: Recent Acquisitions in Clay atFuller Craft Museum August 17th- May 3rd, 2020
Peter Pincus Tending the Fires: Recent Acquisitions in Clay atFuller Craft Museum August 17th- May 3rd, 2020
Malcolm Wright, Three Figures, 2006, wood fired brick clay, 13.5 x 8.5 x 6.75. Gift of the Artist.
Tending the Fires: Recent Acquisitions in Clay at Fuller Craft Museum August 17th- May 3rd, 2020
Claire Curneen, “Mary Magdalene” detail, 2013, porcelain, gold lustre, 22.5″.
Claire Curneen, “Mary Magdalene” 2013, porcelain, gold lustre, 22.5″.
Steven Young Lee Tending the Fires: Recent Acquisitions in Clay atFuller Craft Museum August 17th- May 3rd, 2020
Hollie Lyko, “American Standard”, 2018, dremel-erased Syracuse China plate, originally titled ‘Southern Cotton Fields’, circa 1952, 10.5 x 10.5 x 1″.
Hollie Lyko, “American Standard”, detail, 2018, dremel-erased Syracuse China plate, originally titled ‘Southern Cotton Fields’, circa 1952, 10.5 x 10.5 x 1″.
Lauren Mabry Tending the Fires: Recent Acquisitions in Clay at Fuller Craft Museum August 17th- May 3rd, 2020
10
Aug
2019
FLORA/FAUNA | Chautauqua Institution, Chautauqua, NY

FLORA/FAUNA | Chautauqua Institution, Chautauqua, NY

Flora/Fauna

July 25- August 20, 2019, Opening Reception July 25th at 3:00pm

Strohl Art Center/Bellowe Family Gallery at the Chautauqua Institution

Stephen Bowers, Sin-ying Ho, Paul Scott, and Mara Superior present a series of work around the theme Flora and Fuana. Each artists weaves social commentary through the realm the decorative arts, using traditional technique in a new light.

See more about Stephen Bowers

See more about Sin-ying Ho

See more about Paul Scott

See more about Mara Superior

Recent Press about the show

 

 

 

Flora/Fauna, Chautauqua Institution, 2019, Installation view, Images courtesy of ALEXANDER WADLEY/STAFF PHOTOGRAPHER at The Chautauquan
Flora/Fauna, Chautauqua Institution, 2019, Installation view, Images courtesy of ALEXANDER WADLEY/STAFF PHOTOGRAPHER at The Chautauquan
Flora/Fauna, Chautauqua Institution, 2019, Installation view, Images courtesy of ALEXANDER WADLEY/STAFF PHOTOGRAPHER at The Chautauquan
Flora/Fauna, Chautauqua Institution, 2019, Installation view, Images courtesy of ALEXANDER WADLEY/STAFF PHOTOGRAPHER at The Chautauquan
Flora/Fauna, Chautauqua Institution, 2019, Installation view, Images courtesy of ALEXANDER WADLEY/STAFF PHOTOGRAPHER at The Chautauquan
Flora/Fauna, Chautauqua Institution, 2019, Installation view, Images courtesy of ALEXANDER WADLEY/STAFF PHOTOGRAPHER at The Chautauquan
Stephen Bowers, “Rosella & Eucalyptus (Leaf, Flower & Gum-nut EntrĂŠe Plate)” 2019, white earthenware, under-glaze colors, clear glaze, gold luster, 10 x 10 x 1″
Stephen Bowers, “The Dodo’s Message” 2019, white earthenware, under-glaze colors, clear glaze, 8.25 x 8.25 x 1.5″.
Stephen Bowers,”Eastern Rosella & Botanical (18th c French Toile’ fabric print patterns)” 2019, white earthenware, under-glaze colors, clear glaze, 13.5 x 13.5 x 2.75″.
Sin-Ying Ho, “Source of Wealth” 2012, Porcelain, hand-painted cobalt pigment, transfer decal, 27 x 20 x 15″.
Sin-Ying Ho, “10.11.1985 Hong Kong” 2010, Porcelain, high fire reduction, hand painted cobalt pigment, decal transfer, enamel, 24 x 14 x 12″.
Sin-Ying Ho, “10.11.1985 Hong Kong” 2010, Porcelain, high fire reduction, hand painted cobalt pigment, decal transfer, enamel, 24 x 14 x 12″.
Sin Ying Ho, “Made in the Postmodern Era no.1” 2008, Porcelain, high fire reduction, hand painted cobalt pigment, computer decal transfer, terra sigillata, 20.5 x 11 x 11”.
Sin Ying Ho, “Made in the Postmodern Era no.1” 2008, Porcelain, high fire reduction, hand painted cobalt pigment, computer decal transfer, terra sigillata, 20.5 x 11 x 11”.
Sin-ying Ho, “9.28.2014 Hong Kong” 2014, porcelain, cobalt, decal, terra sigillata, 23 x 12 x 15.5″.
Sin-ying Ho, “Future is in our Hand” 2008, porcelain, cobalt, decal, terra sigillata, 15 x 10″.
Sin-ying Ho, “Histogram No. 2″ 2007, porcelain, cobalt, decal, terr sigillata, 8 x 6 x 8”.
Sin-ying Ho, “Matrix no. 2″ 2007, porcelain, cobalt, transfer, terra sigillata, 8 x 4 x 8”.
Paul Scott, “Cumbrian Blue(s), The Garden Series, Bridgeless/Bridge” 2019, collage with kintsugi, ‘Chinoisserie Bridgeless’ by Minton, with ’St Alban’s Abbey’ by Henshall, (early 19th century transferwares), 10″ diameter.
Paul Scott, “Cumbrian Blue(s), The Garden Series, Bridgeless/Bridge” (back), 2019, collage with kintsugi, ‘Chinoisserie Bridgeless’ by Minton, with ’St Alban’s Abbey’ by Henshall, (early 19th century transferwares), 10″ diameter
Paul Scott, “Cumbrian Blue(s), The Garden Series, Bridge/Bridgeless’, 2019, collage with kintsugi, ’St Alban’s Abbey’ by Henshall with ‘Chinoisserie Bridgeless’ by Minton, (early 19th century transferwares), 10”diameter.
Paul Scott, “Cumbrian Blue(s), The Garden Series, Bridge/Bridgeless” (back), 2019, collage with kintsugi, ’St Alban’s Abbey’ by Henshall with ‘Chinoisserie Bridgeless’ by Minton, (early 19th century transferwares), 10″ diameter.
Mara Superior, ‘Les Fleurs’ 2013, high-fired porcelain, ceramic oxides, underglaze, glaze, 13 x 18.5 x 1.75″.
Mara Superior, “Mother Nature Says, ‘Wake Up'” 2010, porcelain, glaze, wood, pearls, gold leaf, 17 x 22 x 2″.